Published by DelMonico Books/Institute of Contemporary Art, Los Angeles. Edited with text by Jamillah James. Foreword by Anne Ellegood. Text by Anthony Elms, Alex Jen, Camila McHugh, Hamza Walker.
Acclaimed American painter Rebecca Morris (born 1969) has long been celebrated for her juxtapositions of thin, matte washes of color with shimmering, metallic impasto. Her first major monograph coincides with a new survey exhibition traveling from the Institute of Contemporary Art, Los Angeles to the Museum of Contemporary Art, Chicago. Teeming with opulently illustrated plates, the volume provides insight into Morris’ practice through various vantage points, including texts from longtime collaborators of the artist and new voices alike. Topics include the historiography of color in Morris’ paintings as well as art historical contexts for her work. An additional section of the book traces Morris' own photo documentation of her studios over the 21-year period. Today, Morris remains steadfast to an ethos of constant evolution and a rigorous commitment to experimentation in painting. As she wrote in a widely circulated manifesto from 2005: “Abstraction never left, motherfuckers.”
Published by Walther König, Köln. Foreword by Meike Behm, Stijn Huijts. Text by Meike Behm, et al.
The abstractions of Los Angeles–based painter Rebecca Morris (born 1969) employ an iconography of fragmented and splintered abstract shapes. Southafternoon (the title derives from a song on Roberto Cacciapaglia's The Ann Steel Album, and also references the light in Morris' studio) presents 12 paintings from 2009–13.
Rebecca Morris: Southafternoon