Jim Shaw: Thinking the Unthinkable.

A cura di De Domizio Durini L. Milano, Skira 2004, cm.24x28, pp.232, illustrazioni in bianco e nero e a colori. brossura con bandelle, copertina figurata a colori. Collana Arte Moderna. Cataloghi. Testo Italiano e Inglese. Una selezione di opere di Ingeborg Lüscher illustra la carriera dell'artista svizzera a partire dalle prime ricerche degli anni Settanta fino ai suoi lavori più recenti, mettendo in luce la sua personalissima ricerca spirituale in un "magico racconto", dove pittura, scultura, installazioni e video rappresentano un "rituale di potenza magica". La monografia presenta accanto a opere realizzate negli anni Settanta alcuni lavori più recenti oltre a due video nei quali la creatività dell'artista si pone di fronte a differenti appartenenze di realtà sociali, tradizioni e luoghi geografici. Ingeborg Lüscher ha una visione "totale" dell'arte. Il volume è il catalogo della mostra di Rovereto (Mart, 12 febbraio-2 maggio 2004).

With contributions from Robin Clark, Michael Govan, Alexis Lowry and David Reed. New York, Whitney Museum of Art 2018, cm.26x29, pp.158 ill.a colori. legatura editoriale cartonata, sopraccoperta figurata a colori. Initially trained as an abstract painter, Mary Corse (b. 1945) emerged in the mid-1960s as one of the few women associated with the California Light and Space movement. This catalogue is the first comprehensive examination of this singular artist's work, and features new scholarship and object studies that underscore how Corse’s groundbreaking approach to light, perception, and subjectivity forged a new language of painting. Over more than five decades, Corse has maintained a commitment to abstraction and belief in modernist painting even as she charted her own course through her studies in quantum physics and investigations into a range of unconventional materials, from Tesla coils and neon to glass microbeads and glitter. Kim Conaty’s essay investigates how the artist’s early experiments with light—creating “paintings” made of fluorescent or neon—made way for her subsequent explorations into how light might be integrated into the surface of her canvases through the interplay of reflection and refraction. Corse’s exquisite paintings activate the viewer in the creation of the perceptual experience: the kinetic effect of the work is contingent upon the movement of the body through space. As Corse has explained: “Art is not on the wall, it’s in your perception.”