Marisa Merz
Books and Catalogues
2023
Shilpa Gupta visibleinvisible, L’Aquila, MAXXI, April 2, 2023. Cat.
2021
A pencil point can surpass consciousness. Cat. MM Genève, Musée Rath, Musèe d'Art et d'Histoire, Marisa & Mario Merz, June 2, 2022.
2019
Geometrie sconnesse palpiti geometrici. Collezione Giancarlo e Danna Olgiati, Cat. E. Coen, D. Fogle, B. Merz; Mousse Publishing, 2019.
Merz, Beatrice, ed. Marisa Merz: Geometrie Sconnesse Palpiti Geometrici. Milan: Mousse Publishing, 2019.
Merz, Beatrice, ed. Marisa Merz: Geometrie Sconnesse Palpiti Geometrici. Milan: Mousse Publishing, 2019.
2018
Der Himmel ist ein weiter Raum, Cat. Sabine Breitwieser, MM [et alii], May 25, 2018.
O céu é um grande espaço, S. Cotter, MM [et alii], Museu de Arte Contemporânea, January 19, 2018.
O céu é um grande espaço, S. Cotter, MM [et alii], Museu de Arte Contemporânea, January 19, 2018.
2017
Vitamin C: Clay + Ceramic. New York: Phaidon, 2017.
Jakubowicz, Alexis. XAU: For an Ounce of Art. Amsterdam: Collection MKS; Berlin: Roula Peyer at Simon Studer Art, 2017.
Butler, Connie, ed. Marisa Merz: The Sky Is a Great Space. Los Angeles: Hammer Museum, 2017.
Jakubowicz, Alexis. XAU: For an Ounce of Art. Amsterdam: Collection MKS; Berlin: Roula Peyer at Simon Studer Art, 2017.
Butler, Connie, ed. Marisa Merz: The Sky Is a Great Space. Los Angeles: Hammer Museum, 2017.
2016
D’Orazio, Constantino and Federica Pirani. Marisa e Mario Merz: Sto Con Quella Curva Di Quella Montagna Che Vedo Riflessa In Questo Lago Di Vetro Al Tavolo Di Mario. Imola: Manfredi Edizizioni, 2016.
2014
Intenzione Manifesta: Il Disegno in Tutte Sue Forme. Torino: Castello di Rivoli Museo D’Arte Contemporanea, 2014.
2013
Italiano, Carolina. A Proposito di Marisa Merz. Milan: Mousse Publishing, 2013.
Il Palazzo Enciclopedico, (solo exhibit. and Leone d'oro). M. Gioni, N. Bell; Marsilio, Venezia 2013.
The Essential Guide. Chicago: The Art Institute of Chicago, 2013.
Il Palazzo Enciclopedico, (solo exhibit. and Leone d'oro). M. Gioni, N. Bell; Marsilio, Venezia 2013.
The Essential Guide. Chicago: The Art Institute of Chicago, 2013.
2012
A proposito di Marisa Merz, C. Italiano [et alii], Mousse Publishing, Milano 2012.
Disegnare disegnare ridisegnare il pensiero immagine che cammina, C. Bertola [et alii], May 16, 2012.
Marisa Merz. Torino: Fondazione Merz, 2012.
Non corrisponde eppur fiorisce, Marisa Merz, C. Bertola [et alii], Fondazione Merz, 2012.
Disegnare disegnare ridisegnare il pensiero immagine che cammina, C. Bertola [et alii], May 16, 2012.
Marisa Merz. Torino: Fondazione Merz, 2012.
Non corrisponde eppur fiorisce, Marisa Merz, C. Bertola [et alii], Fondazione Merz, 2012.
2011
Celant, Germano. Arte Povera. Storia e storie. Milano: Electa, 2011.
2010
Che fare? Vaduz: Kunstmuseum Leichtenstein, 2010.
2008
Christov-Bakargiev, Carolyn. 2008 Biennale of Syney: Revolutions-Forms That Turn. Sydney: Thames & Hudson, 2008.
2007
Tomassoni, Italo. Anni Settanta: Artisti italiani fra cronaca e mito. Bari: Laterza, 2007.
