BOOKS
Finding Lost Wax: The Disappearance and Recovery of an Ancient Casting Techniques and the Experiments of Medardo Rosso, edited volume (Leyden: Brill, 2020).

Un monumento al momento: Medardo Rosso e le origini della scultura contemporanea (Milan: Johan & Levi Editore, 2018).

A Moment’s Monument. Medardo Rosso and the International Origins of Modern Sculpture (Berkeley: University of California Press, 2017).

EXHIBITION CATALOGUES
Sharon Hecker, “Interferenze innovative,” in Tommaso Calabro, Sharon Hecker, Alberto Salvadori, Soft Power. Rosso Morandi Ziegler, exhibition catalogue (Milan: Electa, 2019), np. Download

Sharon Hecker, “Medardo Rosso: Light, Surface, Poetry, and the Origins of Modern Sculpture,” in Medardo Rosso: Experiments in Light and Form (co-curated with Tamara S. Schenkenberg), (St. Louis, Pulitzer Arts Foundation, 2018), 18-35.

Medardo Rosso: Experiments in Light and Form (co-curated with Tamara S. Schenkenberg), (St. Louis, Pulitzer Arts Foundation, 2018).

Medardo Rosso: Sight Unseen and His Encounters with London (Sharon Hecker and Julia Peyton-Jones, eds.), exhibition catalogue (London: Galerie Thaddaeus Ropac, 2018), pp. 15-36.

Medardo Rosso: Experiments in Light and Form (co-curated with Tamara S. Schenkenberg), exhibition catalogue (St. Louis, Pulitzer Arts Foundation, 2016).

“Back to Back: Medardo Rosso, Giovanni Segantini, and the Outsider in Italian Modern Art”. Orizzonte Nord Sud. Protagonisti dell’arte europea ai due versanti delle Alpi – Leading Figures of European Art North and South of the Alps, exhibition catalogue (Lugano: LAC, Lugano 2015), pp. 171-185. 

“Walking Through Walls: Medardo Rosso and Diana Al-Hadid”, Diana Al-Hadid: Regarding Medardo Rosso (New York: Marianne Boesky Gallery, 2014), pp. 18-39. 

Medardo Rosso (New York: Peter Freeman, 2009).

“Medardo Rosso,” in Winds of Change: The Milanese Avant-Garde 1860-1900, exhibition catalogue, ed. F. Licht (Naples, FL: The Gilgore Collection, 2003): 84-103.

Medardo Rosso: Second Impressions (co-authored with Harry Cooper), exhibition catalogue, Harvard University Art Museums, Cambridge, MA (New Haven and London: Yale University Press, 2003).

Sharon Hecker, “Reflections on Repetition in Rosso’s Art,” Medardo Rosso: Second Impressions (eds. Harry Cooper and Sharon Hecker), exhibition catalogue, Harvard University Art Museums, Cambridge, MA (New Haven and London: Yale University Press, 2003), pp. 22-67.

“Medardo Rosso” (artist’s biography) in 1900: Art at the Crossroads, exhibition catalogue, Royal Academy of Arts (London and New York: Solomon R. Guggenheim Museum, 2001): 419.

“Medardo Rosso: Ecce puer,” Da Hayez a Klimt: Maestri dell’Ottocento e Novecento della Galleria Ricci Oddi, exhibition catalogue, Galleria d’Arte Moderna di Piacenza (Milan: Skira, 1997): 147-149.

ESSAYS IN EDITED VOLUMES

Sharon Hecker “Introduction,” in Finding Lost Wax: The Disappearance and Recovery of an Ancient Casting Technique and the Experiments of Medardo Rosso, ed. Sharon Hecker, Studies in Art & Materiality, Volume 3 (Leiden, Brill, 2020), pp. 1-8.

