mary corse interviewmsci world ticker

And it comes—it's more of an inner—I'm not—I'm into pure abstraction, not abstracting from something you see in the outside world.

[Affirmative.] The road paint, she discovered, was – and still is today – mixed with tiny glass spheres, which she sourced and began applying to her own paintings. You're kneeling over the painting.MARY CORSE:  I'm kneeling, or standing. Now that's a big thing to make. As I change my position, her large gestural brushstrokes ripple across the surface, emerging and receding. And it's a pleasure to see this—to sit with them. It's not about the way the light affects your ability to see?MARY CORSE:  And the light. Were you ever part of the Max's Kansas City crowd in New York?MARY CORSE:  Not really. I got to get back, and I found a school. You know, if I couldn't work it would be much worse. They're so different from each other and, you know, to make it turquoise or start mixing colors—again, why? And Nick Wilder brought Richard Bellamy over when I was doing the light pieces because he said he didn't know what to do with me [laughs], so he brought Richard Bellamy, and Dick immediately was just enthralled, loved the work, and that started a—you know, a long relationship.HUNTER DROHOJOWSKA-PHILP:  That must have been something rather special to have someone from New York respond so positively to this work that you're making out here in Los Angeles at a time when Los Angeles didn't really have an art scene.MARY CORSE:  It was. Or could you?HUNTER DROHOJOWSKA-PHILP:  Could? I had these big light boxes and stuff. And paintings—I learn from the paintings. And you're going to the ballet, doing the ballet classes.

[Laughs.] How does that work for you?MARY CORSE:  Well, when you show a painting and people come in—HUNTER DROHOJOWSKA-PHILP:  I've noticed in here, you don't—you have some natural light coming in through the doors, but you don't have skylights.MARY CORSE:  No. It's a perceptual reality, [… –MC] realizing how important the observer was in reality, in our picture of reality.HUNTER DROHOJOWSKA-PHILP:  Well, it's also your perception as the artist, ultimately. And is that when you—that's when you moved to Topanga?HUNTER DROHOJOWSKA-PHILP:  With Andy, you both moved here?HUNTER DROHOJOWSKA-PHILP:  Okay.

Not in California but, I mean, Dick was helpful. [… –MC] Do you feel like there was any conversation in terms of influences, or support, or—MARY CORSE:  Chris and I were attracted but very different.

I keep it for fun. So I remember that being interesting, even though sometimes they could look almost similar, or very minimal bands or arches. Like a B.A.

No, because all the paintings, once they're a painting, it's—that part of me is gone, you see.

I didn't feel a need for it.HUNTER DROHOJOWSKA-PHILP:  I think Ellsworth Kelly feels that way about color in his paintings. Like—HUNTER DROHOJOWSKA-PHILP:  Did we talk before about meditating? She was so liberal. Putting the sparkly stuff in the blue and then it went to white.

Unsatisfied with the lighting, Corse switches off the studio lights and lowers the blinds on the windows, then plugs in a tungsten lamp. So that's when I realized that—a Tesla coil. I had done color paintings that came more out of Albers, or you know, studying—or Hoffman.HUNTER DROHOJOWSKA-PHILP:  And you pared them down to the white?MARY CORSE:  Right.
In the '70s?MARY CORSE:  Oh, it was in the '70s, that was a long time ago. But I had a lot of piano lessons, a lot of dancing lessons. [Affirmative.]

When I was 40, he put me on his list. Yeah. Another person could say spiritual, and it just means nonphysical. One of them plays music, and the other is very creative with cars.

But, by the time I was 15, I was with the Oakland Ballet for two performances. More now are getting it than used to, I think. Well, why don't you just go ahead and tell me?HUNTER DROHOJOWSKA-PHILP:  No, you're on the speaking.MARY CORSE:  I don't want to be on speaker with this.HUNTER DROHOJOWSKA-PHILP:  Okay, hang on. So, the painting's not really on the wall, it's in your perception.HUNTER DROHOJOWSKA-PHILP:  Have you been down to Doug's to see your new paintings—your big painting that's installed there?HUNTER DROHOJOWSKA-PHILP:  Have you been down to Ace Gallery to see your colored painting that's done?MARY CORSE:  Yeah, I helped him install.

Then when I was studying the physics to get these parts in the—I was studying the quantum physics. What show in London?MARY CORSE:  And then, the show in New York last year got a lot of press.HUNTER DROHOJOWSKA-PHILP:  And where did you show in New York last year?HUNTER DROHOJOWSKA-PHILP:  Oh. And it's not much different, but—HUNTER DROHOJOWSKA-PHILP:  And—so you're really on your own little path of discovery here, where you're trying to make these electronic light paintings. I didn't make a logical decision, but I found myself all of a sudden doing these large grid—that's when I discovered the glass beads, and I wanted to go back to two-dimension. [Laughs. ]MARY CORSE:  I don't know where—you know, I have some. That's right, excuse me. I like them to recognize light as part of them—having to do with them.MARY CORSE:  Well, then, when they're looking at the paintings, it's an outer light, but when you relate to it, it becomes an inner light to feel—to feel light—to feel the light in you.MARY CORSE:  And the—well, I don't know how to say it. It was the obvious next step. So you did two—HUNTER DROHOJOWSKA-PHILP:  Was it the result of doing those two performances that made you want to quit?MARY CORSE:  No, who knows what it was?

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