Ree Morton in Best of 2009 Artforum issue

Ree Morton: At the Still Point of the Turning World closes today at The Drawing Center.
The exhibition is a Best of 2009 pick in the current issue of Artforum, and reviewed in the same issue.

Unica Zurn wins AICA Exhibition of the Year Award

The Unica Zurn exhibition I curated at The Drawing Center earlier this year has won an AICA award for Best Show by a Non-Profit Gallery or Space.

Ree Morton: At Still Point of the Turning World reviewed in Art in America

"Now that so much art looks like Ree Morton’s, it’s hard to imagine just how radical her work appeared in the ’70s. In her brief career (she got her BFA in 1968 at 32, and died in a car accident at 41) and without even seeming to try, Morton turned everything upside down. Although she was surely reacting to the male-dominated, pared-down, intellectually based art prevalent at the time and therefore can certainly be considered a feminist, Morton did not take a political stance as much as simply use art to make sense of her life as a woman. In doing so, she introduced feminine values (she once designed a series of nautical signal flags representing her friends, many of them women, and flew them from a schooner in New York Harbor), oblique personal narrative and droll aphorisms that could be seen as precursors to those of Jenny Holzer and the Guerrilla Girls."
Read more.

Man in the Holocene

I'm frequently asked to talk about what project(s) I've always wanted to do, or have been working on, which I seem to hesitate to do (it seems a bit indulgent)....this came up in the Q&A after a recent talk, and as per some follow up emails, where's what I should have said:

I have been researching an exhibition I'd like to curate about contemporary art and metaphysics for over a year now, currently titled Man in the Holocene, after the Max Frisch novel...it seems to me that contemporary art is taking over the place of metaphysics in human understanding. If metaphysics was cast out of natural philosophy, out of scientific rationality, modernity and philosophy (think Heidegger/Derrida) have its concerns crept up in contemporary art now? Is aesthetic knowledge the place of the qualitative in a world of quantitative reasoning and mediated 'information'? Metaphysical concerns seem to unite so much of current contemporary art, and provide the ground for a lot of current discussions around ideas of sincerity, enchantment, curiosity, experience, presence, and 'alchemy'...

Ree Morton: At Still Point of the Turning World reviewed in Time Out

From this week's Time Out NY:

This exhibition, which comprises both drawing and sculpture, traces Morton’s rapid progression from Process-oriented art to work that infused the formal and conceptual language of Postminimalism with more unruly elements of personal narrative, theater, ritual and decoration.

Read more

Ree Morton: At the Still Point of the Turning World Reviewed in Frieze

Thomas Bernhard interview from late 1986, via Sign and Sight

http://en.wikipedia.org/wiki/Parody

Ree Morton in The New Yorker

Ree Morton: At the Still Point of the Turning World, currently on view at The Drawing Center, is reviewed in Peter Schjeldahl's Critic's Notebook this week.

Recent Writing

The accompanying catalog to my exhibition of the drawing-based work of Ree Morton (1936-1977), currently on view at The Drawing Center, features a conversation with Cornelia H. Butler and Allan Schwartzman, as well as Lucy Lippard’s 1973 essay “At the Still Point of the Turning World” with a new introduction by the author.
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A short essay on the Polaroids of Carlo Mollino is in this month's edition of Flash Art.

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An essay on Indian artist Tallur L.N. from last year is published in conjunction with the artist's recent show, Placebo, in Mumbai.
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A recent text on conditions of medium specificity and the filmic apparatus is included in Lisa Oppenheim's current exhibition, Invention Without a Future, at Harris Lieberman in New York.