Sharon Hecker, “Medardo Rosso, the Italian Sculptor-Founder in Paris: Transforming the Multiple in Modern Sculpture,” in Finding Lost Wax: The Disappearance and Recovery of an Ancient Casting Technique and the Experiments of Medardo Rosso, ed. Sharon Hecker, Studies in Art & Materiality, Volume 3 (Leiden, Brill, 2020), pp. 177–212.

Sharon Hecker, “The Unstable Act of Seeing: A Conceptual Reading of Rosso’s Serial Reproduction”, in Finding Lost Wax: The Disappearance and Recovery of an Ancient Casting Technique and the Experiments of Medardo Rosso, ed. Sharon Hecker, Studies in Art & Materiality. Volume 3 (Leiden, Brill, 2020), pp. 213-234.

Sharon Hecker and Austin Nevin, “Comparative Visual Examination of Medardo Rosso’s Bambino ebreo”, in Finding Lost Wax: The Disappearance and Recovery of an Ancient Casting Technique and the Experiments of Medardo Rosso, ed. Sharon Hecker, Studies in Art & Materiality, Volume 3 (Leiden, Brill, 2020), pp. 235–255.

Finding Lost Wax: The Disappearance and Recovery of an Ancient Casting Techniques and the Experiments of Medardo Rosso, ed. Sharon Hecker (Leyden, Brill, 2020).  

Sharon Hecker, “Medardo Rosso’s The Emperor Vitellius. An Artist’s Posthumous Copy (of a Copy) of an (Unknown) Original, in Sharon Hecker and Peter J. Karol, eds., Posthumous Art, Law and the Art Market. The Afterlife of Art (London: Routledge Taylor & Francis. 2022), pp.144-152.

Sharon Hecker, “When the eye tired of observing rests”: Diffuse Attention in the Art and Writing of Medardo Rosso”, Odradek (Studies in Philosophy of Lterature, Aesthetics and new Media Theories), University of Pisa, Vol 7 No 2 (2021): “Patterns of Attention”, ed. Alberto Frigo, pp. 179-207. Download

Sharon Hecker, “Cast, Not Modelled: The Importance of Understanding Materials and Processes in Medardo Rosso’s Waxes,” in Ceroplastics. The Science of Wax, eds. Fabio Zampieri, Roberta Ballestriero, Owen Burke, Storia della Medicina, 06, L’Erma di Bretschneider, 2021, pp. 261-269.

“An Italian Sculptor-Emigré in Paris: The Case of Medardo Rosso” in Sculpting Abroad Nationality and Mobility of Sculptors in the Nineteenth Century in M. Sterckx, T. Verschaffel (eds.) XIX: Studies in 19th-Century Art and Visual Culture (XIX 3), Brepols, 2020, pp. 115-122. 

“The Modern Italian Sculptor as International Entrepreneur: The Case of Medardo Rosso (1858–1928)”. “The Internationalisation of the Art Market in the Age of Nation States, 1750-1914”, in Jan Dirk Baetens and Dries Lyna, Art Crossing Borders, Studies in the History of Collecting & Art Markets, 2019, pp. 256-299.

“Navigating International Networks for Modern Sculpture: The Case of Medardo Rosso,” in Imagined Cosmopolis: Internationalism and Cultural Exchange 1870–1920, ed. Grace Brockington e Sarah Victoria Turner, (Peter Lang, 2019), pp. 59-85.

“The Wax that Never Waned: The Lasting Legacies of Degas and Rosso, Pioneers of Wax in Sculpture,” in Roberta Ballerstiero, Owen Burke, Francesco Maria Galassi, Ceroplastics. The Art of Wax, Storia della Medicina, 3, 2019, pp. 105-113. Download

“Isolated Fragments: Disentangling the Relationship Between Arte Povera and Medardo Rosso,” in Postwar Italian Art History Today: Untying ‘The Knot’, co-edited with Marin R. Sulivan (New York: Bloomsbury Academic, 2018), pp. 229-243.

