Sarah Morris

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Sarah Morris
AM PM SM.jpg
Born1967
United Kingdom
NationalityBritish-American
EducationBrown University; Cambridge University
Known forpainting, film
 
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Sarah Morris
AM PM SM.jpg
Born1967
United Kingdom
NationalityBritish-American
EducationBrown University; Cambridge University
Known forpainting, film

Sarah Morris (born 1967) is a British-American artist.[1][2] Since the mid-1990s Morris has exhibited internationally.

Morris was born in England in 1967.[3] She attended Brown University, Cambridge University, and the Whitney Museum of American Art Independent Study Program.[3] In 1999–2000, she was a Berlin Prize Fellow at the American Academy in Berlin; in 2001, she received a Joan Mitchell Foundation painting award.[4] Morris was married to Liam Gillick;[3] they divorced in 2012.[5]

Exhibitions[edit]

Morris has been exhibited internationally with solo exhibitions at Hamburger Banhof in Berlin (2001),[6] Palais de Tokyo in Paris (2005),[7] Fondation Beyeler in Basel (2008),[8] Museum für Moderne Kunst in Frankfurt (2009),[9] Museo d’Arte Moderna di Bologna in Bologna (2009),[10] and Musée national Fernand Léger in Biot (2012).[11]

She has developed site-specific works for institutions including commissions at the Tulsa Convention Center designed by Edward Durrell Stone,[12] Kunsthalle Bremen in Germany,[13] Gloucester Road tube station in London,[14] Kunstsammlung Nordrhein-Westfalen in Düsseldorf and Museum der Moderne Salzburg .[15]

She has had film showings at institutions including the Fondation Louis Vuitton in Paris (Strange Magic),[16] Museum of Contemporary Art in Chicago (Chicago),[17] Sotheby's in New York (Points on a Line), [18] Barbican Centre in London (Beijing, Midtown), [19] the Guggenheim in New York (Midtown, AM/PM, Capital, Miami, Los Angeles), [20] the Centre Pompidou (Midtown, AM/PM, Capital, Miami, Los Angeles). [21]

Controversy[edit]

In 2011 Morris was sued by a group of six origami artists, including Robert J. Lang. They alleged that in 24 works in her "Origami" series of paintings Morris had without permission or credit copied their original crease patterns, coloured them, and sold them as "found" or "traditional" designs.[1] The case was settled out of court early in 2013; under the settlement, the creators of the crease patterns are to be given credit when the works are displayed.[22][23]

Publications[edit]

Robert Towne, 2006. Lever House, Manhattan

References[edit]

Further reading[edit]