2004
Una stanza, D. Schwarz; Hopefulmonster editore, Torino, 2004.
2002
Galerie Marian Goodman, Hopefulmonster editore, Torino, 2002.
1998
Galleria d’Arte Moderna Villa delle Rose,. P. G. Castagnoli, D. Eccher; hopefulmonster editore, Torino, 1998.
1997
Arte Italiana Ultimi Quarant’anni. I Materiali. Bologne: Galleria d’arte Moderna, 1997.
Città Natura. Rome: Palazzo delle Esposizioni, 1997.
Città Natura. Rome: Palazzo delle Esposizioni, 1997.
1995
Die Italienische Metamorphose 1943-1968. Wolfsburg: Kunstmuseum Wolfsburg, 1995.
Schwarz, Dieter. Marisa Merz. Winterthur: Kunstmuseum Winterthur, 1995.
Schwarz, Dieter. Marisa Merz. Winterthur: Kunstmuseum Winterthur, 1995.
1994
Marisa Merz. Paris: Editions du Centre Pompidou, 1994.
Di Maggio, Gino and Trini Tommasso. Italiana. From Arte povera to Transavanguardia. Milan: Mudima, 1994.
The Italian Metamorphosis 1943-1968. New York: The Solomon R. Guggenheim Foundation, 1994.
Corgnati, Martina and Francesco Poli. Dizionario d’Arte Contemporanea. Milan: Feltrinelli, 1994.
Di Maggio, Gino and Trini Tommasso. Italiana. From Arte povera to Transavanguardia. Milan: Mudima, 1994.
The Italian Metamorphosis 1943-1968. New York: The Solomon R. Guggenheim Foundation, 1994.
Corgnati, Martina and Francesco Poli. Dizionario d’Arte Contemporanea. Milan: Feltrinelli, 1994.
1993
In viaggion verso Citera. Venice: Casinò d’Inverno, 1993.
1992
La Collection Mme Christian Stein: Un regard sur l’art Italien. Lyon: Le Nouveau Musée, Lyon, 1992.
Vescovo, Marisa and Mirella Bandini. Avanguardie in Piemonte 1960-1990. Torino: Lindau, 1992.
Semin, Didier. L’Arte povera. Paris: Le Centre Pompidou, 1992.
Hoet, Jan. Documenta 9. New York: Harry N Abrams Inc.; Kassel: Documenta, 1992.
Vescovo, Marisa and Mirella Bandini. Avanguardie in Piemonte 1960-1990. Torino: Lindau, 1992.
Semin, Didier. L’Arte povera. Paris: Le Centre Pompidou, 1992.
Hoet, Jan. Documenta 9. New York: Harry N Abrams Inc.; Kassel: Documenta, 1992.
1991
dei Benedettini, Monastero. Ottanta Novanta. Montreal, 1991.
Kurzmeyer, Roman. Visionare Schweiz. Zürich: Kunsthaus Zürich, 1991.
Kurzmeyer, Roman. Visionare Schweiz. Zürich: Kunsthaus Zürich, 1991.
1990
Einleucten: Will, Vorstel und Simul in H. H. Hamburg: Deichtorhallen, 1990.
1989
Bilderstreit: Widerspruch, Einheit und Fragment in der Kunst seit 1960. Köln: DuMont, 1989.
1988
Gervasoni, Marie-George. Il Luogo degli artisti. Venice: Edizione La Biennale, 1988.
1987
Turin 1965-1987 de l’Arte Povera dans les collections française. Chambéry: Musée de Savoisien, 1987.
1986
Chambres d’amis. Gand: Museum van Hedendaagse Kunst, 1986.
Arte e scienza. Italy: Electa Editrice, 1986. Essay by A. Luigi.
Sculture da camera. Bari: Assessorato alla cultura, Regione Puglia, 1986.
SkulpturSein. Dusseldorf: Städtische Kunsthalle Dusseldorf, 1986.
Arte e scienza. Italy: Electa Editrice, 1986. Essay by A. Luigi.