“Everywhere and Nowhere: Medardo Rosso and the Cultural Cosmopolitan in Fin-de-siècle Paris”, in Foreign Artists and Communities in Modern Paris, 1870-1914. Strangers in Paradiseedited by Karen L. Carter and Susan Waller (New York and London, Routledge, 2015), pp. 143–154.

“Shattering the Mould: Medardo Rosso and the Poetics of Plaster,” in Plaster Casts: Making, Collecting and Displaying from Classical Antiquity to the Present, Rune Frederiksen and Eckart Marchand, eds. (Berlin: Walter de Gruyter, 2010): 319-330.

“Fleeting Revelations: The Demise of Duration in Medardo Rosso’s Wax Sculpture”, in Ephemeral Bodies: Wax Sculpture and the Human Figure, R. Panzanelli, ed., Getty Research Institute Issues and Debates Book Series (Los Angeles: J.P. Getty Trust, 2008): 131-153.

“Medardo Rosso: Ecce Puer, 1906,” in Leggere l’arte, S. Fugazza, ed., (Piacenza, Galleria Ricci-Oddi, 2002): 79-88.

“Medardo Rosso: a Milano sognando Parigi,” in Milano. Venticinque secoli di storia attraverso i suoi personaggi (Milan: Celip, 2000).

JOURNAL ESSAYS
“Born on a train: the impact of Medardo Rosso’s internationalism on his legacy”. Sculpture Journal, 2018, pp. 105-116. Get access to journal  

“The afterlife of sculptures: posthumous casts and the case of Medardo Rosso (1858–1928)”. Journal of Art Historiography, 2017, pp. 1-17. Download 

“An Enfant Malade by Medardo Rosso from the Collection of Louis Vauxcelles”, The Burlington Magazine vol. 152:1292 (December 2010): 727-735.

“Ambivalent Bodies: Medardo Rosso’s Brera Petition”. The Burlington Magazine vol. 142:1173 (December 2000): 773-777.

“L’esordio milanese di Medardo Rosso”. Bolletino dell’Accademia degli Euteleti, December 1998, vol. 65, pp. 185-201.

“Medardo Rosso’s first commission”, The Burlington Magazine vol. 138:1125 (December 1996): 817-822.

ENCYCLOPEDIA ENTRIES
“Medardo Rosso”,  Routledge Encyclopedia of Modernism 

“Medardo Rosso”, s.v., The Encyclopedia of Sculpture, Antonia Böstrom, ed., Vol. 3, P-Z, (New York and London: Routledge, 2000): 1470-1473

EXHIBITION REVIEWS
“Rosso: the Transient Form”, The Burlington Magazine, vol. 151: 1280 (November 2009): 787. 

“The Stopping Power of Lead: Luciano Fabro, Giuseppe Penone, and Marisa Merz,” in Lead in Modern and Contemporary Art, ed. Sharon Hecker and Silvia Bottinelli (Bloomsbury, 2021), 121-138.

“Perforare e tenere insieme: Italia all’asta ed Enfasi (Baldacchino) di Luciano Fabro” in senzamargine, Passaggi nell’arte italiana a cavallo del millennio, ed. Stefano Chiodi and Bartolomeo Pietromarchi (Marsilio 2021), pp. 89-105 English, 97-113 Italian.

“Nature has fantasia,” in Into the Spotlight: Art at Baloise, ed. Martin Schwander (Hatje Cantz,2020).

“Why Luciano Fabro Today?”, in The Brooklyn Rail, Sept. 2018 edition, New York.

“I represent the encumbrance of the object in the vanity of ideology.” Lo Spirato (The Expired One) in Luciano Fabro, ed. Silvia Fabro, Galleria Christian Stein, Milan, 2017.

“Luciano Fabro: Bitter Sweets for Nadezhda Mandelstam” in The Taste of Art: Cooking, Food, and Counterculture in Contemporary Practices (Fayetteville: University of Arkansas press, 2017). Download. Read review

“Markets, Bacchanals and Gallows”: Luciano Fabro’s ‘Italia all’Asta’ in Naples’ Piazza del Plebiscito in A. Nova and S. Hanke, eds. (Berlin: Deutscher Kunstverlag, 2014).

