Rebecca Morris

Los Angeles, California

Artworks shown are selected from works submitted by the artist in their grant or residency application. All works are copyright of the artist or artist’s estate.

About Rebecca Morris

Rebecca Morris sits on a wooden chair wearing a white jumpsuit and sneakers. She is a white woman with light skin tone and long gray hair, with a colorful abstract painting behind her.

Rebecca Morris has dedicated her thirty-year career to the exploration of abstraction. Using the basic elements of stroke, surface, and frame to question the underlying pretenses of abstract painting, Morris exposes the tensions between the flat surface of the work and the painting as discrete object. Her solo exhibitions include: a recent traveling survey exhibition at the Museum of Contemporary Art, Chicago and The Institute of Contemporary Art, Los Angeles, curated by Jamillah James; 356 S. Mission Road, Los Angeles; The Blaffer Museum, Houston, TX; LAXArt, Los Angeles; Bonnefanten Museum, Maastricht, The Netherlands; Kunsthalle Lingen, Germany; The Renaissance Society at The University of Chicago, IL. Significant group exhibitions include: Inherent Structures, Wexner Center for the Arts, Columbus, OH; Made in L.A., Hammer Museum, Los Angeles; the 2014 Whitney Biennial, Whitney Museum of American Art, NY. Morris is the recipient of multiple prestigious grants and awards, including the John Simon Guggenheim Memorial Foundation Fellowship, The Louis Comfort Tiffany Award, and The California Community Foundation Fellowship for Visual Arts. Morris is represented by Regen Projects, Los Angeles; Bortolami, New York; Corbett vs. Dempsey, Chicago; and Trautwein Herleth, Berlin, Germany. She is a Professor of Painting and Drawing in the Department of Art at UCLA.

Program Participation

Joan Mitchell Fellowship, 2024

Website / Social Links

I am interested in how a large painting can create a physical experience of protection and containment. I thin my oil paint to the transparency of watercolor and apply it to canvases as they lay flat on the floor. This method allows me to control the paint’s liquidity, activating a quick and improvisational way of mark making.”