Sculture da camera. Bari: Assessorato alla cultura, Regione Puglia, 1986.
SkulpturSein. Dusseldorf: Städtische Kunsthalle Dusseldorf, 1986.
1985
Merz, Marisa. Spuren, Skulpturen und Monumente iher prazisen Reise. Zürich: Kunsthaus Zürich, 1985.
Celant, Germano. Arte Povera. Storie e protagonisti/Arte Povera. Histories and Protagonists. Milan: Electa, 1985.
Il museo sperimentale di Torino: Arte italiana degli anni Sessanta nelle collezioni della Galleria Civica d’Arte Moderna. Milan: Fabbri, 1985. L’Italie d’aujourd’hui / Italia oggi: Aspects de la création contemporaine de 1970 à 1985. Nice: Villa Arson, Centre national d’art contemporain, 1985.
The Knot, arte Povera at P.S. 1. New York: P.S. 1, 1985.
Celant, Germano, ed. Del Arte Povera a 1985. Madrid: Palacio de Cristal, Palacio Velasquez, Parque del Retiro, 1985.
Celant, Germano. Arte Povera. Storie e protagonisti/Arte Povera. Histories and Protagonists. Milan: Electa, 1985.
Il museo sperimentale di Torino: Arte italiana degli anni Sessanta nelle collezioni della Galleria Civica d’Arte Moderna. Milan: Fabbri, 1985. L’Italie d’aujourd’hui / Italia oggi: Aspects de la création contemporaine de 1970 à 1985. Nice: Villa Arson, Centre national d’art contemporain, 1985.
The Knot, arte Povera at P.S. 1. New York: P.S. 1, 1985.
Celant, Germano, ed. Del Arte Povera a 1985. Madrid: Palacio de Cristal, Palacio Velasquez, Parque del Retiro, 1985.
1984
Marisa Merz. Il disegno in dialogo con la terra. Bruxelles – Le Zoute: Galerie Albert Baronian, 1984.
Mondadori, Arnaldo, ed. Coerenza in coerenza. D’all arte povera al 1984. Turino: Mole Antonelliana, 1984.
Il modo italiano. Los Angeles: Newport Harbor Museum, 1984.
Overtures. Torino: Museo d’ arte contemporanea, Castello di rivoli,1984.
Mondadori, Arnaldo, ed. Coerenza in coerenza. D’all arte povera al 1984. Turino: Mole Antonelliana, 1984.
Il modo italiano. Los Angeles: Newport Harbor Museum, 1984.
Overtures. Torino: Museo d’ arte contemporanea, Castello di rivoli,1984.
1983
Marisa Merz. Dusseldorf: Galerie Konrad Fischer, 1983.
Grüterich, Marlis. Eine Kunst-Geschichte in Turin 1965-1983. Torino: Daniel Piazza, 1983.
Il museo Sperimentale di Torino. Arte italiana degli anni sessanta nelle collezioni della Galleria Civica d’ Arte Moderna. Milan: Fabbri Editori, 1983.
Spuren, Skulpturen, und Monumente ihrer präzisen, Reise. Zurich: Kunsthaus Zurich, 1983.
Grüterich, Marlis. Eine Kunst-Geschichte in Turin 1965-1983. Torino: Daniel Piazza, 1983.
Il museo Sperimentale di Torino. Arte italiana degli anni sessanta nelle collezioni della Galleria Civica d’ Arte Moderna. Milan: Fabbri Editori, 1983.
Spuren, Skulpturen, und Monumente ihrer präzisen, Reise. Zurich: Kunsthaus Zurich, 1983.
1982
Bonito Oliva, Achille. Mostra d’arte. XV Rassegna Internazionale d’Arte. Italy: Acireale Turistico-Termale, 1982.
Dokumenta VII. Kassel: D V P. Dierichs,1982. Essays by R.H. Fuchs, G. Celant, J. Gachnang, W. Nikkels, G. Storck, C. van Bruggen.
Avanguardia. Transavanguardia. Rome: Mura Aureliana, 1982.
Ballerini, L. Spelt from Sibyl’s Leaves: Exploration in italian Art. Milan: Electa, 1982.
