Mary Corse @ Pace Gallery, Los Angeles

Mary Corse

Pace Gallery, Los Angeles

June 21 – August 16, 2025

MARY CORSE

Untitled (White Diamond with Black 

Reflective Inner Band), 2024 

© Mary Corse, courtesy Pace Gallery

Pace presents an exhibition of new works by Mary Corse at its Los Angeles gallery. This presentation marks the artist’s first gallery show in LA since 2017 and her first solo exhibition in the city since her 2019 survey at the Los Angeles County Museum of Art. Corse’s show at Pace in Los Angeles features new paintings and her 'Halo Room', a new architectural installation that she has been developing over the past few years. Holistically, the exhibition will trace her latest experimentations in painting, shedding light on her radical inquiries into the phenomenological dimensions of art and her role as a key figure in the LA arts community for more than six decades.

Throughout her storied career, Mary Corse—who has lived and worked in Los Angeles since she was a student at the city’s Chouinard Art Institute in the 1960s—has explored light, space, and perception in sublime, scientifically rigorous, and boundary-crossing abstractions across mediums. She is often associated with the California Light and Space movement and has always been committed to the possibilities of painting as her primary concern. As part of her empirical and highly tactile approach to art making, she has continually investigated the ways in which light can be both subject and material.

A sunset drive along Pacific Coast Highway in Malibu in the late 1960s changed the course of her practice. Searching for a way to embed light inside her paintings, Mary Corse investigated the industrial materials in the illuminated road markings along PCH and discovered glass microspheres. Soon after this revelatory event, she began applying these refractive microspheres onto the surfaces of her White Light paintings, endowing her works with a sense of illumination projected from within the picture plane itself that changes with the viewer’s position.

The artist’s presentation at Pace’s Los Angeles gallery centers on her new body of Diamond paintings—a continuation of the first diamond-shaped canvases she made in 1965—and includes several never-before- exhibited works produced this year. With her latest Diamond paintings, Mary Corse delves deeper into the fundamental concepts that have defined her practice from its outset. She expands the scope of her inquiry into the metaphysical dimensions of her oeuvre through new iterations of ideas that have long been essential to her work. In addition to Corse’s Diamond paintings, the show features one of her iconic, glowing light boxes. Early in her practice, the artist’s efforts to free her artworks from the wall led her to quantum physics, and she subsequently created a series of highly engineered light boxes, which she referred to as “light paintings.” Suspended using monofilaments, the light boxes are powered wirelessly by Tesla coils—high-frequency generators that transmit electromagnetic fields through walls, producing uncanny, spectral effects.

The exhibition also showcases Corse’s new 'Halo Room', an architectural installation that debuted in her 2024 presentation at Pace’s New York gallery. This work, which is installed in the Los Angeles gallery’s outdoor courtyard, offers a participatory, intimate experience of scale, space, and light. When a viewer enters the room, they encounter a white light painting and as they approach the painting the resulting effect produces a glowing halo around the viewer’s shadow, registering their presence but also incorporating it into the painting itself.

This installation hinges on the energetic relationship between individual and object, producing a moment of intersubjective collision that facilitates a spiritual manifestation of bodies within space. Up to two participants will be allowed inside the installation at a time, and each viewer will only be able to see their own halo—a phenomenon that speaks to the personal nature of experiencing Corse’s art. The presence and presentness of the viewer within the Halo Room become a pure expression of grace, reflecting the ethos that has animated Corse’s practice for decades: as she puts it, “the art is not on the wall, it’s in your perception.”

ARTIST MARY CORSE

Mary Corse (b. 1945, Berkeley, California) investigates materiality, abstraction, and perception through the subtly gestural and precisely geometric paintings that she has made over her sixty-year career. Earning a BFA in 1968 from Chouinard Art Institute, Los Angeles, Corse developed her initial work during the emergence of the Light and Space movement in Southern California. Throughout the 1960s, she experimented with unconventional media and supports, producing shaped canvases, works with plexiglass, and illuminated boxes. In 1968, Mary Corse discovered glass microspheres, an industrial material used in street signs and dividing lines on highways. Combining these tiny refractive beads with acrylic paint, she creates paintings that appear to radiate light from within and produce shifts in appearance contingent on their surroundings and the viewer’s position. First developing her White Light paintings, by the 1970s she began making her Black Light series with black acrylic and microspheres. The Black Earth works followed-large ceramic slabs that she fired in a custom-built kiln and glazed black. After thirty years of working monochromatically, she reintroduced primary colours into her paintings based on her understanding of colour as constitutive of white light. Corse’s art emphasizes the abstract nature of human perception, expanding beyond the visual to include subtleties of feeling and awareness.