“Sealed Between Us. The Role of Wax in Luciano Fabro’s Tuˆ.” Oxford Art Journal vol. 36:1 (March 2013): 13-38.

“If the Boot Fits…Luciano Fabro’s Italie.” In G. Gazzola, guest ed., Italy from Without. Forum Italicum vol. 47: 2 (August 2013): 431-462.

“Luciano Fabro: Drawing as Dialogue”, in Luciano Fabro. Disegno In-Opera, exhibition catalogue, GAMeC (Galleria d’Arte Moderna e Contemporanea di Bergamo (Milan: Silvana Editoriale, 2013).

“Art is Glimpsed. Luciano Fabro’s Penelope”, in Contemporary Art/Classical Myth, J. Hirsh and I. Wallace, eds. (London: Ashgate, 2011): 57-86.

TRANSLATIONS
Translation of artist’s lessons on drawings in Luciano Fabro. 100 Disegni, exhibition catalogue, Kunstmuseum Winterthur (Richter Verlag, 2013).

Translation of artist’s lessons on drawings in Luciano Fabro. Disegno In-Opera, exhibition catalogue, GAMeC (Galleria d’Arte Moderna e Contemporanea di Bergamo (Milan: Silvana Editoriale, 2013).

Translation of essay in Luciano Fabro, exhibition catalogue, Porticus, Frankfurt am Main (1995).

Translator of artist’s theoretical writings in Luciano Fabro, exhibition catalogue,  SFMoMA (1994).

“Making Hardships Picturesque: Iconographic Sources and Contemporary Works Related to Morbelli’s ‘Vecchioni’ Paintings”. Angelo Morbelli. Il poema della vecchiaia, ed. Giovanna Ginex, exhibition catalogue (Venice: Ca’ Pesaro Galleria Internazionale d’Arte Moderna, 2018-19).

“Romanticism,” The Burlington Magazine, 161, February 2019: 151-153. A review of the exhibition Romanticismo at Gallerie d’Italia and Museo Poldi Pezzoli, Milan.

“Marino Marini. Pistoia and Venice”, The Burlington Magazine vol. 159:1377 (December 2017). A review of the exhibition Marino Marini, Passioni visive at the Palazzo Fabroni, Pistoia.

“Fragmented Articulations: Francesco Lo Savio’s Transnational Modernism”. Francesco Lo Savio, exhibition catalogue (Trento and Rovereto: MART, Museo di Arte Moderna e Contemporanea di Trento e Rovereto, 2018).

Sharon Hecker, “Medardo Rosso: Light, Surface, Poetry, and the Origins of Modern Sculpture,” in Medardo Rosso: Experiments in Light and Form (co-curated with Tamara S. Schenkenberg), (St. Louis, Pulitzer Arts Foundation, 2018), 18-35.

Medardo Rosso: Sight Unseen and His Encounters with London (Sharon Hecker and Julia Peyton-Jones, eds.), exhibition catalogue (London: Galerie Thaddaeus Ropac, 2018), 15-36.

“Back to Back: Medardo Rosso, Giovanni Segantini, and the Outsider in Italian Modern Art”. Orizzonte Nord Sud. Protagonisti dell’arte europea ai due versanti delle Alpi – Leading Figures of European Art North and South of the Alps, exhibition catalogue (Lugano: LAC, Lugano 2015), 171-185.

Sharon Hecker, “Walking Through Walls: Medardo Rosso and Diana Al-Hadid”, in Diana Al-Hadid: Regarding Medardo Rosso (New York: Marianne Boesky Gallery, 2014), 18-39.

Read Sharon Hecker’s articles and Op Eds on these subjects here: www.theheckerstandard.com

“Artisti e mercanti d’arte non sono immuni.” We Wealth Magazine. (May 29, 2020).