Dokumenta VII. Kassel: D V P. Dierichs,1982. Essays by R.H. Fuchs, G. Celant, J. Gachnang, W. Nikkels, G. Storck, C. van Bruggen.
Avanguardia. Transavanguardia. Rome: Mura Aureliana, 1982.
Ballerini, L. Spelt from Sibyl’s Leaves: Exploration in italian Art. Milan: Electa, 1982.
1981
Identité Italienne. L’Art en Italie depuis 1959. Florence: Centro DI Florenz; Paris: Centre Georges Pompidou, 1981.
Linee della ricerca artistica in Italia 1960-1980. Rome: Palazzo delle esposizioni, De Luca Editore, 1981.
Linee della ricerca artistica in Italia 1960-1980. Rome: Palazzo delle esposizioni, De Luca Editore, 1981.
1980
Celant, Germano. Arte e critica. Rome: Galleria Nazionale d’Arte Moderna, 1980.
L’arte degli anni settanta. XXXIX th International Venice Biennale,1980. Essays by H. Szeemann.
Interno di Mariza Merz. Arte e Critica. Rome: De Luca Editore, Galleria nazionale d’arte moderna, 1980.
1977-1979, Galleria Toselli editore, Milano, 1980.
L’arte degli anni settanta. XXXIX th International Venice Biennale,1980. Essays by H. Szeemann.
Interno di Mariza Merz. Arte e Critica. Rome: De Luca Editore, Galleria nazionale d’arte moderna, 1980.
1977-1979, Galleria Toselli editore, Milano, 1980.
1979
Le Stanze. Florence: Centro Di, 1979.
Mussat Sartor, Paolo. Fotografo 1968-1978. Arte e artisti in Italia. Torino: Stampatori, 1979.
Barilli, Renato. Informale, oggetto, comportamento, Vol 2. Milan: Feltrinelli, 1979.
Mussat Sartor, Paolo. Fotografo 1968-1978. Arte e artisti in Italia. Torino: Stampatori, 1979.
Barilli, Renato. Informale, oggetto, comportamento, Vol 2. Milan: Feltrinelli, 1979.
1978
Marisa Merz: 1977-79. Milan: Galleria Toselli, 1978.
Scatola d’Amore. Adro (Brescia): Galeter Centro Arte, 1978.
Mostra d’Arte, XII Rassegna Internazionale d’Arte. Italy: Acireale Turistico-Termale, 1978.
Scatola d’Amore. Adro (Brescia): Galeter Centro Arte, 1978.
Mostra d’Arte, XII Rassegna Internazionale d’Arte. Italy: Acireale Turistico-Termale, 1978.
1977
Arte in Italia 1960-1977. D’all opera al coinvolgimento. L’opera: simboli e immagini. La Linea analitica. Turin: Galleria Civica d’Arte Moderna, 1977.
1976
Bonito Oliva, Achille. Europa-America. The Different Avant-gardes. Milan: Deco Press, 1976.
Actualités internationales 72-76. XXXVII th International Venice Biennale, 1976. Essays by S. Finzi Pasquali.
Actualités internationales 72-76. XXXVII th International Venice Biennale, 1976. Essays by S. Finzi Pasquali.
1973
La ricerca estetica dal 1960 al 1970. Rome: Palazzo delle espositioni, Cuadrinal Nacionale d’Arte, 1973.
1972
Personna 2. XXXVIth Internatinal Venice Biennale, 1972.
1971
Barilli, Renato. Dall’oggetto al comportamento. Rome: Ellegi, 1971.
1970
Gennaio 70: 3a Biennale Internazionale Della Giovane—Pittura Comportamenti, Progetti, Mediazioni. Bologna: Museo Civico; Milan: Edizioni Alfa, 1970. Essays by R. Barillu, M. Calvesi, T. Trini.
1969
Op Losse Schroeven. Amsterdam: Stedelijk Museum, 1969.
Verbogene Strukturen. Essen: Museum Folkwang, 1969.
Verbogene Strukturen. Essen: Museum Folkwang, 1969.