In 2021, Mary Corse was the subject of a major solo exhibition at the Long Museum, Shanghai which traveled to the Amorepacific Museum of Art in Seoul. Mary Corse: A Survey in Light, the artist’s first solo museum survey, was presented at the Whitney Museum of American Art in New York and the Los Angeles County Museum of Art in 2018 and 2019, respectively. Comprehensive catalogs were published with both surveys. A focused presentation of Corse’s work was on view at Dia: Beacon in New York for four years highlighting historical works from the collection.

Mary Corse was also included in the major presentation Pacific Standard Time: Crosscurrents in L.A., Painting and Sculpture, 1950-1970 at the J. Paul Getty Museum in Los Angeles in 2011. The artist’s work can be found in the permanent collections of Dia Art Foundation, New York; the Whitney Museum of American Art, New York; the Solomon R. Guggenheim Museum, New York; the National Gallery, Washington D.C.; The Menil Collection, Houston, Texas; the J. Paul Getty Museum, Los Angeles; the Los Angeles County Museum of Art; the Museum of Contemporary Art, Los Angeles; the Long Museum, Shanghai; Amorepacfic Museum, Seoul; and other institutions.

PACE GALLERY LOS ANGELES

1201 South La Brea Avenue, Los Angeles, CA

www.pacegallery.com

Mary Corse @ Locks Gallery, Philadelphia

Mary Corse

Locks Gallery, Philadelphia

April 3 - May 17, 2025

MARY CORSE  

Untitled (White Multiband With White Sides, Beveled), 2023

Acrylic and glass microspheres on canvas, 58 x 96 x 4 1/2 inches

© Mary Corse, courtesy of Locks Gallery

“My interest is in more of what I think of as pure abstraction … just as in mathematics, you’ll make a formula. . . asking a question into an invisible world.” –Mary Corse, 2011

Locks Gallery presents its first exhibition with California-based artist MARY CORSE (b. 1945). This presentation features a selection of recent ethereal White Light paintings, a body of work she has been making since 1968. 

Mary Corse is one of the few women associated with the 1960s Light and Space movement in Southern California. Her luminous White Light paintings are made of glass microspheres, an industrial material which refracts light and shifts in appearance according to the viewer’s position and environment. Prompted by her studies of quantum physics in the late 1960s, Corse was searching for a way to put light into her paintings. Driving on the Pacific Coast Highway at night, she was captivated by the changing luminosity of the street signs and highway lines. She began combining these tiny glass beads with acrylic paint to create the illusion of light as both the subject and material of her work.

Each of Corse’s paintings is composed of geometries with precise proportions, prompting specific physical and metaphysical experiences of light. The surface of her paintings are rarely pristine; visible brushstrokes reflect the physical labor and systemic application behind each painting. Some works feature vertical bands, activating the verticality of the viewer’s stance. The luminosity of each band shifts in appearance through space, activating a subjective experience of light. Stripes seem to appear and disappear. At times, the surface appears flat while at others, it emits an ethereal light, seemingly radiating from within the canvas. “Nothing’s static in the universe. So why make a static painting?” says Mary Corse. “It’s an outer light, but when you relate to it, it becomes an inner light,” says the artist.

With over five decades of experimentation with her White Light paintings, Mary Corse proves her unrivaled exploration into the abstract nature of human perception. In her paintings, materiality and light is both absent and present, visible and invisible. As put by Art historian Drew Hammond, Corse’s paintings “reveal innumerable oscillating variations between these two poles of unity and multiplicity.” 

This inaugural exhibition celebrates Corse’s dedicated exploration of light in her subtle and powerful paintings. Her ongoing and evolving White Light paintings challenge world views based on external fixity and objectivity, honoring the power of subjective individual experiences, embodied perception, and change.

