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Sarah Morris

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Flat-chips
Flat jumbo (chips), 2009 Household Gloss Paint on Canvas 214 X 214 Cm
Untitled
Beijing, 2008 86min. © Sarah Morris
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Beijing , 2008 35 Mm/hd 84:47 Min © Sarah Morris
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Small Flat Jumbo [Clips] , 2009 Household Gloss Paint on Canvas 122 X 122 Cm / 48 X 48 in © Courtesy of the artist & Friedrich Petzel Gallery
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Paine Webber with Neons , 2009 Silkscreen on Rag Paper 97 X 97 Cm / 38.2 X 38.2 in © Courtesy of the artist & Schellmann Art Production
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Midtown- HBO/Grace, 1999 Gloss Household Paint on Canvas 84 X 84 Inches
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Points on a Line, 2010 Stills From a Color Film in HD 35 Minutes 48 Seconds © Sarah Morris, Courtesy Capitain Petzel, Berlin
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© Courtesy of the artist and Air de Paris
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December 2013 [Rio] , 2013 Household Gloss Paint on Canvas 152.5 Cm X 152.5 Cm © Courtesy of the artist & The Petzel Gallery
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design for wall painting, 2007 © Courtesy of the artist & The Hamburger Bahnhof - Museum für Gegenwart
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João Goulart [Rio], 2013 Household Gloss Paint on Canvas 60 X 60 Inches © Parallax
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Once a Thief, 2014 © photo Christopher Burke
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Rio (still do filme), 2012 Red Code / HD 88' 33" © Courtesy of the Artist and Galeria Fortes Vilaça
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Total Solar Eclipse, 2014 Household Gloss on Canvas 214 Cm X 214 Cm © Courtesy of the Artist and White Cube São Paulo
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Red Jardim Botanico [Rio], 2015 Household Gloss Paint on Canvas 60 X 60 Inches © Courtesy of the Artist and John Berggruen Gallery
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Quick Facts
Birthplace
UK
Birth year
1967
Lives in
New York and London
Works in
New York and London
Current Exhibitions and Events
Dec, 2016
Falls Never Breaks
Kunsthalle Wien Museumsquartier
Statement

Sarah Morris (born 1967) is a British-American artist.

Since the mid-1990s, Morris has been internationally recognized for her complex abstractions and films, which play with architecture and the psychology of urban environments. Morris views her paintings as parallel to her films - both trace urban, social and bureaucratic topologies. In both these media, she explores the psychology of the contemporary city and its architecturally encoded politics. Morris assesses what today’s urban structures, bureaucracies, cities and nations might conceal and surveys how a particular moment can be inscribed and embedded into its visual surfaces. Often, these non-narrative fictional analyses result in studies of conspiratorial power, structures of control, and the mapping of global socio-political networks.

She has participated in many important exhibitions including 4th Site Santa Fe Biennial (2001), 25th São Paolo Biennial (2002) and ‘Days Like These’, Tate Triennial (2003). Her solo exhibitions include Nationalgalerie im Hamburger Bahnhof, Berlin (2001), Kunstforeningen, Copenhagen (2004), Moderna Museet, Stockholm (2005), Palais de Tokyo, Paris (2005), Kestner Gesellschaft, Hannover (2005) and Museum Boijmans van Beuningen, Rotterdam (2006), Fondation Beyeler (2008), Lenbachaus, Munich (2008), MAMbo, Bologna (2009), and MMK, Frankfurt (2009).

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