Selected Articles and Reviews
2017
Scott, Andrea K. “The Women Who Shaped the Art World in 2017,” The New Yorker, December 29, 2017.
Smith, Roberta. “The Best Art of 2017,” The New York Times, December 6, 2017.
Knight, Christopher. “From Margins to the Center,” Los Angeles Times, July 19, 2017.
Kat Herriman, Jonathan Kendall and Tali Jaffe Minor. “The Twenty Five: Expansive Musings,” Cultured, Summer 2017.
Knight, Christopher. “Marisa Merz retrospective at the Hammer gives an overlooked female artist her due,” Los Angeles Times, July 15, 2017.
Cha, Olivian. “Marisa Merz: Hammer Museum, Los Angeles, USA,” Frieze, July 1, 2017.
“Everyday Alchemy,” Art in America, April 27, 2017.
Tome, Anne. “From the Feminine to the Infinite: Marisa Merz at Met Breuer,” Hyperallergic, April 14, 2017.
Budick, Arielle. “Marisa Merz: The Sky Is a Great Space, Met Breuer, New York- a revelatory retrospective,” Financial Times, April 3, 2017.
Schwabsky, Barry. “Marisa Merz: Met Breuer,” Artforum, April 2017.
Schjeldahl, Peter. “A Woman’s View: A Marisa Merz retrospective,” The New Yorker, January 30, 2017.
Smith, Roberta. “The Best Art of 2017,” The New York Times, December 6, 2017.
Knight, Christopher. “From Margins to the Center,” Los Angeles Times, July 19, 2017.
Kat Herriman, Jonathan Kendall and Tali Jaffe Minor. “The Twenty Five: Expansive Musings,” Cultured, Summer 2017.
Knight, Christopher. “Marisa Merz retrospective at the Hammer gives an overlooked female artist her due,” Los Angeles Times, July 15, 2017.
Cha, Olivian. “Marisa Merz: Hammer Museum, Los Angeles, USA,” Frieze, July 1, 2017.
“Everyday Alchemy,” Art in America, April 27, 2017.
Tome, Anne. “From the Feminine to the Infinite: Marisa Merz at Met Breuer,” Hyperallergic, April 14, 2017.
Budick, Arielle. “Marisa Merz: The Sky Is a Great Space, Met Breuer, New York- a revelatory retrospective,” Financial Times, April 3, 2017.
Schwabsky, Barry. “Marisa Merz: Met Breuer,” Artforum, April 2017.
Schjeldahl, Peter. “A Woman’s View: A Marisa Merz retrospective,” The New Yorker, January 30, 2017.
2016
"Winter Preview: Museum Shows and Biennials Around the World," Artnews, November 22, 2016.
Buck, Louisa. “Beat poetry and heavy beats, Marisa Merz’s mesmerizing mixed-media, Jim Nutt’s nutty portraits and Bedwyr Williams’s wooden spoon in this week’s London exhibition roundup,” The Art Newspaper, October 14, 2016.
Witt, Andrew. “Marisa Merz: Thomas Dane Gallery,” Artforum, October 2016.
Smith, Roberta. “Marisa Merz at Gladstone Gallery,” The New York Times, February 18, 2016.
Buck, Louisa. “Beat poetry and heavy beats, Marisa Merz’s mesmerizing mixed-media, Jim Nutt’s nutty portraits and Bedwyr Williams’s wooden spoon in this week’s London exhibition roundup,” The Art Newspaper, October 14, 2016.
Witt, Andrew. “Marisa Merz: Thomas Dane Gallery,” Artforum, October 2016.
Smith, Roberta. “Marisa Merz at Gladstone Gallery,” The New York Times, February 18, 2016.
2013
Russell, Heather. “Interview with Artist Wangechi Mutu: A Frantastic Journey,” Artnet, October 18, 2013.
“Marisa Merz at Serpentine Gallery, London,” Mousse, 2013.
Parisi, Chiara. “Measuring Our Own Memory,” Flash Art, October 2013, pp. 76-79
Baker, Andy. “Serpentine Galleries Set to Wow Visitor With Two New and Unique Exhibitions,” SW Londoner, September 20, 2013.