MARY CORSE (b. 1945) lives and works in Topanga Canyon, California. In 2018, Mary Corse: A Survey in Light was presented at the Whitney Museum of American Art in New York and in 2019 traveled to the Los Angeles County Museum of Art. Her work has been exhibited worldwide and is found in permanent collections including the Dia Art Foundation, the Solomon R. Guggenheim Museum, and the National Gallery, Washington, D.C.

LOCKS GALLERY

600 Washington Square South, Philadelphia, PA 19106

www.locksgallery.com

Artist Mary Corse Exhibition @ Pace Gallery, NYC - "Presence in Light"

Mary Corse: Presence in Light

Pace Gallery, New York

September 13 - October 26, 2024 

MARY CORSE

Untitled (White Diamond), 2024

© Mary Corse, courtesy Pace Gallery

Pace presents an exhibition of new work by MARY CORSE, at its 540 West 25th Street gallery in New York.

This presentation marks Mary Corse’s first solo show in New York City since 2019 and follows several recent institutional exhibitions by the artist at the Long Museum West Bund in Shanghai and the Amorepacific Museum of Art in Seoul, as well as her 2018 traveling retrospective at the Whitney Museum of American Art in New York and the Los Angeles County Museum of Art. Corse’s upcoming exhibition at Pace will coincide with her participation in Particles and Waves: Southern California Abstraction and Science, 1945–1990—a group exhibition organized as part of the Getty’s PST ART: Art & Science Collide initiative—at the Palm Springs Art Museum in California

Over the course of her six-decade career, Mary Corse has explored phenomena of light, space, and perception in sublime and boundary-crossing abstractions across mediums. A key member of the Los Angeles artist community from the 1960s to the present, she is often associated with the Light and Space movement but has always been committed to the possibilities of painting, which remains her primary concern. As part of her empirical and highly tactile approach to art making, Corse has continually investigated the ways in which light can be both subject and material. In the late 1960s, while searching for a way to embed light inside her paintings, Mary Corse experienced an epiphany. Driving along the Pacific Coast Highway in Malibu at sunset, she noticed the road markings were progressively illuminated by headlights as she drove along. Investigating the industrial applications that make this effect possible, she discovered glass microspheres—a material used to enhance visibility of road signage. In 1968, Mary Corse began applying these refractive microspheres onto the surfaces of her White Light paintings, endowing these works with a sense of illumination projected from within the picture plane itself.

The body of work that Mary Corse debuts in her presentation at Pace in New York centers on a new series of diamond-shaped paintings, which continue her longstanding practice of incorporating glass microspheres into the painted surface. Mary Corse has experimented with the physical structure of her canvases since her time as a student at the Chouinard Art Institute in Los Angeles between 1964 and 1968. Although she created her first diamond-shaped paintings while still in her 20s, this body of work marks the first diamond-shaped canvases she has made since the 1960s. Corse’s return to the format of the diamond underscores one of the hallmarks of her practice: an interest in recursion and return to early ideas. With her new Diamond paintings, the artist delves ever deeper into the fundamental concepts that animated her practice at its outset. She expands the scope of her inquiry into the metaphysical dimensions of her oeuvre through these new iterations of ideas that have long been essential to the work.

The works in the presentation at Pace, all of which have never before been exhibited, include Mary Corse’s Halo Room, a new architectural installation that she has been developing over the last several years. This work, which is installed in the center of the gallery space but can also be placed outdoors, offers a participatory, intimate experience of scale, space, and light. When a viewer enters the room, a single interior light projects their shadow onto a White Light painting. The resulting effect produces a glowing halo around the viewer’s shadow, registering their presence but also incorporating it into the painting itself. The installation hinges on the energetic relationship between individual and object, producing a moment of intersubjective collision that facilitates a spiritual manifestation of bodies within space. Up to two participants are allowed inside the installation at a time, and each viewer is only be able to see their own halo—a phenomenon that speaks to the personal nature of experiencing Mary Corse’s art.

