Josh Blackwell, Rebecca Morris, Ree Morton

May 3 – June 5, 2016

Rebecca Morris
Untitled (#06-15)
2015
Oil on canvas
91 x 90 inches (231.1 x 228.6 cm)
RMo 1

Josh Blackwell
Neveruses (Split Flow Expand), (alternate view)
2016
Plastic, wool, silk, paper, fabric, acrylic, rope
18 x 17 x 3.5 inches (45.7 x 43.2 x 8.9 cm)
JBl 11

Josh Blackwell
Neveruses (Split Flow Expand)
2016
Plastic, wool, silk, paper, fabric, acrylic, rope
18 x 17 x 3.5 inches (45.7 x 43.2 x 8.9 cm)
JBl 11

Josh Blackwell
Neveruses (Unprincipled)
2014
Plastic, wool, silk, paint, paper
15.5 x 15 x 4 inches (39.4 x 38.1 x 10.2 cm)
JBl 12

Josh Blackwell
Neveruses (Unprincipled), (alternate view)
2014
Plastic, wool, silk, paint, paper
15.5 x 15 x 4 inches (39.4 x 38.1 x 10.2 cm)
JBl 12

Josh Blackwell
Neveruses  (Rotate Mix Tie), (alternate view)
2016
Plastic, wool, silk, paper, wire, foam
22 x 23.5 x 25 inches (55.9 x 59.7 x 63.5 cm)
JBl 6

Josh Blackwell
Neveruses (Rotate Mix Tie)
2016
Plastic, wool, silk, paper, wire, foam
22 x 23.5 x 25 inches (55.9 x 59.7 x 63.5 cm)
JBl 6

Rebecca Morris
Untitled (#261-14)
2014
Watercolor on paper
24 x 18 inches (61 x 45.7 cm)
RMo 10

Ree Morton
​Settings (Signs of Love)
1976
oil on plywood
13½ x 18 inches / 33 x 43 cm
ReeM 2
Image courtesy of Joerg Lohse and Alexander and Bonin Gallery

Ree Morton
Weeping Willow
ca. 1974
Enamel on celastic mounted on wood
24 x 50 x 3 1/2 inches / 61 x 127 x 9 cm
ReeM 4
Image courtesy of Joerg Lohse and Alexander and Bonin Gallery

Rebecca Morris
Untitled (#12-15)
2015
Oil on canvas
104 x 85 inches (264.2 x 215.9 cm)
RMo 2

Rebecca Morris
Untitled (#02-16)
2016
Oil and spray paint on canvas
48 x 48 inches (121.9 x 121.9 cm)
RMo 3

Rebecca Morris
Untitled (#141-14)
2014
Watercolor on paper
24 x 18 inches (61 x 45.7 cm)
RMo 8

Rebecca Morris
Untitled (#230-13)
2013
Watercolor on paper
24 x 18 inches (61 x 45.7 cm)
RMo 7

Rebecca Morris
Untitled (#132-13)
2013
Mixed media on paper
14 1/4 x 10 1/4 inches (36.2 x 26 cm)
RMo 4

Josh Blackwell
Neveruses (Weave Chip Cover)
2016
Plastic, wool, silk, thread, wire
18 x 14 x 5.5 inches (45.7 x 35.6 x 14 cm)
JBl 8

Josh Blackwell
Neveruses (Weave Chip Cover), (alternate view) 
2016
Plastic, wool, silk, thread, wire
18 x 14 x 5.5 inches (45.7 x 35.6 x 14 cm)
JBl 8

Josh Blackwell
Neveruses (Shorten Spill Match)
2016
Plastic, wool, silk, paper
19 x 15 x 3.5 inches (48.3 x 38.1 x 8.9 cm)
JBl 10

Josh Blackwell
Neveruses (Shorten Spill Match), (alternate view)
2016
Plastic, wool, silk, paper
19 x 15 x 3.5 inches (48.3 x 38.1 x 8.9 cm)
JBl 10

Ree Morton
Signs of Love
1976
Oil on plywood
13.5 x 18 inches (34.3 x 45.7 cm)
ReeM 3

Ree Morton
Don't worry, I'll only read you the good parts
1975
Oil on celastic
54 x 26 inches /137 x 66 cm
ReeM 1
Image courtesy of Joerg Lohse and Alexander and Bonin Gallery

Josh Blackwell
Neveruses (Porter)
2015
Plastic, wool, silk, paper, elastic, wooden base
12 x 10 x 3.5 inches (30.5 x 25.4 x 8.9 cm)
JBl 2

Josh Blackwell
Neveruses (Feline)
2015
Plastic, wool, silk, paper, acrylic paint, wooden base
15 x 13 x 2.5 inches (38.1 x 33 x 6.4 cm)
JBl 1

May 3 – June 5, 2016 | 195 Chrystie Street, NY, NY 10002

 

11R is delighted to present Josh Blackwell, Rebecca Morris, Ree Morton, on view from May 3 through June 4 at 195 Chrystie Street. This three-person exhibition features recent sculpture by Josh Blackwell, paintings and watercolors by Rebecca Morris, and work from the 1970s by Ree Morton, bringing together three artists who consider the possibilities of poetic intervention into the everyday.

 

By embroidering and stitching onto such items as plastic bags and oven mitts, Blackwell transforms commonplace objects into visionary sculptures. Blackwell’s pieces, entitled Never Uses, are displayed alongside the abstract works of Rebecca Morris, whose conscious emphasis on geometry and topography contrasts with Blackwell’s irregular, organic forms, despite both artists’ shared affinity for and sensitivity to surface.  Ree Morton’s pieces – staged on their own in the project room of 11R’s West gallery – provide a historical reference point for Blackwell and Morris, as her use of personal narrative, utilization of language, and idiosyncratic approach to color and materials were pioneering in her lifetime.  Morton’s work has been described by the art historian Lucy Lippard as deploying “confrontational innocence,” and her art informs this multi-generational exhibition with its consideration of intimacy, humor, and quotidian beauty.

 

Josh Blackwell (b. 1972) lives and works in Brooklyn, NY.  Recent solo and group exhibitions include Kate MacGarry, London; John Tevis Gallery, Paris; Rachel Uffner, New York; Ooga Booga, Los Angeles; Elizabeth Dee, New York; Invisible Exports, New York; and many others.  Josh Blackwell is represented by Kate MacGarry, London.

 

Rebecca Morris (b. 1969, Honolulu, HI) lives and works in Los Angeles, CA. Rebecca Morris’ work will be included in the upcoming Made in LA: a, the, through, only, at the Hammer Museum. Recent solo and group exhibitions include 356 Mission Rd, Los Angeles; Bonnefanten Museum, Maastricht; Corbett vs. Dempsey, Chicago; Kunsthalle Lingen, Lingen; David Zwirner Gallery, New York; Gavin Brown’s Enterprise, New York; and others. She is also the author of MANIFESTO (For Abstractions and Friends of the Non-Objective).  Rebecca Morris is represented by Corbett vs. Dempsey, Chicago, IL, and Galerie Barbara Weiss, Berlin, Germany.

 

Ree Morton (b. 1936, Ossining, NY; died 1977, Chicago, IL) was the subject of a landmark retrospective at the Reina Sofia, Madrid in 2015.  Important exhibitions during her lifetime include Artists Space, NY; the Institute of Contemporary Art, Philadelphia; and the Whitney Museum of American Art, NY; among many others.  Her work is included in major museum collections in the US and Europe.  The estate of Ree Morton is represented by Alexander & Bonin, NY