Robert C Morgan

Curriculum Vitae
Essays and Reviews

paintings works on paper





Cafe Vesuvio, San Francisco, 1970

Suffolk University, Boston, 1972

Concourse Level, Boston City Hall, 1972

Mezzanine Gallery, Boston City Hall, 1973

Herter Hall Gallery, University of Massachusetts, Amherst, 1975

Walker Street Gallery, New York City, 1975-76

Artists Space, New York, 1977, Organized by Helene Winer

Reuben Saunders Gallery, Wichita, Kansas, 1980

McKissick Museums, University of South Carolina, Columbia, 1981

Washington Place Artists Gallery, NYU, New York, 1981

University of Texas of the Permian Basin, Odessa, Texas, 1982

Printed Matter, New York, 1984, Selected by Lucy Lippard

Millennium Film Workshop, New York, 1985

C.E.P.A., Buffalo, New York, 1987

White Columns, New York, 1987

Millennium Film Workshop, New York, 1988

Nerlino Galley, New York, 1989

Nerlino Gallery, New York 1989-90

Stark Gallery, New York, 1992

Daniel Newburg Gallery, New York City, 1992

Butters Gallery, Portland, Oregon, 1993

Anthology Film Archives, New York ("The Turkish Bath Films," 1976), 1996

Wooster Arts Space, New York. Organized by Denise Green, (December 6 - December 29, 2007)

Bjorn Ressle Gallery, New York (April 18 - May 23, 2009)

Sideshow, Brooklyn, New York (April 4 - May 3, 2009)

"Light Streak"
Sideshow, Brooklyn, New York, (October 2010)

"Light Streak II"
Able Fine Art, Seoul, Korea (July - August, 2012)


An Extension of Inner-Process (10-day solo performance)
Institute of Contemporary Art, Boston, 1972

Process for Swimmers and Brass (Choreographed event) Linsey Pool,
Brandeis University, 1972. Assisted by members of the synchronized swim team at Brandeis University. Sponsored by the Rse Art Museum

2 Events: Journal 110 (Slides/audiotape) and Clap (Choreographed event)
Massachusetts College of Art, Boston, 1972

3 Other Events (Performance with audiotapes) Project, Inc.
Cambridge, Massachusetts, 1972. Curated by Paul McMahon

Parallel Points Seen Through Glass (Video/performance) and Lounge (1967) (Slides/narration) M.I.T., Cambridge, 1973, Assisted by Barbara Hero
Sponsored by the Boston Visual Artists Union

Bongo Circle Event III (Choreographed event/audiotape)
Boston Center for the Arts, 1973

Amalgam (Choreographed solo performance with audiotapes)
"Exposure: Objects/Events," Institute of Contemporary Art, Boston, 1973, (catalog)

50/50 (Learning to Swim) (Choreographed solo performance with audiotape)
OK Harris, New York City, 1974

Waterfields (Choreographed event in swimming pool)
North Pool, University of Massachusetts, Amherst, 1974

Waterfields III (Choreographed event in swimming pool)
Sunset Canyon Recreation Center, U.C.L.A., 1974. Organized through the Department of Art, U.C.L.A.

Sound Translocation (Audiotape installation)
Student Activities Center, University of Massachusetts, Amherst, 1975

Diagonal Line Pattern (Video and Slide Projection)
Project, Inc., Cambridge, Massachusetts, 1975

Translocations (Choreographed Performances/audiotape/slides)
"Performances: Four evenings, Four Days"
The Whitney Museum of American Art, New York City, 1976. Assisted by the Washington Square Repertory Dance Company with Technical Assistance by John Sanborn

Turkish Bathing (Film-loops/steam, 4 projectors). Learning to Swim (Slides/audiotape),

Release Rescues (Super-8 films), and Locations (Live video-performance). Artists Space, New York City, 1976. Assisted by Paul McMahon, Janice Gabriel and John Sanborn

Journal 110 (Revised (Slides/audiotape) and Progress Back Stroke (Reading performance/audiotape/film-loop). Franklin Furnace, New York City 1977

Two Evenings of Super-8 Films and Conceptual Works: 1972-81
Reuben Saunders Gallery, Wichita, Kansas, November 18 & 23, 1981

Swimtext (sound performance/reading w/slides) and Painters Painting (S-8 film)
Writers & Books, Rochester, New York, 1982

Optical Anger (Le Bain Turc) Ingres Optique/Depuis Duchamp
(window installation/80 slides projected continuously) Galleria dell' Occhio, New York City, 1982

Appendages (Bongo Circle Event #4)
Mail Art Performance Party, Academy of Arts, Kassel, F.R.G., 1985

Arizona Short and Release Rescue, Single Reel II (with Bongo Accompaniment)
"Circuit Breakers" Sponsored by Writers & Books and Pyramids Arts Center, Rochester, New York, 1986

