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October Books
Continuous Project Altered Daily: The Writings of Robert Morris
Robert Morris is best known for his significant contributions to minimalist sculpture and antiform art, as well as for a number of widely influential theoretical writings on art. Illustrated throughout, this collection of his seminal essays from the 1960s to the 1980s addresses wide-ranging intellectual and philosophical problems of sculpture, raising issues of materiality, size and shape, anti-illusionism, and perceptual conditions.
The essays :
- Notes on Sculpture (Parts 1-4).
- Anti Form.
- Some Notes on the Phenomenology of The Search for the Motivated.
- The Art of Existence.
- Three Extra-Visual Works in Process.
- Some Splashes in the Ebb Tide.
- Aligned with Nazca.
- The Present Terms of Space.
- Notes on Art as/and Land Reclamation.
- American Quartet.
- Three Folds in the Fabric and Four Autobiographical Asides as Allegories (or Interruptions).
- Robert Morris Replies to Roger Denson (Or Is That a Mouse in My Paragon?)
An OCTOBER book
The essays :
- Notes on Sculpture (Parts 1-4).
- Anti Form.
- Some Notes on the Phenomenology of The Search for the Motivated.
- The Art of Existence.
- Three Extra-Visual Works in Process.
- Some Splashes in the Ebb Tide.
- Aligned with Nazca.
- The Present Terms of Space.
- Notes on Art as/and Land Reclamation.
- American Quartet.
- Three Folds in the Fabric and Four Autobiographical Asides as Allegories (or Interruptions).
- Robert Morris Replies to Roger Denson (Or Is That a Mouse in My Paragon?)
An OCTOBER book
- GenresArt
338 pages, Paperback
First published January 10, 1994
3 people are currently reading
57 people want to read
About the author
Robert Morris
9 booksLibrarian Note: There is more than one author in the Goodreads database with this name.
This is Robert Morris (1931- )
This is Robert Morris (1931- )
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Displaying 1 - 2 of 2 reviews
March 21, 2008
I read from this book often. It is one of few written works to coherently explore the fundamentals of an object/sculpture.
I often consider tattooing on to my forearm the Tony Smith quote with which he open the second chapter.
Q: Why didn’t you make it larger so that it would loom over the observer?
A: I was not making a monument.
Q: Then why didn’t you make it smaller so that the observer could see over the top?
A: I was not making and object.
-Tony Smith’s replies to questions about his six-foot steel cube.
I often consider tattooing on to my forearm the Tony Smith quote with which he open the second chapter.
Q: Why didn’t you make it larger so that it would loom over the observer?
A: I was not making a monument.
Q: Then why didn’t you make it smaller so that the observer could see over the top?
A: I was not making and object.
-Tony Smith’s replies to questions about his six-foot steel cube.
November 20, 2025
There is a case to be made for Morris as one of the finest prose-writing sculptors. This is essentially a requirement for anyone interested in process as a framework.
Displaying 1 - 2 of 2 reviews