Mary Corse’s Halo Room continues and deepens a long tradition of grappling with questions of presence in post-1960s art. In his 1967 essay “Art and Objecthood,” the critic Michael Fried famously condemned Minimal aesthetics for their perceived “theatricality.” Fried contrasted this with an all-over painting, in which the entire composition could be perceived by the viewer all at once, in a single instant. Fried called this quality “presentness,” and in the essay, he famously declared: “Presentness is grace.” Although not a minimalist, Corse is associated with many of the post- 1960s practices to which Fried was referring, having shown with Dick Bellamy’s Green Gallery in New York in the late 1960s. Her new work is equally concerned with questions of presence and presentness. The Halo Room serves as a counterpoint to Fried’s argument, in which the presence and presentness of the viewer within the work itself—both literally and pictorially—becomes a pure expression of grace, a reflection of the ethos that has animated Corse’s practice for decades: the work of art is, as she puts it, “not on the wall, it’s in your perception.”

MARY CORSE - BIOGRAPHY

Mary Corse (b. 1945, Berkeley, California) investigates materiality, abstraction, and perception through the subtly gestural and precisely geometric paintings that she has made over her sixty-year career. Earning a BFA in 1968 from Chouinard Art Institute, Los Angeles, Mary Corse developed her initial work during the emergence of the Light and Space movement in Southern California. Throughout the 1960s, she experimented with unconventional media and supports, producing shaped canvases, works with plexiglass, and illuminated boxes. In 1968, Mary Corse discovered glass microspheres, an industrial material used in street signs and dividing lines on highways. Combining these tiny refractive beads with acrylic paint, she began to create paintings that appear to radiate light from within and produce shifts in appearance contingent on their surroundings and the viewer’s position. She first developed her White Light paintings, and by the 70s she transitioned to making her Black Light series with black acrylic and microspheres. The Black Earth works followed: large ceramic slabs that she fired in a custom-built kiln and glazed black. After thirty years of working monochromatically, she reintroduced primary colors into her paintings based on her understanding of color as constitutive of white light. Corse’s art emphasizes the abstract nature of human perception, expanding beyond the visual to include subtleties of feeling and awareness.

In 2021, Mary Corse was the subject of a major solo exhibition at the Long Museum, Shanghai which traveled to the Amorepacific Museum of Art in Seoul in 2022. Mary Corse: A Survey in Light, the artist’s first solo museum survey, was presented at the Whitney Museum of American Art, New York and the Los Angeles County Museum of Art in 2018 and 2019, respectively. Comprehensive catalogs were published with both surveys. A focused presentation of Mary Corse’s work was on view at Dia: Beacon in New York for four years highlighting historical works from the collection.

Mary Corse was also included in the major presentation Pacific Standard Time: Crosscurrents in L.A., Painting and Sculpture, 1950-1970 at The J. Paul Getty Museum in Los Angeles in 2011. In 2023, the Los Angeles County Museum of Art presented Light, Space, Surface, in which Corse’s work was exhibited. She was also included in Long Story Short at the Museum of Contemporary Art, Los Angeles (2023–2024). In 2024, Corse is participating in Particles and Waves: Southern California Abstraction and Science, 1945–1990—a group exhibition organized as part of the Getty’s PST ART: Art & Science Collide initiative—at the Palm Springs Art Museum in California. The artist’s work can be found in the permanent collections of Amorepacfic Museum of Art, Seoul; Dia Art Foundation, New York; The J. Paul Getty Museum, Los Angeles; Long Museum, Shanghai; Los Angeles County Museum of Art; The Menil Collection, Houston, Texas; Museum of Contemporary Art, Los Angeles; National Gallery of Art, Washington D.C.; Solomon R. Guggenheim Museum, New York; and Whitney Museum of American Art, New York, among other institutions.

PACE GALLERY NEW YORK 

540 West 25th Street, New York City

www.pacegallery.com

Robert Irwin + Mary Corse @ Pace Gallery, London - "Parallax" Exhibition

Robert Irwin + Mary Corse: Parallax

Pace Gallery, London

10 October – 11 November, 2023

MARY CORSE

Untitled (White Multiband with White Sides, Beveled), 2023 

Acrylic and glass microspheres on canvas 

243.8 cm × 198.1 cm × 11.4 cm 

© Mary Corse, courtesy of Pace Gallery

“What I want is the quality of light, its energy, its existence as matter.”