Turkish Bathing Slide Show (80 slides projected continuously)
"Projections and Shadows," McGovern's Bar and Gallery, New York City, 1987. Curated by Barry V. Miller

Super 8 Films and Projection Pieces by Robert C. Morgan
Pyramid Arts Center (Rochester, N.Y.), February 17, 1989

Journal 110 (original, 1972). The Clocktower, New York City, March 23, 1989

Films of the Beat Generation (5-8 Films/Panel)
Organized by Tim Madigan, Hallwalls, Buffalo, New York, 1990

Atelier 71 (March 6, 1991)
Organized by Renato Micelli. Early films of Ken Feingold and Robert C. Morgan

Old and New Masters of Super 8
Organized by Barbara Rosenthal. Anthology Film Archives, New York (April 12-13, 1991). Speaker (catalog)

Old and New Masters of Super 8
Organized by Barbara Rosenthal. Anthology Film Archives, New York (March 1992)

Release Rescue (film screening)
Elston Art Center, New York City (January 24, 1992)

Artists' Super-8 Films Curated by Robert C. Morgan. Films by Morgan, Price, Liotta/Eros, and Creston (March 11, 1992)

Release Rescue
Film/Video screening at Art Nation, New York. Films by Morgan, Rosenthal, Creston, Cerejido, and Pierre Louaver (January 20, 1999)

Estirando Lo Intime (Stretching the Intimate)
Centro de Artes y Comunicacion Salar, La Paz, Bolivia, 1998.

Big As Life: An American History of 8mm Films
Museum of Modern Art, New York. Curated Jytte Jensen and Steve Anker
Turkish Bathing and The Turkish Bath (1976). Screened on February 4, 1999 in Time Warner Theatre

"The Turkish Bath"
Film Archives, NY, 2000

"Film Survey"
Millenium Film Workshop, NY, 2006

"Purgation of Nike"
The Lab Gallery, NY, September 2010



"The Future of Art in a Learning Context"
Gutman Library Media Center, Harvard University, 1973

"Boston Visual Artists Union"
Boston Center for the Arts, 1973

"Interventions in Landscape"
Hayden Gallery, M.I.T., 1974

"Indian Summer"
(Matt Mullican, David Salle, Jim Welling, Paul McMahon, Robert Morgan) Project, Inc., Cambridge, Massachusetts, 1974

"5 Boston Conceptual Artists"
(Douglas Huebler, Don Burgy, Bruce Andrews, Jay Jaroslav, Robert Morgan) Institute of Contemporary Art, Boston, 1974. Curated by Paul McMahon

"Faculty Exhibition, N.Y.U. Art Department"
80 Washington Square, East Galleries, New York City, 1976

"Toronto Super-8 Film Festival"
Toronto, Ontario, 1976

"Artists' Super-8 Films"
Artists Space, New York City, 1977. Curated by Helene Winer

"The Artist's Book"
Mandeville Art Gallery, University of California, San Diego, 1977 (catalog)

"Books, Prints and Photographs"
Davis Art Center, University of Akron, 1977 (catalog)

"Artists' Notebooks, Plans, Scripts and Scores"
Franklin Furnace, New York City, 1977. Curated by Jacki Apple

"Xerox, Xerox, Xerox"
Department of Art, University of Colorado, Boulder, 1977

"Artwords and Bookworks"
Los Angeles Institute of Contemporary Art, 1978. Curated by Judith Hoffberg (catalog)

"Assembling Assembling"
Pratt Graphics Center, New York City, 1978. Organized by Richard Kostelanetz (book and catalog)

"Artists Books, USA,"
Independent Curators, Washington, D.C., 1978-80 (traveling exhibition). Curated by Peter Frank (catalog)

"Foire Internationale d'Art Postal Audiovisuel"
Galerie Lara Vincy, Paris, 1979

"Art Faculty Biennial, Wichita State University"
Ulrich Museum of Art, Wichita, 1979

"Artists and Books: The Literal Use of Time"
Ulrich Museum of Art, Wichita, 1979-80

"Notizie di Lavoro D'Artists No. 9"
Arnaldo Esposto, Genova, Italia, 1981

"Works on Paper"
Century II, Wichita, 1980-81

"Permanent Collection: Artists Books"
Museum of Contemporary Art, Chicago, 1981

"Art Faculty Biennial, Wichita State University"
Ulrich Museum of Art, Wichita, 1981

"Art Faculty"
College of Fine and Applied Arts, R.I.T., 1982 - consecutive years

"Llibres D'Artista/Artist's Books"
Metronom, Barcelona, 1981

"Notizie di Lavoro D'Artists No. I"
Arnaldo Esposto, Genova, Italia, 1981. No. 15/16, 1982

"Artists' Books: A survey 1960-1981"
Ben Shahn Center, William Pattern College, 1982 (catalog)

