Le origini - le religioni.

Diretto e prefazione dal Card.Paul Popard. Seconda edizione aggiornata. Assisi, Casale Monferrato, Cittadella Editrice, Piemme Ed. 1990, cm.16x25, pp.XVII,2444, legatura editoriale cartonata, custodia in cartoncino.

Diretto e prefazione dal Card.Paul Popard. Seconda edizione aggiornata. Assisi, Casale Monferrato, Cittadella Editrice, Piemme Ed. 1990, cm.16x25, pp.XVII,2444, legatura editoriale cartonata, cofanetto in tela con piatti fasciati in carta decorata.

A cura di L.Bedeschi. Roma, Ediz.di Storia e Letteratura 1970-1977, 3 voll. cm.17,5x24, pp.XIX-504,XXVIII-304,XVIII-348. brossura Collana Carteggi e Opere di R.M.

Traduz.di Stefano Ravaioli. Torino, Bollati Boringhieri Ed. 1998, cm.14,5x22,5, pp.548, legatura ed.in tutta tela, sopraccop.fig. Collana Le Vite.

Milano, Rusconi Ed. 1982, cm.14x21, pp.303, num.tavv.bn.ft. legatura ed. sopraccop.fig. Collana Le Vite.

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.”