— Robert Irwin

“The act of painting has the ability to transcend your moment. We need meaning which is consciousness. And I find it there in painting. I find the infinite conversation instead of finite thinking. ”

— Mary Corse

Pace Gallery presents Robert Irwin and Mary Corse: Parallax, an exhibition that brings together the work of two pioneering American artists. Marking the first time their work has been brought into direct dialogue, this exhibition explores the intersections and convergences between these two artists’ radical experiments with light, perception, and the role of the viewer. The ground floor galleries place Mary Corse’s iconic White Inner Band paintings in conversation with the largest examples to date from Robert Irwin’s Unlight series. The lower ground floor gallery holds an immersive, site-specific light installation by Robert Irwin.

This exhibition comes at a significant moment for both artists, each of whom has been recognized by the Dia Art Foundation this year for their significant contributions to American art. Robert Irwin—whose work Full Room Skylight – Scrim V – Dia Beacon (1972/2022) is currently the subject of an exhibition at Dia Beacon—was honored as part of the Foundation’s Spring Benefit in May, while Mary Corse, who was the subject of an exhibition at Dia Beacon that was on view from 2018 to 2022, receives her honour in October.

On October 26th, the Institute of Contemporary Arts (ICA) presents the European premiere of Robert Irwin: A Desert of Pure Feeling, a feature documentary about legendary California light and space artist Robert Irwin, whose decade-spanning career has profoundly influenced generations of artists. The screening is presented in partnership with Pace and is followed by a Q&A with Lawrence Weschler.

While both artists developed work that is intimately connected to the distinctive conditions of Southern California in the 20th century, they worked independently and never had a direct relationship. Irwin was more closely associated with the Light and Space movement, which eschewed the practice of object-making; while Corse developed her own independent path, developing a phenomenological mode of painting. At stake for both Corse and Irwin, however, is the abstract nature of human perception. Since the 1950s and 60s, they have each explored modes of artmaking that transcend and subvert convention to create multi-sensorial experiences of viewing.

Widely considered the originator of the California Light and Space movement, Robert Irwin’s longstanding relationship with Pace spans seven decades. Arne Glimcher, the gallery’s founder, first exhibited Irwin’s work in New York in 1966, introducing his radical innovations to an East Coast audience for the first time. Since the Sixties, Robert Irwin has influenced numerous subsequent generations of artists and charted new frontiers in contemporary theory and praxis. It was in the context of this innovative time in the 1960s that Corse, seventeen years Irwin’s junior, began her own artistic practice that pursued entirely different terrain. Unlike Robert Irwin, who abandoned his early work as a painter in favor of a sculptural practice involving pure light, Mary Corse remained committed to the possibilities of painting. She began working with shaped, bevelled-edge canvases, plexiglass lightboxes powered by tesla coils, and, most significantly, glass microspheres, which she developed a technique of layering onto the surface of her paintings. Despite their divergent practices, both artists embraced the presence of the viewer as the primary component of the work, harnessing light and shadow as both subject and material.

Robert Irwin’s ongoing Unlight series is the latest development in the artist and theoretician’s career-long investigation into human perception and the phenomenological conditions of light and space. Playfully titled after blues and rock albums, the Unlight works are comprised of arrays of six-foot long fluorescent tubes installed vertically on the wall, each unlit bulb shrouded in translucent gels and electrical tape. Rhythmically interspersed between the glass bulbs are empty aluminum fixtures and panels of grey and blue paint applied directly onto the gallery wall. Stretching over four meters in width, Robert Irwin’s large-scale installations—made from humble, industrial materials—produce opulent results, oscillating as the viewer moves through space, to expand beyond their peripheral vision and draw their gaze into the works’ dynamic and complex depths.

Robert Irwin identifies the materials for the Unlights not by their physical components, but by their intangible qualities: “Shadow + Reflection + Color”. By responding only to the available light in a given space and removing any emitted artificial light from this body of work, Irwin not only subverts expectation but also invites viewers to consider the conditions of the space that surrounds them. The unlit bulbs—some cloud grey, others jewel-toned—absorb and amplify the atmospherics in the room, capturing and casting shadows, glinting in the changing light as visitors’ bodies move across and through the room, attempting to decipher what is two- or three-dimensional, ‘real’ or illusion.

