Mary Corse: A Survey in Light
Jun 8–Nov 25, 2018


Mary Corse’s first solo museum survey is a long overdue examination of this singular artist’s career. Initially trained as an abstract painter, Corse (b. 1945, Berkeley, CA) emerged in the mid-1960s as one of the few women associated with the West Coast Light and Space movement. She shared with her contemporaries a deep fascination with perception and with the possibility that light itself could serve as both a subject and material of art. Yet while others largely migrated away from painting into sculptural and environmental projects, Corse approached the question of light through painting. This focused exhibition highlights critical moments of experimentation as Corse engaged with tropes of modernist painting, from the monochrome to the grid, while charting her own course through studies in quantum physics and complex investigations into a range of “painting” materials, from fluorescent light and plexiglass to metallic flakes, glass microspheres, and clay. The survey will bring together for the first time Corse’s key bodies of work—including her early shaped canvases, freestanding sculptures, and light encasements that she engineered in the mid-1960s, in her early twenties, as well as her breakthrough White Light paintings, begun in 1968, and the Black Earth series that she initiated after moving in 1970 from downtown Los Angeles to Topanga Canyon, where she lives and works today.

The exhibition is organized by Kim Conaty, Steven and Ann Ames Curator of Drawings and Prints with Melinda Lang, curatorial assistant.

Mary Corse: A Survey in Light is organized by the Whitney Museum of American Art, New York, in association with the Los Angeles County Museum of Art.

Significant support is provided by The Barnett and Annalee Newman Foundation, Sueyun and Gene Locks, and Donna Perret Rosen and Benjamin M. Rosen.


Related Exhibition

Also opening this summer, the Dia Art Foundation will unveil in May 2018 a new gallery dedicated to Corse at Dia:Beacon. On view for three years, this long-term installation examines the artist’s use of light and geometric form in painting. It celebrates recent acquisitions within a broader group of works that highlights the period from the late 1960s through the 1970s.