Searle, Adrian. “Marisa Merz at the Serpentine: the first lady of arte povera,” The Guardian, September 26, 2013.
“Marisa Merz Venice Fold Lion Winner 2013 To Exhibit At Serpentine,” Artlyst, August 28, 2013.
Frankel, David. “Marisa Merz,” Artforum, Summer 2013, Vol. 51, No. 10, p. 354.
Bernabei, Valentina. “Maria e Marisa, il Leone d’oro a due artiste,” La Repubblica, May 6, 2013.
Pirrelli, Marilena. “A Maria Lessing e Marisa Merz i Leoni d’oro di Venezia,” Il Sole 24 Ore, May 6, 2013.
Cascone, Sarah. “Venice Biennale Golden Lions to Maria Lassnig and Marisa Merz,” Art in America, May 6, 2013.
“Marisa Merz,” New Yorker, May 13, 2013, p. 12.
“Marisa Merz,” Time Out New York, April 2013.
Heinrich, Will. “Marisa Merz,” The New York Observer, April 29, 2013, p. B7.
Laluyan, Oscar A. “Picture this: We Found Art by Marisa Merz at Gladstone Gallery,” Arte Fuse, April 8, 2013.
“Marisa Merz at Serpentine Gallery, London,” Mousse, 2013.
Parisi, Chiara. “Measuring Our Own Memory,” Flash Art, October 2013, pp. 76-79
Baker, Andy. “Serpentine Galleries Set to Wow Visitor With Two New and Unique Exhibitions,” SW Londoner, September 20, 2013.
Searle, Adrian. “Marisa Merz at the Serpentine: the first lady of arte povera,” The Guardian, September 26, 2013.
“Marisa Merz Venice Fold Lion Winner 2013 To Exhibit At Serpentine,” Artlyst, August 28, 2013.
Frankel, David. “Marisa Merz,” Artforum, Summer 2013, Vol. 51, No. 10, p. 354.
Bernabei, Valentina. “Maria e Marisa, il Leone d’oro a due artiste,” La Repubblica, May 6, 2013.
Pirrelli, Marilena. “A Maria Lessing e Marisa Merz i Leoni d’oro di Venezia,” Il Sole 24 Ore, May 6, 2013.
Cascone, Sarah. “Venice Biennale Golden Lions to Maria Lassnig and Marisa Merz,” Art in America, May 6, 2013.
“Marisa Merz,” New Yorker, May 13, 2013, p. 12.
“Marisa Merz,” Time Out New York, April 2013.
Heinrich, Will. “Marisa Merz,” The New York Observer, April 29, 2013, p. B7.
Laluyan, Oscar A. “Picture this: We Found Art by Marisa Merz at Gladstone Gallery,” Arte Fuse, April 8, 2013.
2012
Casavecchia, Barbara. “Marisa Merz: Disegnare disegnare ridisegnare il pensiero imagine che cammina,” Art Review, October 12, 2012.
2011
Cullinan, Nicholas. “Marisa Merz: It Doesn’t Match Yet it Flourishes,” ArtForum, May 2011.
Grau, Donatien. “Spotlight: Marisa Merz”, Flash Art, February 2011.
Grau, Donatien. “Spotlight: Marisa Merz”, Flash Art, February 2011.
2010
Witkovsky, Matthew S. “‘Less Is More’ and ‘Che Fare? Arte Povera—The Historic Years,’” Artforum, September 2010, p. 316-317.
Fisher, Cora. “Marisa Merz,” Brooklyn Rail, October 2, 2010, p. 35.
Fisher, Cora. “Marisa Merz,” Brooklyn Rail, October 2, 2010, p. 35.
2007
Panicelli, Ida. “Marisa Merz, Madre,” Artforum, Summer 2007, p. 516.
1997
Minini, Massimo. “Basel, Venice, Munster, Kassel,” Tema Celeste, 1997, p.113.
1996
Macadam, Barbara A. “Here’s Looking at Us,” Artnews, October 1996, p. 130-33.
