#Rebecca Morris

[abwwia]

Rebecca Morris, Untitled (#05-23), 2023. Oil paint and spray paint on canvas, 97 x 84 in.

[minimavisibilia]

Rebecca Morris Untitled (#149-16) 2016 Watercolor on paper 18 x 24 in.

[mentaltimetraveller]

Rebecca Morris, Untitled (#10-20), 2020

Oil on canvas, 90 x 95 inches I

at Bortolami Gallery, New York. Photography by Lee Tyler Thompson.

[casualist-tendency]

[jordi-gali]

Rebecca Morris, Untitled (#14-21), 2021, Oil and spray paint on canvas, 95 × 91 in (241 × 231 cm) https://www.bortolamigallery.com/artists/rebecca-morris

[jokeanddaggerdept]

[antronaut]

Rebecca Morris - Untitled (#09-15). 2015

oil and spray paint on canvas 52.25 x 52.25 x 2 in.

[db-cooper]

Rebecca Morris Rebecca Morris: 2001–2022 - MCA Chicago

[garadinervi]

Rebecca Morris, Untitled (#09-16), (oil and spray paint on canvas), 2016 [The Art Institute of Chicago, Chicago, IL. © Rebecca Morris]

[nando161mando]

rebecca morris had children with someone that she knew had groomed a child to participate in a violent stabbing, all while remaining peaceful, amazing work rebecca! congratulations! .~*

🥳

[mcgiggers]

Miami - December 2023

Just back from an action packed two and half days in Miami which featured stops at half a dozen art fairs and visits to a few private collections and a museum. With worrisome headlines front and center and a squishy economic outlook, one might have expected a more subdued reception to this year’s art week festivities in Magic City, but by all accounts, it was full steam ahead for art fans and aficionados. The fairs seemed to get super-sized, the crowds appeared to be bigger, and the city was grid locked for the better part of full days and evenings as people tried to make the most of all that was being offered. Once you eventually got to wherever you were going, it was all great. The art rose above all the noise, and a marvelous viewing experience was served up and fully appreciated.   

The itinerary for the trip included: INK, Untitled and Scope fairs on arrival in South Beach; the de la Cruz and Margulies private collections, the Rubell Museum, and NADA and Art Miami fairsthe next day in and around the Miami Design District; and then Art Basel Miami Beach back on the other side of Biscayne Bay on departure day. While not all fairs are created equal, part of the thrill is the journey and finding those special works that resonate wherever they may show up. And, in that regard, there were many exciting discoveries and some magnificent reacquaintances.

The mainstay and anchor of the art festivities was Art Basel Miami Beach which celebrated its 21st edition with 277 exhibitors from 33 countries. While that was the official gallery count, multiple booths by some gallerists together with the proliferation of focus sections spread throughout the Miami Convention Center catapulted the number of exhibits to well over 300. With a view to making it more manageable for fairgoers (albeit questionably so), the fair was organized into curated groupings featuring top-of-the-line modern and contemporary galleries in the main section and then, in other dedicated spaces, diverse curatorial initiatives such as emerging artists, thematic exhibitions and large-scale projects, among others. Perhaps at the expense of a shrinking modern master presence and notwithstanding the diversity in presentation concepts, the focus of the fair was clearly tilted towards the new as established and emerging contemporary art was at the forefront. There was also noticeable excitement around Untitled in what seemed to be an invigorating revamping of that fair’s physical presence and gallery lineup. Under its fortified bright white tent situated right on the beach, Untitled lived up to its billing as the quintessential Miami art fair and delivered a strong roster of 166 North American and international exhibitors focused intensely on contemporary art. Among the other visits, the incredible collections at the de la Cruz, the Margulies and the Rubell did not disappoint, and the opportunity to enjoy beautiful paintings, sculptures and on-site installations housed in marvelous settings without the chaos of crowded fair corridors was surreal.

