Marisa Merz

Untitled, Undated
Graphite, metallic paint, colored pencil on paper
13 14 x 16 inches (33.7 x 40.6 cm)
16 14 x 19 38 x 1 12 inches (41.3 x 49.2 x 3.8 cm) framed

About

Marisa Merz was born in 1926 in Turin, Italy. She received the Golden Lion for Lifetime Achievement at the 2013 Venice Biennale. She has been the subject of numerous solo exhibitions at insitutions including: Lille Métropole Musée d'art moderne, France; MAXXI, Rome; Musée Rath, Geneva, Switzerland; Foundation Merz, Turin, Italy; Collezione Giancarlo e Danna Olgiati, Lugano, Switzerland; Philadelphia Museum of Art, Pennsylvania; Museum der Moderne Salzburg, Austria; Serralves Museum, Porto, Portugal; Hammer Museum, Los Angeles; Met Breuer, New York; Centre Internationale d’art et du Paysage, ÎIe de Vassivière, France; Serpentine Gallery, London; Museo d'Arte Contemporanea Donnaregina, Naples, Italy; Stedelijk Museum, Amsterdam; Kunstmuseum Winterthur, Switzerland; and the Centre Georges Pompidou, Paris. Merz has also been included in group exhibitions at notable institutions including: Kunstmuseum Liechtenstein; CCS Bard Hessel Museum of Art, Annandale-on-Hudson, New York; Tate Modern, London; and the Hirshhorn Museum, Washington, D.C.

Exhibitions

Publications

Select Press

Igloos, trees and ice: Arte Povera and its legacy

The Art Newspaper

Dale Berning Sawa

September 27, 2024

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Marisa Merz’s unseen works at LaM, Lille, have a uniquely feminine spirit

Wallpaper*

Finn Blythe

May 20, 2024

Women in revolt: a shared language of radical abstraction

The New European

Richard Holledge

April 3, 2024

11 Women Artists Who Shaped Post-War Abstraction

Artsy

Millen Brown-Ewens

March 8, 2024

Marisa Merz, Bold Explorer When Art Was a Man’s World, Dies at 93

The New York Times

Neil Genzlinger

August 6, 2019

Marisa Merz (1926–2019)

Artforum

July 21, 2019

Marisa Merz Retrospective at the Hammer Gives an Overlooked Female Artist Her Due

The Los Angeles Times

Christopher Knight

July 15, 2017

Marisa Merz’s Factory of Dreams

The New Yorker

Peter Schjeldahl

January 30, 2017

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