Mary Corse: A Survey in Light, at the Whitney Museum of American Art, through November 25, 2018
Traveling to the Los Angeles County Museum of Art (the organizing institution), July 28 – November 20, 2019
Mary Corse (b. 1945) has had some substantive recognition among cognoscenti for her measured Minimalist oeuvre, which sometimes has incorporated neon and fluorescent light; however, she has generally been overshadowed by coverage of her West Coast male peers similarly occupied from the mid-1960s. Perhaps foremost, this show redresses the still lacking female voices of post-Ab Ex abstraction. Corse was very much in the thick of its optical and spatial concerns and had her own take on white as a reflective hue, explored in geometric arrangements early on. She soon bolstered different types of white paint, painting grounds, and real illumination with a “glass microsphere” material, crystalized to sandy granules, which added shifting sheen to the monochrome surface. If you focus on the light per se, the picture plane becomes quietly dizzying. Corse has continued with apparently strict delimits playing out myriad proportionally-sectored possibilities. A major revelation came in the mid-1970s with the addition of less finely ground black microspheres, which have the effect of shimmering sequins and add, unwittingly or not, add a metaphoric universe to her studio-laboratory aesthetic. Unfortunately, only one of those is included here. New Yorkers were treated to a roomful of related, more recent and expansive works at Lehman Maupin Gallery last fall (2017)—more thrilling, overall, than this show, which is, however, deserved and important. Two diptych-type sculptures from 1965, each consisting of elongated wood and Plexiglas triangular white columns that appear to change shape when viewed from different angles, are as confident in their Minimalist mien as Robert Morris’s famous “3 L’s” of the same year that came to define it (now in the Whitney’s permanent collection).