"In Other Words"
Franklin Furnace, New York, 1983. Curated by Robert Barry

"Phenomenal Projects"
10 on 8, New York City, 1983. Curated by Robert Costa

"Falling Annual Livingroom Video Festspiel, 83"
ABC - Bildtechnik, Denmark, 1983

"Book Art - Bookworks - Bookobjects"
Hvidoure Kunstbibliotek, Denmark (traveling exhibition, 1983-84).
Organized by Niels Lomholt

"Artists Call"
Judson Memorial Church, New York City, 1984

"The Apocalyptic Vision: Four New Imagists"
Galleri Bellman, New York, 1983. Curated by Sam Hunter (catalog)

"Hundreds of Drawings"
Artists Space, New York, 1984

"Beyond Words: The Art of the Book,"
Memorial Art Gallery, University of Rochester, 1986 (catalog)

"Spiritual America,"
C.E.P.A., Buffalo, New York, 1986. Curated by Collins/Milazzo (publication)

"Artists Films"
White Columns, New York, 1986. Organized by L. Brandon Krall

"Juried Small Works"
City Without Walls, Newark, New Jersey, 1986. Juror: Stefan Eins

"Artists Books"
Bibliothek und Informations system Der Universitat Oldenburg, F.R.G., 1986. Curated by Dr. Klaus Groh (Catalog)

"More Static, Electrostatic"
Pyramid Arts Center, Rochester, New York, 1986. Curated by Antonio Petracca

"Super-8mm Program/Retrospective 2"
Millennium Film Workshop, New York, 1987. Curated by Howard Guttenplan

"4th Annual Upstate Invitational"
Pyramid Arts Center, Rochester, New York, 1987

"Update 1986-87"
White Columns, New York, 1987. Curated by Bill Arning (catalog)

"International Artists' Book Exhibition"
Musee Roi Saint Etienne, Szekesfehervar (Hungary), 1987

"Emulsion" Nerlino Gallery, New York, 1988

"Recycled Imagery"
Pyramid Arts Center, Rochester, New York, 1989

"The Spectacle of Chaos"
Curated by Klaus Ottman. River North Gallery District, Chicago,
September-October 1989

"Studio Exhibition"
P.S. 1, Long Island City, New York, 1989 (catalog with artist's statement)

Nerlino Gallery, 1989

"Anne, Ma Soeur Anne"
Galerie Antoine Candau, Paris, 1989

"Sex and Language"
Garnet Press Gallery, Toronto, 1990 (curated by Chrisanee Stathacos)

Jayne Baum Gallery, New York City, 1990

"New Directions"
(Kolbowski, Morgan, Noble, Weatherford, Ziello), S. Bitter-Larkin Gallery, 1990 (curated by Sam Hunter), (catalog)

"Emerging Art 1990"
New Jersey State Museum, Trenton, New Jersey (November 3 - December 16, 1990)

"Towards the Lens" (my title)
ART Cologne (Represented by Galerie 1900 - 2000, Paris), November 15 - 21 (catalog)

"The Point is Made"
Butters Gallery (Portland, Oregon), January 1991

"Group Show"
Ulrich Museum of Art, Wichita State University, Kansas, 1990-91

"Artists' Books"
Lorence-Monk Gallery, New York, March 1991

"After Duchamp"
Galerie 1900 - 2000, Paris, 1991 (catalog)
Stuart Levy Gallery, New York City, 1991

"Art is Books"
Provinciale Centrale Openbare Bibliotheek (P.C.O.B.), Limburg, Belgium, 1991 (catalog)

"La Posta in Gioco"
Uffizi, Sala delle ex-Reali Poste, Firenze, (15-28 November 1991). Curated by Gianni Broi (catalog)

"Diversite Photographique"
Galerie 1900-2000, Paris, (5-28 December, 1991)

Faculty Exhibition
Higgins Hall, Pratt Institute, 1991

Dooley Le Cappellaine Gallery, New York, 1992

BLAST Art Benefit
568 Broadway, New York, 1992 (catalog)

Galerie A.B. (Paris), 1992. Curated by Michele Blondel and Veronique Maxe.

"Excess in the Techno-Mediacratic Society"
Musee Serrat et Groton. Ville d' Arbois, France (June - September 1992) Curated by Joseph Nechvatal. Catalog essays by Robert C. Morgan, Joseph Nechvatal and Tobey Crockett. Traveled to Galerie Krinzinger, Vienna (9 February - March 10, 1993) and Shoshana Wayne Gallery, Los Angeles (24 July - September 5, 1993)

"Mssr. B's Curio Shop"
Thread Waxing Space, New York City, 1992. Curated by Saul Ostrow. (catalog)

Aspen Art Museum, Aspen, Colorado, 1992

"Works on Paper" (Benefit)
Stark Gallery, Summer 1992

"Jours Tranquelles a Clicy"
40, rue de Rochechouart, Paris. Curator Allain Kirili, 1992