1995
Princenthal, Nancy. “Marisa Merz at Barbara Gladstone,” Art in America, February 1995, p. 92.
Schwendener, Martha. “Marisa Merz. Barbara Gladstone,” Flash Art, June 1995, p. 111.
Schwendener, Martha. “Marisa Merz. Barbara Gladstone,” Flash Art, June 1995, p. 111.
1994
Risaliti, Sergio. “Marisa Merz,” Flash Art (Italian), January 1994.
Smith, Roberta. “Marisa Merz,” New York Times, November 25, 1994.
Pasini, Francesca. “Marisa Merz. Centre Georges Pompidou,” Artforum, May 1994, p.109.
Smith, Roberta. “Marisa Merz,” New York Times, November 25, 1994.
Pasini, Francesca. “Marisa Merz. Centre Georges Pompidou,” Artforum, May 1994, p.109.
1992
“Documenta 9,” Flash Artnews, no.166, October 1992.
Celant, Germano. “Marisa’s Swing,” Artforum, Summer 1992, p. 97-101.
Celant, Germano. “Marisa’s Swing,” Artforum, Summer 1992, p. 97-101.
1989
Magnani, G. “Verso l’Arte Povera,” Flash Art, no.146, May-June 1989.
Soutif, Daniel. “La famille pauvre,” Artstudio, Paris, no.13, 1989, p. 6-9.
Soutif, Daniel. “La famille pauvre,” Artstudio, Paris, no.13, 1989, p. 6-9.
1986
Tazzi, Pier Luigi. “What is today’s sculpture? Three views,” Artforum International, September 1986, p.149-150.
Celant, Germano. “Art Pauvre,” Libération, September 26, 1986.
Celant, Germano. “Art Pauvre,” Libération, September 26, 1986.
1985
Cora, Bruno. “Figure,” A.E.I.U.O., no.12, January 13, 1985, p. 70-73.
1984
Zacharopoulos, Denys. “Arte Povera Today”, Flash Art International, March 1984, p. 52-57.
La Palma, M. “Paradoxes of Association and Object: Marisa Merz,” Artweek, March 10, 1984.
Rogozinsky, Luciana. “La position crépusculaire: notes sur l’art italien d’aujourd’hui,” Parachute, no. 34, March/April/May 1984, p. 5-17.
La Palma, M. “Paradoxes of Association and Object: Marisa Merz,” Artweek, March 10, 1984.
Rogozinsky, Luciana. “La position crépusculaire: notes sur l’art italien d’aujourd’hui,” Parachute, no. 34, March/April/May 1984, p. 5-17.
1980
Bandini, Mirella. “Immagini della natura e invenzioni neoclassiche”, Avanti!, Rome, September 7, 1980.
Celant, Germano, “Twenty years of art in Italy,” Art Press, no. 37, Paris, May 1980, p. 8-9.
Rogozinsky, Luciana. “Marisa Merz,” Flash Art, Milan, 1980, p. 98-99.
Celant, Germano, “Twenty years of art in Italy,” Art Press, no. 37, Paris, May 1980, p. 8-9.
Rogozinsky, Luciana. “Marisa Merz,” Flash Art, Milan, 1980, p. 98-99.
1978
Ferrari, Corinna. “L’Età del Rame,” Data, no. 31, Milan, March-May 1978.
Licitra Ponti, Lisa. “Marisa Merz,” Domus, n.579, Milan, February 1978, pp. 48-49.
Merz, Mario. “Da dove viene il rame ? Una mostra di Marisa Merz,” ibid., p. 49
Toselli, Franco. “L’arte fuori luogo,” ibid., p. 51
Loda, R. “Scatola d’amore,” Galeter Centro Arte, Adro, June/July 1978.
Licitra Ponti, Lisa. “Marisa Merz,” Domus, n.579, Milan, February 1978, pp. 48-49.
Merz, Mario. “Da dove viene il rame ? Una mostra di Marisa Merz,” ibid., p. 49
Toselli, Franco. “L’arte fuori luogo,” ibid., p. 51
Loda, R. “Scatola d’amore,” Galeter Centro Arte, Adro, June/July 1978.