Mary Corse’s large-scale White Inner Band paintings hinge on a similarly dynamic relationship between the viewer and the phenomenological conditions created between the space and the work. Corresponding to the viewer’s position across the exhibition space, these bands seem to appear and disappear from one’s field of perception. Corse achieves this effect through her use of glass microspheres, a material she began experimenting with in 1968. Over the last 55 years, this industrial material has become central to Corse’s painting practice, which she transmutes into a dynamic illumination within her gestural brushstrokes. The resulting works are highly sensitive to the lighting conditions of the space around them, bending and refracting light which radically alters one’s perception of the painting.

As viewers navigate the space surrounding Mary Corse’s Inner Band paintings, the minuscule glass prisms glow, darken, and glimmer in turn, revealing the full spectrum of hues contained within their white light while generating a state of perpetual flux in the hard-edge geometries of the work . The bevelled edges of the works push their surfaces out and away from the wall, lending the picture plane an ethereal quality that appears as though hovering indeterminately in space. Mary Corse’s work depends entirely on the physical presence of the viewer to be fully realized, creating an active dialogue between painting, viewer, and environment. "The art is not on the wall,” Mary Corse has explained, “it’s in the viewer's perception."

Where Robert Irwin’s Unlight works draw ambient light into their depths, Mary Corse’s paintings refract light outwards. Placed in conversation with one another for the first time, this exhibition explores the interaction between the two artists’ ideas of phenomenology (a term that denotes philosophical inquiry into sensory experience) in which visitors are invited to examine their own process of perception.

Robert Irwin’s site-specific installation in the lower ground floor gallery addresses a different set of concerns, and can be understood as a continuation of his recent major project at Kraftwerk Berlin, organized by LAS Art Foundation. In London, Robert Irwin divides the gallery in two, each side painted in imperceptibly different hues. On the walls, Robert Irwin constructs a rhythmic interplay of lit fluorescent tubes and painted sections to enliven the space. Orchestrating light, space, and color to create an immersive experience, this work epitomizes the central tenets of Irwin’s approach to creating a “conditional art” that depends entirely on the specificity of a given space.

A profound engagement with the subtleties of the viewer’s experience animate both artists’ work. In their own distinct ways, both Mary Corse and Robert Irwin each demand prolonged and close mode of looking in order to grasp the full scope of their visual and conceptual depths. Robert Irwin and Mary Corse return the viewer’s attention back to their own perceptual process as well as their bodily presence in the space. “What we are really dealing with is the state of our consciousness,” Robert Irwin has remarked, “and the shape of our perception."

ROBERT IRWIN (b. 1928, Long Beach, California) is a pioneering figure of the Los Angeles-based Light and Space movement of the 1960s. Robert Irwin employs a wide range of media—including fluorescent lights, fabric scrims, colored and tinted gels, paint, wire, acrylic, and glass—in the creation of site-conditioned works that respond to the context of their specific environments. Beginning his career as a painter, Robert Irwin later began exploring perception and light with his acrylic columns and discs. In 1969, he gave up his studio and began what he termed a conditional practice, working with the effects of light through subtle interventions in space and architecture. Working in existing sites, he composes with materials that are ephemeral, but which substantially transform the viewers’ visual and phenomenological experience. Robert Irwin’s interventions blur the distinctions between space and artwork, exploring the nature of light, volume, and perceptual psychology. Over the past decade, Robert Irwin has returned to his studio, using it as an experimental space to develop sculptural works with florescent lights and acrylic, while continuing to develop his site-conditioned installations.

MARY CORSE (b. 1945, Berkeley, California) investigates materiality, abstraction, and perception through the subtly gestural and precisely geometric paintings that she has made over her nearly sixty-year career. Earning a BFA in 1968 from Chouinard Art Institute, Los Angeles, Mary Corse developed her initial work during the emergence of the Light and Space movement in Southern California. Throughout the 1960s, she experimented with unconventional media and supports, producing shaped canvases, works with plexiglass, and illuminated boxes. In 1968, Mary Corse discovered glass microspheres, an industrial material used in street signs and dividing lines on highways. Combining these tiny refractive beads with acrylic paint, she creates paintings that appear to radiate light from within and produce shifts in appearance contingent on their surroundings and the viewer’s position. First developing her White Light paintings, by the 1970s she began making her Black Light series with black acrylic and microspheres. The Black Earth works followed—large ceramic slabs that she fired in a custom-built kiln and glazed black. After thirty years of working monochromatically, she reintroduced primary colors into her paintings based on her understanding of color as constitutive of white light. Mary Corse’s art emphasizes the abstract nature of human perception, expanding beyond the visual to include subtleties of feeling and awareness. 