"The Post-Dialectical Index," Galeria del Ventaglio, Udine (17 April - May 1993),
Curated by Robert C. Morgan and Maria Campitelli. Traveled to Horodner Romley, New York City (15 June - July 1993)

"Mail-Art" Casa de Cultura de Elbar, 1991 (Catalog)

"A Quinientos Anos de la Llegada de Colon a America"
(MAIL-ART), Sala de Exposiciones de la Escvela de Artes Aplicades, Soria (Spain), December 1990 - March 1991, catalog (with photograph)

"Volumination: The Book as Art Object"
Ulrich Museum of Art, Wichita State University (October - November 1992)

"Quotation," Aldrich Museum of Contemporary Art, Ridgefield, Connecticut and the Dayton Arts Center, Dayton, Ohio, 1992

"Conversations" (Bruce Conner, Tony Delap, John McLaughlin, Robert C. Morgan), Jan Turner Gallery, Los Angeles, 1992

"Arthur Rimbaud Centenary," ALCOL (Association Limousine de Cooperation pour le Livre), Limoges, 1992

"Exposicion de Arte Postal," Barcelona, 1993. Organized by Pere Sousa (catalog)

"Critical Quest" (i giochi di ruoio della critica), Via Farini, Milan. Organized by Alessandra Galletta and Marco Senaldi, June 7 - July 9, 1993. Traveled to Tokyo, Spiral Garden (June 1- 12, 1994). Organized by Hiroko Seki. Catalog.

"Blast Art Benefit,: The X-Art Foundation, 142 Greene Street, 1993 (catalog)

"Action/Performance and the Photograph," Turner/Krull Gallery, Los Angeles, 1993
(catalog with essay by the artist) Traveling Exhibition, 1995-2000. Organized by Curatorial Assistance, Inc.

"Construction in Process IV," The Artists' Museum (benefit), Stark Gallery, 1993

"Monumental Propaganda," World Financial Center, New York. Organized by Independent Curators, Inc. with Komar and Melamid (22 July - October 3, 1993)

"As Above, So Below," Elga Wimmer Gallery, New York (September - October 1993)

"BLAST: Remaking Civilization" (limited box edition), published by X-Art Foundation,
Fall, 1993

"The Return of the Cadavre Exquis," The Drawing Center, New York (November 6-December 11, 1993), a collaboration with Joseph Nechvatal and Carolee Schneemann

"My Home is Your Home," 4th Construction in Process. Sponsored by the Artists Museum, Lodz, Poland (October 1- 7, 1993)

"Building Plans & Schemes," Curator: Guy Bleus, Orde Van Architecten Limburg, Architectuurwijzer, Cultuurcentrum Heusden-Zolder, 1993 (Catalog with statement)

"Diatribe," (Curator: Max Estenger) Tomoko Liquori Gallery, NY (Dec 14 - 18, 1993)

"Blast Art Benefit," TZ Art & Company Gallery (April 29 - May 3, 1994)

"Art and Virus," Gallery Yaki Kornblit, Amsterdam (May 28 - June 29) and Galleria del Ventaglio Arte Contemporanea (June 11- July 11, 1994). Catalog (Text by Lucilla Sacca)

"Eroticism," Galerie 1900-2000, Paris (July 1994)

"Old and New Masters of Super 8, IV" Antholoy Film Archives. Curated by Barbara Rosenthal. April 1994 Screening and Panel participant.

"Lo Specchio di Proteo" (Curated by Marisa Vescovo) Centro Espositivo della Rocca Paolina (July 30 - August 20) and Palazzo Guasco, Allessandria (September 15 - October 10, 1994). Catalog with essay and photographs.

"Critics as Artists" Andre Zarre Gallery, New York City (April 4 - May 6, 1995)

"Mailart Prehistory" Comune di Forli (Italy), 1996. (catalog)

"The Turkish Bath Films," Anthology Film Archives magazine (June-August 1996)

"Exposition des Autoportaits Mail Art," 1996, Galerie Observatoire, Montreal (Quebec)

"Possessions II," Visual Arts Museum, School of Visual Arts, 1997

"Re: Duchamp," Abraham Lubelski Gallery (Nov. 24 - Dec. 12, 1998) Curator: M.Bidlo

"Where There's Smoke . . ." South Texas Institute for the Arts, Texas A & M University, Corpus Christi (June 23 - September 3, 2000) Curated by Patrick Brady

"Lit. Fig. -- Work from Words" The Space @ Media Triangle, New York (April 1 - May 1, 2000) Curated by L. Brandon Krall

"Finite in/finite," Amelie A. Wallace Gallery, SUNY College of Old Westbury (Anjali Deshmukh, Adrian McDonald, Robert C. Morgan), Curated by Hyewon Yi. (November 1 - December 6, 2007)

"New York Salon", Bjorn Ressle Gallery, New York (December 2008)

National Arts Club, NY, May 2010

Able Fine Arts, NY, February, 2012



Gerry Clow, "Pool Gives Artist Fluid Canvas," Boston Sunday Globe (May 21, 1972)