1977
Celant, Germano. “Una Scarpetta di nylon con tanti chiodi,” La Repubblica, December 1977, p.4-5.
1976
Brizio, Giorgio Sebastiano. “Torino da Persano. Concettuali per le lotte operaie,” Avanti!, January 22, 1976.
Bonito Oliva, Achille. “Process, Concept and Behaviour in Italian Art,” Studio International, vol. 191, no. 979, London, January/February 1976, p. 3-10.
Sauzeau Boetti, Anne-Marie. “Negative Capability as Practice in Women’s Art,” ibid.
Vergine, Lea, “Italian Art Now”, ibid.
Bonito Oliva, Achille. “Process, Concept and Behaviour in Italian Art,” Studio International, vol. 191, no. 979, London, January/February 1976, p. 3-10.
Sauzeau Boetti, Anne-Marie. “Negative Capability as Practice in Women’s Art,” ibid.
Vergine, Lea, “Italian Art Now”, ibid.
1975
Boetti, Anne-Marie. “Lo specchio ardente,” Data, n. 18, Milan, September/October1975, p. 50-55.
Tommaso, Trini. “Arte e storia dell’arte,” Data, n.16/17, Milan, July/August 1975, p. 49-53.
Tommaso, Trini. “Arte e storia dell’arte,” Data, n.16/17, Milan, July/August 1975, p. 49-53.
1974
Celant, Germano. “Piccole cose, fatti personali,” Domus, no. 534, May 1974.
1970
Volpi Orlandini, Marisa. “L’art pauvre”, Opus international, Paris, n.16, March 1970, pp. 39-43.
1969
van Elk, Gerald. “Amalfi: Arte Povera in azione povere,” Museum Journal, Stedelijk Museum, Amsterdam ed., n.1, 1969.
Millet, C. “Petit Lexique de l’Art Pauvre,” Les Lettres françaises, Paris, June 4 1969.
Trini, Tommaso. “New Alphabet for Body and Matter,” Domus, n.470, January 1969, p. 45-51.
Millet, C. “Petit Lexique de l’Art Pauvre,” Les Lettres françaises, Paris, June 4 1969.
Trini, Tommaso. “New Alphabet for Body and Matter,” Domus, n.470, January 1969, p. 45-51.
1968
van Elk, Gerald. “Amalfi: Arte povera in azioni povere,” Museum Journal, Stedelijk Museum Amsterdam ed., n. 1.
Calvesi, Maurizio. “Lo spazio, la vita e l’azione,” L’Expresso, September 15, 1968.
Apollonio, Umbro. “Deposito d’arte presente a Torino,” Flash Art, n. 7, March/April 1968.
Trini, Tommaso. “Marisa Merz”, ibid.
Calvesi, Maurizio. “Lo spazio, la vita e l’azione,” L’Expresso, September 15, 1968.
Apollonio, Umbro. “Deposito d’arte presente a Torino,” Flash Art, n. 7, March/April 1968.
Trini, Tommaso. “Marisa Merz”, ibid.
1967
Germano, Celant. “Arte povera. Appunti per una guerriglia,” Flash Art, n. 5, Milan, November/December 1967.
Trini, Tommaso. “Marisa Merz: una mostra alla Galleria Sperone,” Domus, no. 454, 1967, p. 52.
Trini, Tommaso. “Marisa Merz: una mostra alla Galleria Sperone,” Domus, no. 454, 1967, p. 52.
Selected Writings by the Artist
1985
Merz, Marisa. “Senza titolo, 1982,” A.E.I.O.U., no. 12, 1985, p. 68-69.
1978
Merz, Marisa. “Legni abbandonati sul campo,” Domus, n. 579, February 1978, p. 50.
1976
Merz, Marisa. “L’apprendimento dell’artigianato calzolaio per il poeta Lenz,” La Citta di Riga, no.1, 1976, p. 42.
1975
Merz, Marisa. “Lo Specchio ardente,” Data, no. 18, Milan, September/October 1975.