The s was widely experienced as a lull in British art. But the artists working most strongly through the s and beyond were often pursuing independent paths, not easily picked up on or promoted, critically or commercially. Survey shows such as the Hayward Annual were looked to for aesthetic weather reports, and were often reproved for offering no coherent forecast. The edition of the exhibition was noted at the time mostly for its feminist stance, with an all-women curatorial committee, and with less than a third of its twenty-three artists being male. Beyond that it offered a typically miscellaneous a sample of UK art at the time, across painting, sculpture, documentary and installation. A unique contribution to the show, however, was a group of sixteen works by London painter Adrian Morris.
b. 1929, United Kingdom
Remember Me. Several factors underlie the recent reevaluation of British painter Adrian Morris. Exploring the aesthetic conundrums of abstraction and representation, his work also speaks presciently of the state of the planet—ecology, politics, and our hopes and fears for life on Earth and even beyond. Surface and depth, contact and separation, desolation and regeneration, empathy and alienation: all these binaries resonate in the personal psychology of the artist—and the viewer. The opposition—the pressure to choose—between abstraction and representation ran through much twentieth-century painting.
Painstaking painter who exhibited rarely
Adrian Grant Morris, painter and teacher: born London 18 May ; married Penelope Dendy one son; marriage dissolved , Audrey Baker one son, one daughter ; died London 6 December Adrian Morris was not an artist who sought commercial attention. For him selling a picture was like cutting off a limb. His work has rarely been exhibited in the half-century since he was a student and his exhibitions can be counted on less than two hands. Even so, he was highly regarded by perceptive peers who knew his pictures. In his autobiography, High Diver , Wishart recalled Morris as "the most obviously promising student" there, who was "unhurriedly developing into a very original artist indeed. I know of no other painter of my age whose work is more likely to interest posterity.
We stand in solidarity with the uprising unfolding across the country following the murders of George Floyd, Breonna Taylor, Tony McDade, Nina Pop, Jamel Floyd, and those affected by generations of structural violence against Black communities. We're putting together a list of resources for self-education, mutual aid, and ongoing action in the struggle for racial justice. It portrays a spare gray room, illuminated only by four small windows inset high on a white wall. Ahead, a metal frame bolted to the wall offers sleeping platforms with meager, skinny mattresses; on the left, more bunks are neatly tucked below a darkened storage shelf. Each wall of the main gallery focused on one type of architectural threshold. The paintings to the left of the entrance depicted windows, complete with casings and mullions. In each composition, Morris sets the opening askew. In Windows c. Images of entryways anchored the right wall, including Doorway c.