Oct 27, 2018, 2PM–5PM

Panel: Roussel, Duchamp, Morton

Ree Morton, Sister Perpetua's Lie, 1973. 15 works on paper and canvas: acrylic, ink, crayon, and pencil on paper; chalk on paper; acrylic on canvas; watercolor on paper; chalk, wood, and acrylic on wood. © Generali Foundation Collection, Viennaphoto: Markus Wörgötter. All images: © Estate of Ree Morton. Courtesy Alexander and Bonin, New York.
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*Please note: due to high demand, seats will be available on a first-come first-serve basis. Attendees are advised to arrive early to guarantee a seat.

Ree Morton’s 1973 ICA commissioned work Sister Perpetua’s Lie remains a pivotal project in her career and an important early form of what we now refer to as “installation art.” Like Duchamp’s The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) (1915-1923)—on permanent display at the Philadelphia Museum of Art—Morton’s project was singularly inspired by Raymond Roussel‘s 1910 novel Impressions of Africa and is currently on view in the ICA exhibition Ree Morton: The Plant That Heals May Also Poison, through December 23.

Morton is one of many artists deeply influenced by this literary work—the Reina Sofia devoted an entire exhibition to this subject in 2011 and the Palais de Tokyo in 2013. Most recently the artist, poet, and writer Brian Catling published a highly acclaimed trilogy of fantasy novels rooted in Roussel’s colonialist mythology; The Vorrh (2015), The Erstwhile (2017), and The Cloven (2018). Join us for a panel that will focus on how Roussel functions within Catling’s work, while retroactively thinking through these themes in Duchamp and Morton. Moderated by ICA curator Kate Kraczon, panelists include Catling; Alexander Kauffman, Anne d’Harnoncourt – Andrew W. Mellon Postdoctoral Curatorial Fellow, Philadelphia Museum of Art; and art historian and curator Helen Molesworth.

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