Robert Taylor, "Summerthing Stresses Art as Ecology," Boston Sunday Globe (August 12, 1972)

Gerry Clow, "An Evening with Robert Morgan," Boston Globe (February 3, 1973)

Richard Burgin, "Conceptual Art at Project, Inc.," Boston Globe (September 17, 1974)

Tyla L. Michelove, "Cold Walls and Warm Sound," Below the Salt, Vol. 3, Issue 4
(University of Massachusetts, Amherst), (February 20, 1975)

John Perreault, "Learning Your ABC's," Soho Weekly News (January 15, 1976)

Peter Frank, "Performance Diary," Soho Weekly News (March 18, 1976)

"(Alternative) Best Sellers," Soho Weekly News (November 3, 1977)

Walter Robinson, "Homespun Versions of Mass Media," Art-Rite #19 (June-July 1978); issue combined with Journal (Los Angeles Institute of Contemporary Art).

Judith Hoffberg, (Catalog Essay) "Artwords and Bookworks," Los Angeles Institute of Contemporary Art (1978)

Dorothy Beldon, "Artists Work: A Mathematical Concept in Time," The Wichita Eagle
(February 15, 1980)

Joan Murray, "Lew Thomas' Library," Artweek (August 1980)

Douglas Davis, "After Photography," Village Voice (April 1 - 7, 1981)

Susan Peters, "RIT's Influence Shows in Area Galleries," City Newspaper (Rochester, NY), (Jan. 28 - Feb. 3, 1982)

Alexandra Anderson, "Radio Art," Portfolio (March - April 1982)

Grace Glueck, "Art," The New York Times (March 11, 1983)

Laura Stewart, "The Paintings of Robert Morgan" in The Apocalytic Vision: Four New
Imagists (Curated by Sam Hunter) New York: Galleri Bellman, 1983 (illustrations)

Grace Glueck, "Art," The New York Times (June 24, 1983)

Sam Hunter, "Introduction," The Apocalyptic Vision, New York: Galleri Bellman, 1983

David Craven, "The Apocalytic Vision," Arts (September 1983)

Thomas Lawson, "Art Reviews," Artforum (September 1983)

Nancy Princenthal, "New York Reviews," ARTnews (September 1983)

Buzz Spector, Book Review (The Un/Necessary Image), Exposure: 21/3 (1984)

Ron Netsky, "Art Agenda," Sunday Democrat and Chronicle, Rochester New York (December 1, 1985)

Marshall Reese, "Reviews" (The Un/Necessary Image), edited by Muntadas and Peter D'Agostino), Art Journal (Fall 1985)

Ron Netsky, "Art Agenda," Sunday Democrat and Chronicle, Rochester, New York (February 17, 1986)

John Bloom, "From Magic Lantern to Modern Form: Some Historical Notes on a Maverick Medium" in Bloom and Finley, The Magic Lantern, San Francisco Cameraworks, 1986

Anthony Cardinale, "The Art of Judging Draws Some Bitter Criticism," Buffalo Evening News (February 1986)

Richard Huntington, "The Artists Deconstruct and the Viewer Fills in the Blanks," The Buffalo News (June 6, 1986)

Collins & Milazzo, "Benny 'Kid' Paret," New Observations #46 (March 1987), photograph

Gary Nickard, "Robert C. Morgan: Photoworks, 1972-82," C.E.P.A. Quarterly, Vol. 2, Issue 3 & 4 (Spring/Summer 1987), cover photograph

Review: Artist book ("The Cadet Jumps Into the Water: A Psycho-Political Allegory For Our Time"), Umbrella, Vol. 10. No. 2 (December 1987)

Klaus Ottmann, "The Necessary Dialectical Artist," Robert Morgan, The Icon and the Text (catalog brochure) Nerlino Gallery, New York City (February 4 - March 1, 1989)

Robert Meyerowitz, "Neo-Neo," City Newspaper (Rochester, New York), (February 16, 1989), p. 15 ( photograph)

Peggy Cyphers, "Robert Morgan at Nerlino Gallery," COVER (New York), March 1989 (photograph)

"Sex and Language" C Magazine (Toronto), Summer 1990

Robert Mahoney, "New York in Review," ARTS, (May 1989)

Vivian Raynor, "Art," The Sunday New York Times, (Connecticut Section), (June 18, 1989)

Jamie Ellen Forbes, "Interview with Robert Morgan," Sunstorm Arts Magazine (Sept./Oct. 1989), pp. 26-29

Sam Hunter, "New Directions," S. Bitter-Larkin Gallery, New York, 1990

Carlo Prosperi, editor, The Faces of an Era (Visages d'Une Epoque), Collection EPOCA, 1990 (photograph of the artist)

Randy Cragg, "Butters Exhibits Portland's Hippest Art," The Sunday Oregonian (January 6, 1991),- photograph

Judy Seigel, "Mutiny and the Mainstream" (Midmarch Arts Press, New York, 1992):
pp. 283-284

Lita Barrie, "On the Scene" (Los Angeles) ARTSPACE (March - April 1993)

Rosie Millard, "Every Room Has A View," The Independent (London), March 5, 1993

Eileen Weitzman, "Supermodern Art," Artwords: The Past, Vol. II, Number 1 (Fall 1993)

Anne Barclay Morgan, "Interview with Robert C. Morgan," ART PAPERS, Vol. 18, No. 1 (January - February 1994)

NY SoHo Biennial (1995), New York. Catalog with 2-page entry, inc. reproduction of "Ghirlandaio Tondo with open space (detail)."

