Sarah Morris was born in 1967 in Sevenoaks, United Kingdom and now lives and works in New York. Since the mid-1990s she has reinvigorated painting with her abstracted geometric snapshots of urban environments. Often working in distinct series that are created in conjunction with a film, she has explored the psychological typologies of Midtown Manhattan, Las Vegas, Paris, Rio de Janeiro, Abu Dhabi, and Osaka, among others.

Morris studied at Brown University and Cambridge University, and was a participant in the Whitney Independent Study Program. She received the Joan Mitchell Foundation Painting Award in 2001 and in 1999-2000 was an American Academy Award Berlin Prize Fellow.

In 2024, Morris’s new film ETC premiered on the façade of M+ and was screened nightly for two months. Jointly commissioned by M+ and Tai Kwun Contemporary, the ode to Hong Kong was subsequently featured in a Morris exhibition at the latter institution. In 2023, the Deichtorhallen Hamburg opened All Systems Fail, a major retrospective of Morris’s work. The exhibition traveled to the Kunstmuseen Krefeld, Germany; Zentrum Paul Klee, Bern, and continues to Kunstmuseum Stuttgart in September 2024.

Other major Morris solo exhibitions have taken place at the Fondation Beyeler, Basel; Fondation Louis Vuitton, Paris; Hamburger Bahnhof, Berlin; Hirshhorn Museum, Washington D.C.; LUMA Foundation, Zurich; Moderna Museet, Stockholm; Museum Boijmans van Beuningen, Rotterdam; Museum für Moderne Kunst, Frankfurt; Palais de Tokyo, Paris; UCCA, Beijing; and Wexner Center for the Arts, Columbus, Ohio, among others.

Morris has participated in the Baltic Triennial, Vilnius; Bienal de São Paulo; Busan Biennale; Liverpool Biennial; and Tate Triennial, London. Her films have been screened at the Academy of Motion Picture Arts and Sciences, Los Angeles; Anthology Film Archive, New York; International Film Festival Rotterdam; Kino International, Berlin; Locarno Film Festival, Switzerland; and Rio de Janeiro International Film Festival, among others.

Her work is included in the collections of the Centre Pompidou, Paris; Fondation Louis Vuitton, Paris; Government Art Collection, London; Guggenheim Abu Dhabi; Guggenheim Museum, New York; Istanbul Museum of Modern Art; Jumex Collection, Mexico City; Kunsthaus Zürich; LUMA Foundation, Zurich & Arles, France; Museo de Arte Contemporáneo Buenos Aires; Museum fur Moderne Kunst, Frankfurt; Museum of Contemporary Art, Los Angeles; Museum of Modern Art, New York; National Gallery of Art, Washington, D.C.; National Gallery of Victoria, Melbourne; Pérez Art Museum Miami; San Francisco Museum of Modern Art; Schaulager, Basel; Stedelijk Museum Amsterdam; Tate Collection, London; and Victoria and Albert Museum, London, among others.

What’s the dynamic between the films and the paintings? All I can tell you is it’s always all going on at the same time. I don’t know if you can make a linear, causal connection, but there is obviously a link. There are linguistic connections between the titles. There are connections in terms of color and composition. And rhythm too—all of the films have this sort of relentless quality to them that’s slightly hypnotic. You can even look at the films as a study. On the other hand, sometimes we’ll do research for paintings and compositions for paintings, and it will lead me to a very specific space. The conversation goes both ways.

Sarah Morris in conversation with Taylor Dafoe, artnet news, 2019