Across all fairs, there were many memorable pieces. At Art Basel, the showstoppers included: Rebecca Morris’ “Untitled (#14-15)”, 2015, oil and spray paint on canvas (111 x 113.5 in.); Antonio Ballester Moreno’s “Azul”, 2023, acrylic on jute (78.75 x 57 in.); Gareth Nyandoro’s “Street Canteen”, 2023, ink on cut paper mounted to canvas (57.5 x 94 in.); and Phoebe Boswell’s “A Knowledge Becoming”, 2023, pastel on paper (60.25 x 48.5 in.). At Untitled, the highlights included: Rafael Lozano-Hemmer’s “Thermal Drift Density Map”, 2022, custom software, computer, thermal camera, screen (dimensions variable), edition of 6, 1AP; and Concetto Pozzati’s “Inventario”, 1963, oil on canvas (60.63 x 75.25 in.). Other special sightings included: a pair of Esteban Vincente works, “The West”, 1980, oil on canvas (68 x 56 in.) and “Inside Red”, 1986, oil on canvas (56 x 68 in.) at Art Miami; Vanessa Gully Santiago’s “Self Portrait in a Red Dress”, 2022, acrylic on canvas (30 x 24 in) at NADA; and Peter Grippe’s “Figure”, 1950, watercolour on paper (8 x 5 in.) at INK. Special kudos to Sudanese-Canadian artist Azza El Siddique’s critically acclaimed installation, “Final Fantasy”, involving metal work scaffolding, dripping water, eroding clay-fired pots with a central four-sided monitor scrolling the English translation of Egyptian and Nubian funerary texts. Emitting a mystical transcendental vibe, the temple-like installation captivated fairgoers and was an Art Basel fan favorite.

Among the private collections, it was great to again see longstanding much admired works, including:Noah Davis’ “Painting for my Dad”, 2011, oil on canvas (76 x 91 in.) at the Rubell; an installation of familiar works at the de la Cruz by Félix González-Torres which included “Untitled” (America #3), 1992, 42 light bulbs, extension cords and porcelain light sockets (variable size), “Untitled” (Portrait of Dad), 1991, white mint candies, endless supply (ideal weight 175 lbs), and “Untitled”, 1989/1990, offset print on paper, endless copies, two stacks (56 x 23 in. each, ideal height 26 in.); and Leondro Erlich’s “Elevator Pitch” at the Margulies, 2011, automatic door operator, sliding doors, stainless steel, button panel, rear screen video projection, Mac mini-computer, 5 minutes, looped.

While things were frenzied in Miami, it was probably equally so in Hogtown as Torontonian sports fans relished the very real possibility of landing Shohei Ohtani. The Dodo Birds were among the few shortlisted in the hunt for the truly generational talent, but regrettably, after all was said and done, the Dodgers signed him with the lure of perpetual sunshine and a whopping $700 million 10-year contract. Quite incredible.  For a short while, the hype served as the perfect smokescreen for the plight of the woeful Dinos who continued to plod along below the 500 mark in the win/loss column. It has been reported that Coach Darko has offered to pick up the team dinner tab when the boys string together three victories. With the team on a three-game losing streak, the more relevant matter at hand is what Coach Darko is doing to stop the bleeding. Fasting, KETO, Paleo? Hunger, or lack thereof, does seem to be part of the issue as lackluster performances add up. One can only assume that Sensei Masai is gearing up for a splash at the trade deadline in February 2024. Meanwhile, Coach Darko has his hands full.

For more information on any of the artists, works or venues mentioned, or the fate of the Dinos, “Just Google It”.

There you have it sportsfans,

MC Giggers

(https://mcgiggers.tumblr.com)

Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[abwwia]

Rebecca Morris, Untitled (#01-22), 2022. Oil paint and spray paint on canvas, 93 x 90 in.