New Observations #118 "Sand/Floor Piece"_ photograph, (1998)

"Where There's Smoke," South Texas Institute for the Arts, (September, 2000).

"Robert C. Morgan", Art in America, (October,2008)

"Robert Morgan at Bjorn Ressle", Artnews, (November 2011)



Statement with Photograph, Art-Rite #14 (Artists' Books Issue), (March 1977); reprinted in Printed Matter's 1997/1998 catalog.

Push, Kick, Glide", Seventh Assembling (R. Kostelanetz, editor) Brooklyn, NY: Assembling Press, 1977.

"The Great Fireman's Lift:, Eighth Assembling (R. Kostelanetz, editor) Brooklyn, NY: Assembling Press, 1978.

"Swim Parables", Art-Rite #19 and Journal (LAICA), June - July, 1978.

"The Holland Race", Journal: Southern California Art Magazine (February - March, 1980) Los Angeles Institute of Contemporary Art.

"The Global Network" (Transcription from panel at 22 Wooster Street, Artists Talk on Art series, February 17, 1984), Posthype, Vol. 3, No. 1, 1984.

"Stamp Art is Not (Necessarily) Mail Art," Umbrella, Vol. 7, No. 1, January 1984. Also printed in National Stampographic, Vol. 11, No. 12, January 1984.

"Aligning Forefingers by Shifting Planes," Rampike (Toronto), Special Double Issue, Vol. 3, No. 3 and Vol. 4, No. 1, 1984.

"Where Are We Now/Where Were We Then?" Rampike, Special Double Issue, Vol. 4, No. 2 and No. 3, 1985/86.

"The Continuing Legacy of Copy Art (In the Making)," International MAIL/COPIER ART Exhibition. Halifa, Nova Scotia: Technical University of Nova Scotia, 1985.

"A Clever Ad" (Included in "Seduction and Submission: A Study in Ecstasy" edited by Connie Fitzsimons), LAICA Journal (Winter 1986).

"Stamping Xeroxes: Electric Rubber, That Is," National Stampographic, Vol. IV, No. 3 (April 1986).

"The Burnt Corn Manifesto," (Written 1971), Rampike, Vol. 5, No. 1, 1986.

"From Conceptualism to Political Art," (Written 1979), Collective Farm (Five Year Plan), 1987 (Edited by Rimma and Valery Gerlovin.

"Blast Victim," Rampike, Vol. 5/No. 3 (Fall 1987)

"Dreamland, Mister Calliope," Rampike, Vol. 6, No. 3 (1988)

"Cover For Umbrella," Vol. 12, No. 1 (July 1989)

Photograph, Un Bar Pour Chaque Jour," 4 Taxis, 1989

"Confession," White Walls: A Journal of Language and Art (Number 35),
Fall - Winter 1994

(photograph of "Pontormo" series), "A Visual Forum" M/E/A/N/I/N/G #19/20, (1996)




Mayor's Office of Cultural Affairs, Boston. Commission awarded for Painted Forms on Steel, 1972 (destroyed 1977).

Massachusetts Council on the Arts and the University of Massachusetts, Amherst. Commission awarded for Curved Curbs, 1974. Sculpture executed in Sunderland, Massachusetts.

Finger Lakes Exhibition, Cash Award for Painting, Fig. B (upper), 1986. Sponsored by the Memorial Art Gallery, University of Rochester and The Pyramid Arts Center. Curated by Bill Olander.

San Francisco Art Institute Film Festival, 1987, Jurors' Award for Super-8 film. Centurian.

Interarts Project Grant, $2,500. Hallwalls (Buffalo, NY). Co-sponsored by the NEA and the Rockefeller Foundation for the Arts, 1987.

