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Larger Image	Larger image may be viewed by UofL faculty, staff, and students only (log-in required using ULink username/password) at: http://echo.louisville.edu/login?url=http://vrc-web.louisville.edu/Jpegs/820/827-37.jpg
Title	I-Box.
Creator	Morris, Robert (American sculptor and painter, born 1931)
Date	1962
Cultural Context	American North American
Style/Period	Modern (styles and periods) Modernist
Theme	Sculpture (visual work) Metaphor Heterosexuality Sexuality Sex Phallic Male Nudity Nudes (representations) Identity Voyeurism Viewers (observers) Photographs Figurative art Figures (representations) Front views Men (male humans) Artists Sculptors Painters (artists) Boxes (containers) Doors Doorways Letters (signs) Capital letters Initials (layout features)
Subject	Sculpture Puns (Visual works) Sex Genitals Nudes Nudism Voyeurism Photographs Men Artists Sculptors Posing Boxes Doors & doorways Initials
Description	"Here Morris presented a small rectangular structure with a door shaped as a letter 'I'. When opened the door gave on to a photograph of the artist, his phallus rhyming with the "I" connotative both of the viewers looking (eye) and the artist's identity." (Caption, p.57); "If Target with Plaster Casts [Jasper Johns, 1955] does indeed transpose the dynamics of gendered looking from [Marcel Duchamp's] the Large Glass and Etant Donnés into homoerotic terms, a coda to this dialogue is provided by a slightly later work of art. The American sculptor Robert Morris's I-Box of 1962 was produced at a yet further stage in the iconographic unraveling of Duchamp. The latter's notes for his Large Glass were now available in English (the translation came out in 1960) whilst Johns's Target, an echo of a work as yet invisible to the art community, could be construed as virtually predicting the trajectory of Duchamp's activities. In his voyeuristic I-Box Morris surely had the boxes at the top of Johns's Target in mind, but their fragmented contents were seemingly reconstituted in the image of a self-confident and possibly heterosexual male. The latter point is made tentatively since much depends on the sexual orientations Morris imagined himself addressing. And, whilst I-Box appears to reverse the terms of Etant Donnés, to what extent may the latter, materializing slowly elsewhere, have responded to Morris or Johns? There is no clear historical resolution to any of this. What is clear, though, is the sheer elasticity of the gender metaphors Duchamp put into play. (Excerpt, pp. 55, 57)
People Pictured	Morris, Robert, 1931-
Material	Painted plywood cabinet covered with sculptmetal, containing photograph Photographs Plywood Wood (plant material) Paint Mixed media
Measurements	48.3 x 32.4 x 3.5 cm
Technique	Sculpting Photography Photographic processes Photographic techniques
Work Type	Sculpture
Repository	Leo Castelli Gallery (New York, New York)
Source	Hopkins, David. After Modern Art: 1945-2000. Oxford History of Art. Oxford; New York: Oxford UP, 2000. (p.57, fig.27)
Rights	Leo Castelli Collection. Photo Dorothy Zeidman. Reproduced in Hopkins courtesy of Solomon R. Guggenheim Foundation, New York. © ARS, NY, and DACS, London, 2000.
Digital Publisher	University of Louisville Department of Fine Arts/Allen R. Hite Art Institute Visual Resources Center
Format	image/jpeg
Digital File Name	VRC 827-37.jpg
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