Donatella Mei. Diafano. Museo Marino MArini, Novembre 2003.

Firenze, Archivio di Stato, 7/10-20/12/2003. A cura di Rosalia Manno Tolu e Maria Grazia Messina. Firenze, Centro Di Ed. 2003, cm.21,5x28,5, pp.309, 71 illustrazioni bn. nel testo , 203 illustrazioni in tavole a colori nel testo, brossura con bandelle. Coll.Archivio per la Memoria e la Scrittura delle Donne. Fiamma Vigo e "numero". Una vita per l'arte. Catalogo della mostra tenutasi a Firenze, Archivio di Stato, 7 ottobre - 20 dicembre 2003. A cura di Rosalia Manno Tolu e Maria Grazia Messina. Con la collaborazione di Alessia Lenzi, Loredana Maccabruni e Susanna Ragionieri. Testi: Fiamma Vigo, l'estetica del numero e gli anni di Parigi; Numero e le gallerie fiorentine: gli anni Cinquanta; La galleria Numero negli anni Sessanta; Letteratura e letterati sulle colonne di Numero; Arti visive, poesia e musica d'avanguardia, Libere confluenze alla Numero di Roma; La galleria Numero a Venezia; presenze femminili nelle galleria di Fiamma Vigo. Catalogo dele opere: Fiamma Vigo pittrice e il suo contesto; Artisti e mostre a Numero (1951-1977); Firenze negli anni 1950 1960 nelle fotografie di Oreste Borri. Cronologia; attiviteagrave; espositiva di fiamma Vigo e delle galleria Numero; Le edizioni di Numero; le serate di Numero. Bibliografia. Con 203 illustrazioni in nero e a colori fuori testo con didascalie delleenbsp;opere. Con 5 fotografie in bianco e nero di Oreste Borri della Fienze degli anni 1950 1960 4to. pp. 310. .

Firenze, Polistampa 1998, cm.17x24, pp.172, illustrazioni in bianco e nero e a colori. brossura con copertina figurata a colori. Collana Arte Contemporanea. Cataloghi.

Edited by Joe Earle, with essays by Hollis Goodall and Janice Katz. New Haven, Yale University Press 2024, cm.25,5x28,5, pp.126, illustrato a colori. legatura editoriale cartonata copertina figurata a colori. The Art Institute of Chicago Since World War II, women artists from Japan have made influential contributions to ceramics that have been inadequately acknowledged. This catalogue focuses on thirty-six ceramists who have produced original and technically innovative pieces over the past fifty years while working outside the male-dominated, traditional Japanese studio practice and its countermovements. Both established and emerging artists with diverse styles are presented together to showcase their collective achievements and impact. After embarking on their careers decades ago, Mishima Kimiyo (b. 1932), Tsuboi Asuka (b. 1932), and Ogawa Machiko (b. 1946) continue to produce groundbreaking sculpture that pushes the limits of the clay as a medium. Among the younger artists featured are Konno Tomoko (b. 1965) and Aoki Katsuyo (b. 1972), whose works explore themes ranging from bodily distortion to fantastical decoration. Many of these creators have resisted gendered expectations, whether by approaching traditionally “feminine” subjects like flowers in unconventional ways or by working in so-called masculine modes, including on large scales. All of the selected pieces are from the exemplary private collection of Carol and Jeffrey Horvitz, who have advocated strongly to bring these artists to global attention.

Princeton University Press 2025, cm.24x28, pp.272, illustrato a colori. legatura editoriale cartonata con sopraccoperta figurata a colori. A major reexamination of the life, art, and legacy of a self-taught American master Grandma Moses: A Good Day’s Work repositions Anna Mary Robertson “Grandma” Moses (1860–1961) as a multidimensional force in American art, whose beloved recollections of rural life earned her a distinctive place in the cultural imagination of the postwar era. Moses was eighty years old when Otto Kallir, a New York art dealer and recent émigré from Nazi-held Austria, introduced her to the world. “Grandma Moses,” as the press dubbed her, quickly became a polarizing figure, beloved by the public yet dismissed by the art world for her story-time scenes and lack of formal training. Drawing on Moses’s reflection on her own life as “a good day’s work,” the book charts