National Studio Program, The Clocktower, Institute for Art and Urban Resources,



Public Collections:

Artist's Books

Clark Art Institute, Williamtown, Massachusetts

Museum of Contemporary Art, Chicago

University of South Carolina, Columbia

Museum of Modern Art, New York

New York Public Library

Rhode Island School of Design

Visual Studies Workshop, Rochester, New York

Franklin Furnace Archive, New York

University of Oldenburg, Federal Republic of Germany

Hvidovre Kunstbibliotek, Denmark



Chase Manhattan Bank, New York

Commodities Corporation Collection, Princeton, New Jersey


Private Collections:

Paintings, Photographs, Artist's Books

Jean Brown Archive, Shaker Seed House, Massachusetts

Arnaldo Esposto, Genova, Italy

Mr. and Mrs. Edward Wormser, Northbrook, Illinois

Gyorgy Kepes, Cambridge, Massachusetts

Sam Hunter, Princeton, New Jersey

Peter Frank, New York City

Robert Barry, Teaneck, New Jersey

Kasper Koenig, Cologne

James Wallace Johnson, Wichita, Kansas

Judith Hoffberg, Glendale, California

Young K, New York, New York

Marcel Fleiss, Paris, Francis

Garnet Press, Toronto, Canada


Waterfields: A Sculptural Event
Privately Printed, 1974
11 x 8 1/2, 44 pp., offset, edition of 50

Privately printed, 1975
11 x 8 1/2, 32 pp., Xerox, edition of 50

Privately printed, 1975
11 x 8 1/2, 32 pp., Xerox, edition of 15 (blue cover)
Revised, 1980, edition of 20 (white cover)

Learning to Swim
New Welsh Books, 1976
8 1/2 x 5 1/4, 44 pp., offset, edition of 50
Revised, 46 pp., 1977, edition of 50

Learning to Swim (Le Style Francais)
New Welsh Books, 1976
8 1/2 x 5 1/4, 44 pp., offset, edition of 50
Revised, 46 pp., 1977, edition of 50

The Scissors Kick
New Welsh Books, 1976
8 1/2 x 5 1/4, 44 pp., offset, edition of 50
Revised, 52 pp., 1977, edition of 50

Winged Victor
New Welsh Books, 1976
8 1/2 x 5 1/4, 92 pp., offset, edition of 30 (wire bound)
Revised, 52 pp., 1977, edition of 50

Progress Back Stroke
New Welsh Books, 1977
8 1/2 x 5 1/4, 44 pp., offset, edition of 50

The Flutter Kick
New Welsh Books, 1979
7 x 2 3/4, 70 pp., offset/stamped images, edition of 20

Progress Back Stroke
A Swim Text Book, 1979
5 1/2 x 4, 20 cards in folio, offset, edition of 50

Primary Details
Privately printed, 1979
6 x 4, postcard, offset, edition of 300

A Manual For Painters (Strophic Variations on a Text)
Printed in cooperation with James W. Johnson, 1980
8 3/4 x 8 3/4, 12 pp., offset, edition of 200

Wherever You Go, Wherever You Are, Consider This
Secular Hermeneutics (Book #1), privately printed, 1982
8 1/2 x 8 1/2, 12 pp., offset, edition of 150

Two Forms of Aural Impressionism
Privately Printed, 1984
2 x 3 carte de visite, offset, edition of 400

The Cadet Jumps Into the Water
Secular Hermeneutics (Book #2), 1987, Visual Studies Workshop and C.E.P.A., 8 x 8 offset, edition of 300



Magazines and Journals:
The Literary Magazine of Tufts University, Volume 1, Number 1 (Winter 1966)
The Cambridge Scene (1966), Cambridge, Massachusetts
Boston Spectator, Volume 1, Number 5 (December 1966)
The Island, Issue No. 6 (Spring 1967). Memorial Hall, Harvard University
Delaware Literary Review, Number 4 (1975), University of Delaware, Newark
Moody Street Irregulars, Number 18 (Summer 1987), Clarence Center, New York
Moody Street Irregulars, Numbers 22 & 23 (Winter 1989-90)
Neon (Spring/Summer 1993) Selections from "Propane Zits: Road Work on Rt. 88"
COVER, VOL. 12, NO. 5 (1998), "Postcards from Greece"
El Jabali, No. 8 (1998) "Seleccion y traduccion: Rolando Costa Picazo

H. M. Rosenberg, Editor, New Dimensions: An Anthology of Modern Poetry,
San Francisco: Idlewild, 1967
Art For All: Opere Moltiplicate su Carta. Curated by Federica Di Castro. Comune di Roma: Diagonale, 1996 (with drawing by Marzia Gandini)
Matters. Noritoshi Hirakawa, 1988-1997. Deitch Projects, New3 York / Zeno X Galleryu, Antwerp

First Prize, Poetry Division, Department of English, University of Redlands, 1964
First Prize, The Island, Memorial Hall, Harvard University, 1968
Who's Who in American Poetry, 1997 Edition

Chapbooks (limited editions):
Dry Translucence (Original1968) Revised, New York, 1992
Propane Zits (Road Work off Route 88, NV), New York, 1992
Voznesensky Reciting 'I am Goya' at Town Hall, New York, 1994

Taipei Gallery, New York, May 29, 1997. Organizes by Marlene Yu (chapbook)
Zinc Bar, New York, 1997
TransHudson Gallery, New York (with Ga Hae Park), 1998
Space Untitled, SoHo, New York, 1998 Organized by Marlene Yu (chapbook)
LIFE, Greenwich Village, March 14, 1998. Organized by Lee Klein
Lubastrom Palace, Bydgogzcz (Poland), June 30, 2000 (Polish trans Warren Nieslowchowski)

Robert C. Morgan: Unproven Poems (Sooj Records, 1996), CD



Note: All films are silent super-8, (18 fps) unless otherwise stated.