PACE GALLERY LONDON

5 Hanover Square, London W1S 1HQ

www.pacegallery.com

Summer Art Shows at Lehmann Maupin NYC - Hernan Bas, Anne Chu, Mary Corse, Teresita Fernández, Klara Kristalova, Maya Lin

Hernan Bas, Anne Chu, Mary Corse, Teresita Fernández, Klara Kristalova, Maya Lin
Two Summer Group Shows at Lehmann Maupin, New York, 27 June - 16 August 2013

Lehmann Maupin announces the opening of two summer group shows at 540 West 26th Street and 201 Chrystie Street, New York. 

The exhibition at 540 West 26th Street gallery comprises the work of three artists – HERNAN BAS, ANNE CHU, and KLARA KRISTALOVA – connected by a shared interest in the wildly imaginative nature of storytelling, and the visual fusion of fantasy and reality in a narrative context. 

HERNAN BAS

A Private Show, 2012

Acrylic on linen, 60 x 48 inches / 60 x 152.4 x 121.9 cm

Courtesy of the artist Hernan Bas and Lehmann Maupin, New York

The works on view include new drawings by HERNAN BAS, completed during a recent residency at the Chinati Foundation in Marfa, Texas. While all three artists look to literature as a primary source of inspiration, Herman Bas’s fascination with the paranormal and bizarre traces back to his childhood.

ANNE CHU

Putti with Flag, 2011

Ceramic, stone, fabric metal, 76 x 16 x 21 inches / 193 x 40.6 x 53.3 cm

Courtesy of the artist Anne Chu and Lehmann Maupin, New York

ANNE CHU draws from a wide range of cultures and eras, referencing ancient mythological and ritualistic tales. On view are a vibrant series of oil and egg tempera paintings, watercolors and sculptural works by Anne Chu.

KLARA KRISTALOVA

Nature Study, 2010

Porcelain, 11.81 x 7.87 x 6.3 inches / 30 x 20 x 16 cm

Courtesy of the artist Klara Kristalova and Lehmann Maupin, New York

KLARA KRISTALOVA mines the lost territory of childhood dreams, memories and nightmares. The works on view are a selection of glazed stoneware and porcelain sculptures by Klara Kristalova. 

At 201 Chrystie Street gallery, another three-artist exhibition exploring the role of perception and the innovative use of materials and technology to create meaningful experiences showcases new minimalist paintings by MARY CORSE; a variety of wall works by TERESITA FERNANDEZ; and two floor sculptures and a Pin River work by MAYA LIN. 

MARY CORSE

Untitled (White Multiple Bands With Flat Sides, Beveled), 2012

Glass microspheres in acrylic on canvas, 44 x 44 inches / 111.8 x 111.8 cm

Courtesy of the artist Mary Corse and Lehmann Maupin, New York

MARY CORSE's monochromatic, white paintings reveal the artist’s ongoing exploration with radiant and reflective surfaces and reveal the subjective nature of perception in progress. 

MAYA LIN

Disappearing Bodies of Water: Arctic Ice (detail), 2013

Vermont Danby marble, granite base, 48 x 46 x 52 inches / 121.9 x 116.8 x 132.1 cm 

© Maya Lin Studio, Courtesy Pace Gallery

MAYA LIN’s use of technological methods to study topographical and geographic phenomena presents viewers with the opportunity to experience the natural world through a twenty-first century lens, and demonstrates the artist’s ability to translate the enormity of our world, in this case the Arctic, to a scale that is more relatable. 

TERESITA FERNANDEZ

Night Writing (Tropic of Cancer) (detail), 2011, 

Colored and shaped paper pulp with ink jet assembled with mirror, 17.32 x 198.03 inches / 44 x 503 cm

Courtesy of the artist Teresita Fernández and Lehmann Maupin, New York

TERESITA FERNANDEZ's work engages the surrounding architecture and the optical effects of light and color to create subtle, meticulous works of art that reference the landscape and natural phenomena. 

LEHMAN MAUPIN, NEW YORK

www.lehmannmaupin.com