Mary Corse: A Survey in Light
Solo en Inglès
Hear directly from Mary Corse and curator Kim Conaty on selected works from the exhibition.
801 Mary Corse: Untitled (Two Triangular Columns), 1965
802 Mary Corse, Untitled (Octagonal Blue), 1964
803 Mary Corse, Untitled (Negative Stripe), 1965
804 Mary Corse, Untitled (Space Plexi and Painted Wood), 1966
805 Mary Corse, Untitled (White Light Series), 1966
806 Mary Corse, Untitled (White Grid, Vertical Strokes), 1969 [also refers to Untitled (White Grid), 1969]
807 Mary Corse, Untitled (Black Earth Series), 1978
808 Mary Corse, Untitled (White Inner Band), 2003
Narrator: Welcome to Mary Corse: A Survey in Light. For almost fifty years, Mary Corse has devoted herself to one central problem: the relationship between painting and light. Working ambitiously and experimentally—she once described herself as a kind of “mad scientist”—she’s created a body of work that is both beautiful and thought-provoking.
The exhibition follows Corse from downtown Los Angeles—where she studied and had her first studio—to Topanga Canyon, in the Santa Monica mountains just outside of Los Angeles. She moved to Topanga in 1970, and has lived and worked there ever since.
On this tour, we’ll hear from the exhibition’s curator, as well as the artist herself. We’ll begin with a painting she made in 1964. It’s an octagonal canvas, painted blue.
Installation view of Mary Corse: A Survey in Light (Whitney Museum of American Art, New York, June 8-November 25, 2018). From left to right: Untitled (Two Triangular Columns), 1965; Untitled (Space Plexi + Painted Wood), 1966; Untitled (Two Triangular Columns), 1965; Untitled (White Diamond, Negative Stripe), 1965; Untitled (Hexagonal White), 1965. © Mary Corse. Photograph by Ron Amstutz