He additionally created massive wall hangings of thick felt — lower, folded or draped — and he produced a serious Stonehenge-like out of doors earthwork, “Observatory,” in Holland.
Considered one of his most infamous acts was to look in an exhibition poster in 1974 wherein he was photographed bare from the waist up sporting a Nazi helmet, sun shades and chains, suggestive of some form of sadomasochistic sexual ritual.
Mr. Morris’s repute as an innovator engaged on all fronts was at its peak within the early 1970s. In a evaluate in The Occasions in 1972, Peter Schjeldahl wrote, “Morris was, for a second, an almost transcendent artwork world presence, an artist who, it appeared, may do no mistaken.”
Later within the decade, nevertheless, up to date artwork started to alter in methods unfavorable to Mr. Morris’s formalist, coolly cerebral sensibility. From the neo-Expressionism of Julian Schnabel to the neo-Pop protest artwork of Barbara Kruger, artwork grew to become extra representational, extra private and extra political, and Mr. Morris’s repute for up-to-the-minute saliency was by no means once more what it was within the ′60s.
He did change with the tide, nevertheless, producing within the early 1980s darkly baroque meditations on the specter of nuclear destruction. In a collection he titled “Firestorm,” he created heavy sculptural frames wherein skulls, clawing fingers, ropes, chains, phallic kinds and different symbols of violence and battle have been solid; inside, infernally glowing pastels evoking J. M. W. Turner abstractly envisioned the world’s fiery finish.
Details about Mr. Morris’s survivors was not instantly accessible.
Into the 1990s Mr. Morris continued to provide draped felt works; heavy lead reliefs that recall his early, Jasper Johns-influenced works; and autobiographical installations utilizing textual content and sound.
(In 2017, he introduced his newest felt items whereas revisiting his earlier work in a present on the Castelli Gallery’s Higher East Facet department.)