[carolinemillerbooks]

New Post has been published on Books by Caroline Miller

New Post has been published on https://www.booksbycarolinemiller.com/musings/perchance-to-dream-17/

Perchance To Dream #17

When an email with an attachment popped up on my computer screen,  I snapped to attention. The message was from a New York book agent.  I’d queried the woman about my memoir Getting Lost to Find Home two years ago. Having heard nothing, I’d written her off.  Yet, the  email’s subject line read, “contract attached.”  Like a dog gazing up at a picnic table, I salivated. Was this agent making me an off I couldn’t refuse? My index finger hovered above the attachment while my mind raced. Should I scrap my plans to self-publish? Was that wise? And was my attorney available to read the contract? After a moment’s pause, I dialed a set of numbers, but they weren’t my lawyer’s.  The computer guy answered. I asked him if the attachment was a scam.   He didn’t keep me in suspense.  “Open that puppy, and I’ll spend hours cleaning up the mess. The address has been hacked.”  Sadder and wiser, I deleted the email before my computer guy could hang up. In the “good old days,” when the mail arrived by stagecoach, the cost of sending a letter was exorbitant and the inability to hack into someone’s communication was nonexistent.  The system may have been inconvenient but the mail was seldom tampered with unless the carriage was hauling gold. Further back in history, cuneiform tablets offered an additional benefit. Given the time it took to stamp a nasty message into the wet clay, a person could repent and make a pot instead.   But back to my point. Convinced no agent wanted my book, my thoughts returned to the question of how to promote it. With or without an agent, all writers face the same challenge. Genius doesn’t get noticed unless there’s chatter. And, there’s no chatter unless the author dances naked in Times Square.  And, maybe not even then. The usual route to fame is to plead for book reviews, readings, television appearances, and guest shots on podcasts or YouTube.  An alternative might be to hire trained squirrels to dance the can-can around the book’s cover on TikTok. Famous or known only to their mothers, writers climb the same rocky slope.  Though my memoir isn’t set to publish until November, my begging has begun. Like confetti, I’m offering advance reader copies (ARCs) to anyone in the writing world. A word to neophytes.  Never send an arc without receiving permission. Otherwise, your book will end up unread in a landfill.  On the other hand, if you get the nod and the reviewer likes your work, don’t be shy.  Flaunt it! That’s what I’m doing here. New York Times best-selling crime writer Rebecca Morris agreed to read my book and, though she is busy writing her own, she’s penned a full review.  That makes her more than a generous person.  It makes her a saint. Below are her remarks which I share with a grateful heart. Review for Getting Lost to Find Home By Rebecca Morris After Elizabeth Gilbert published Eat, Pray, Love (2007), and Cheryl Strayed wrote Wild: From Lost to Found on the Pacific Crest Trail (2012) hundreds, maybe thousands of women wrote memoirs about finding themselves. They went to Antarctica, the Alaskan wild, and around the world to do it, the more remote the better. A book that should be shelved with the best of them is Getting Lost to Find Home, by Caroline Miller. It is more poignant because it takes place in the 1960s English Midlands, with its post-war hardships, and Africa, where British rule is waning.  Miller, just out of college, is pursuing a British fiancé who finds numerous ways to stall marriage. While she waits, she teaches students in Englands (unable to understand their dialects) and in segregated Rhodesia, where her students catch insects in the air and eat them. At each teaching post, there is either no heat or too much heat.  Her experiences with her students, fellow teachers, and members of the many tribes she meets are told with a companionable self-deprecation.  Miller grew up to be the first Hispanic woman elected to office in Portland, Oregon, a strong advocate for citizen involvement in government and health care, and a prolific author and playwright.  The better-known memoirs stop in middle age. Elizabeth Gilbert and Cheryl Strayed became best-selling authors and their books were filmed. The poignancy of Getting Lost to Find Home is the coming-of-age story is told in the present tense by the author, now an elderly woman. Never married and with no children, she is the odd resident in her retirement center. She feels more like a stranger in a strange land than she ever did traveling. But, oh, the stories she can tell!

[mentaltimetraveller]

Rebecca Morris, #33,

at Trautwein Herleth, Berlin 2024

[federer7]

Rebecca, Harlem, 1947

Photo: Morris Engel

[jordi-gali]

Rebecca Morris: 2001 - 2022 Rebecca Morris 30 de setembre de 2023 - 7 d'abril de 2024 Museu d'Art Contemporani de Chicago, Chicago, IL https://www.bortolamigallery.com/exhibitions