Sarah Morris is a young British artist of a different stripe - and a different perspective. There are borders, hard edges, fences, and ways of being confined, isolated, and not having a voice - and the glass ceiling. When I was in graduate school Coco Fusco was giving her presentation among others for the post of Critical theory instructor at Tyler (I am glad to say she got it and I had several classes with her). In the question and answer period I asked if painting was still the glass ceiling for women in the visual arts and she simply said an emphatic yes. This opened up something for some women in sculpture during one of the predictable sculpture versus painting tussles generally playing out in Fine Arts programs everywhere. I was very happy to find June Harwood and speak to her on the phone, and to present this group of women working with pop, references, signs and abstraction. Sarah Morris has very successfully broken through the glass ceiling and is continuing on with a more abstract and less referential body of work, some as murals in buildings, and has worked with film and pop culture itself, as another part of her project.
Midtown Manhattan 1999
Aluminum Fence 1997
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