Abstract
Robert Morris : from the Minimal works to the Felts. Robert Morris’s very diversified activity possesses a unity if one considers it from the point of view of its relationship to the human body. From this point of view, the minimalist works from 1964 to 1967 appear particularly expressive of Morris’s theories of the perception of space and the situation of the work of art in relationship with the beholder. Their implicit system is paradoxical : on one hand, an “anthropomorphism” linked to the human proportions, on the other hand, a geometric formalism which tends to dematerialize sculpture. In 1967, the felt-sculptures suggest a new form of analogy with the human body ; they also clearly question the relationship of art with the norms of industrial production.
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