I. Single Reel Films:

Extension of Inner-Process (1972), color, 3 1/2 minutes
Framing #1 (1973), color, 10 1/2 minutes
Untitled #2 (1973), color, 7 minutes
In Advance of a Broken Arm (1973), color, 7 minutes
Concord Bridge (1973), color, (8 mm), 5 1/2 minutes
Rehearsal of Waterfields II (1974), b&w, (16 mm), 8 minutes (silent) Camera: Norm Philips
Three Studies in Black and White (Mahakala/Haircut/Old Manse) (1973-74, revised 1985), black & white, 5 minutes
Construction Lot (Northampton) (1973-74), color, 6 minutes
Two Studies: Running/Planning (1973-74), color & b&w, 6 minutes
N. E. Barn (Summer), (1974), color, 3 1/2 minutes
Painters Painting (1974), color, 10 minutes
Landscapes (1973-in progress), color & b&w, 14 minutes
Wristgrip (1975), color, 6 1/2 minutes
Silent Release Rescues (1975), sepia, 6 1/2 minutes
Release Rescues (1975), sepia and b&w, 15 minutes
Release Rescue (Single Reel II) (1976), b&w, 5 1/2 minutes (sound)
Two Animations: Winged Victor/Goethals at Panama (1976-77), color, 7 minutes
Turkish Bathing (4 speeds) (1976), color, 7 minutes
Turkish Bathing Motion Picture (1976), 7 1/2 minutes
Turkish Bathing (3rd Version) (1976), color and b&w, 7 minutes
The Turkish Bath (1976-85), color and b&w, 7 minutes
Tribeca (1977), color, 6 1/2 minutes
Strokes (1977), color and b&w, 4 minutes
Persistence of Vision (1976-79), color, 8 minutes
Bookmaking/The Scissors Kick (1977-79), color, 14 minutes
Fragments of an Escape (1974-79), color and b&w, 14 minutes
Pools (1974-79), color and b&w, 15 minutes
Ice Thaw Wichita (1978-81), color, 18 minutes (with sound track on cassette tape)
Arizona Short (1979-86), color, 10 minutes
The Cramdens & The Colbys (1986), color, 8 minutes
Foiled Sequences (1985), color, 12 minutes (with sound track on cassette tape)
Nom Du Pere (1987), color, 6 1/2 minutes
Centurian (1986), color, 8 minutes (Juror's Award, S.F.Art Institute Film Festival)
Toe First Take (1989), color, 7 minutes


II Film-Loop cassettes and multiple projections:

Water loop (1973), color, continuous
Reels I - IV (to be shown as dual projections, side-by-side, at alternating intervals in any combination)
I. color, 15 minutes
II.        color, 15 minutes
III.       color, 12 minutes
IV.       color and b&w, 15 minutes
N. E. Barn (Snowstorm) 1974, color, dual projection, 3 1/2 minutes (sound track on cassette)
Amalgam I, b&w, 3 1/2 minutes/ Amalgam II, color, 3 1/2 minutes (to be shown as dual projection, side-by-side)
Release Rescue (1975), sepia, continuous
Release Rescue (1976), b&w, two simultaneous loop projections, contiuous
Turkish Bathing 16, 33, 45, 78 (1976) four-part loop projection, continuous


III. Slide Projection Pieces:

Hands Against the Land/Hands Against the Sky (20 Kodachrome slides, 1974)
Look Park (20 Ektachrome slides, 1974, multi-media with Super-8 film and audiotape)
Diagonal Line Pattern (10 Ektachrome slides, 1974-75, with videotape)
Ivo's Pool (20 Ektachrome slides, 1976, dual projection with single b&w slide and audiotape)
Monet's Middle Name (4 color slides with audiotape and color lights, 1979)
Observing Monet (inside and outside) (40 color slides, 1979)
Journal 110 (140 Handwritten and typed slides/vellum, with audiotape, and two b&w slides, 1972)
Turkish Bathing Slides Show (160 color slides with audiotape, dual projection, 1976-        85)
Turkish Bathing: Persona Study (80 mounted negatives, 1976)
Lounge (20 slides with performance/reading, 1967-73)
The Dalton Method (The Importance of Swimming), (39 b&w Slides, 1974-75)
Phrases and Revisions from Progress Back Stroke (10 b&w slides, 1975-82)
In the Vicinity of Dodge City (30 color slides with performance/reading, 1986)


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