Spoleto Festival U. Works on Paper U. Gloria F. The exhibition was originated by the Art Department of the University of Massachusetts at Amherst before being sent to Venice, in somewhat revised form. Catalogue; text by Tom Armstrong. Edited by Gloria F. Catalogue; text by Sam Hunter.
Catalogue; text by Jan Van der Marck. Tapestries by Gloria F. Catalogue; texts by Stephen S. Prokopoff and Robert Pincus-Witten. Catalogue; texts William Lieberman and Virginia Allen. The Helen W. The Harry N. Hudson Gallery, Detroit, May 20—June 30, Catalogue: text by William H. Catalogue; text by John I. Modern Sculpture from the Joseph H. Hirshhorn Collection , Solomon R. Catalogue; text by William Seitz. Art U. Catalogue; text by Lee Nordness. Traveled to: Phillips Gallery, Washington, D.
Louis, Missouri, January 7—February 8, Gallery, New York, April 16—29, Louise Nevelson Public Collections. Cascone, Sarah. Artnet News , 9 December Mulcahy, Joanne. Pucci, Roberta. Takac, Balasz. Art News , 11 January Schjeldahl, Peter. The New Yorker , 7 January Budick, Ariella. Financial Times , 28 December Creahan, D. Art Observed , 11 February Cole, Regina. Edalatpour, Jeffrey. Metro Active , 31 January Fazzare, Elizabeth.
Goukassian, Elena. Keane, Tim. Hyperallergic , 6 October Artinfo , 22 May Michalarou, Efi. York-Louise Nevelson. Nevelson, Louise. Art News , 17 August Robinson, Megan D.
Art and Object, 31 January Sansom, Anna. Artinfo , 22 January Bencks, Jarret. Brandeis Now, 10 February Bryan-Wilson, Julia. The New Yorker , 9 October 9. Hannaham, James. Hudson, Suzanne. Artforum 56, no. Peterson, Ralph. Siegel, Harmon. Phaidon , 10 June Carassai, Elisa.
Gleadell, Colin. Hawkin, Thea. AnOther, 23 September Kelly, John. Larkin, Daniel. Hyperallergic , 17 August Le, Anh-Minh.
Silicon Valley, September 23, illustrated. Lin, Amy. Widewalls , accessed on 20 June Le Mile , no. Lucie-Smith, Edward. Artlyst , 14 June Pogrebin, Robin. New York Times , 8 April C20, illustrated.
Fiske, Courtney. Artforum, 11 February Gopnick, Blake. Artnet , 18 February Hamer, Katy Diamond. Eyes towards the Dove , 23 January Indrisek, Scott. Artinfo , 19 February MacAdam, Barbara A. Art News , no. Martin, Hannah. Architecture Digest , 22 January Peiffer, Prudence. Artforum 53, no. Smith, Roberta. Spencer, Rachel. Financial Times , 5 June Cheng, DeWitt. Palo Alto Online , 5 December Forgrave, Will. Gellman, Lindsay. Holden, Courtney. Reporter-Herald , 22 January Kedmey, Karen.
Artsy , 9 October Mousse , 11 December Cook, Greg. The Artery , 19 March Epstein, Johanna Ruth. Artforum 51, no. Artsy, 9 October Mousse , 3 August Meyers, William. Mizota, Sharon. White, Pam. Online video, Downey, Lindsay. Coastal Life , 20 January 24—25, illustrated. Franco, Ana M. Watson, Dawn. Turner, Elisa. Devine, Leigh. Miller, Donald. Panero, James.
The New Criterion March Pincus-Witten, Robert. Artforum May : , illustrated. Shuster, Robert. The Village Voice , 25 February , illustrated. Smyth, Cherry. Art Monthly June : 30—31, illustrated. Bishop, Philip E. Brantley, Ben. Diehl, Carol.
Art in America January : —, illustrated. Lawrence, James. Levin, Kim. Orlando Sentinel , 26 December Camhi, Leslie. Village Voice , 16—22 May 56, illustrated. Esplund, Lance. Graves, Jen. The Stranger , 16 January Artforum May : The New Yorker , 13 August Maine, Stephen. The New York Sun , 19 July 1, Meara, Emmet. Naves, Mario.
New York Observer , 14 May C16, illustrated. Modern Painters June : illustrated. Scott, Andrea K. Sheets, Hilaire. Sorkin, Jenni. Modern Painter September : 92—93, illustrated. Speaks, Elyse Deeb. American Art 21, no. Stanley, Andrea. Orlando Leisure February : , mentioned. Strauss, Elissa. Forward , 3 August B3, illustrated. Vogel, Carol. Wilson, Eric. The Orlando Sentinel , 26 December Casadio, Mariuccia.
Giovannini, Joseph. Keyes, Bob. The Free Press , 14 September 1, 30, illustrated. Saltz, Jerry. Tuchman, Phyllis. Art in America November : 88— Gladstone, Valerie.
Art News Summer : , discussed. Dawson, Jessica. Gardner, Paul. Art News September : Dannatt, Adrian. Art Newspaper April : 3. Imperatore, Catherine.
The New Yorker, 22—29 April Marks, Peter and Carol Vogel. Mason, Brooke S. Foster, Ann T. Klein, Michael. Rimanelli, David. Art News June : , illustrated. Glueck, Grace.
Tully, Judd. Drohojowska—Philp, Hunter. Goldberger, Paul. Landi, Ann. Little, Carl. McAvoy, Suzette Lane. Padon, Thomas. Sculpture May—June : Gouveia, Georgette. Wilson, William. Brenson, Michael. Damon, Gladys. Fecher, Louise. The New Yorker , 20 August Green, Judith. Hurlburt, Roger. Kimmelman, Michael. Pincus, Robert L. Harris, Ann Sutherland. Kingsley, April. Russell, John. Yarrow, Andrew L. Duffy, Robert W. Louis Post Dispatch , 24 April Folkart, Burt A. Jacks, Shirley.
Marvel, Bill. Raynor, Vivien. Schwartz, Constance. Wallach, Amei. Haenlein, Joy. Bass, Ruth. Art News December : Blume, Mary. Haenlein, Joy L. Artforum : , , illustrated. McGill, Douglas. Robertson, Nan. Conroy, Sarah. Drohojowska, Hunter. Martin, Mary Abbe. Molotsky, Irvin. Arts Medal. Muchnic, Suzanne. The New York Times , 22 February Adams, Cindy. Harrison, Helen A.
Heilenman, Diane. Kramer, Hilton. Allen, Jane E. Artner, Alan G. Braun, Barbara. Westport News , 20 May , illustrated. The New York Times , 21 January The New York Times , 20 February illustrated.
Lanctot, Barbara. Radcliffe, Donnie. Roniger, Pat. The Long Island Heritage January : 4, illustrated. Smith, Nancy. The News and Courier , 30 May Tomlinson, Janis A. Velez, Carlos. Daily News , 2 January The Newsday Magazine , 30 January 20—23, illustrated. Wolff, Theodore F. Morgan, Ann Lee. Broad, Harry A. Crossley, Mimi. The Houston Post , 19 September 6F. Johnson, Patricia C. Houston Chronicle , 20 September 17, illustated.
Shaw—Eagle, Joanna. Spalding, Frances. London Arts Review , 8 May illustrated. Taylor, John Russell. The Times London , 5 May The New York Times , 6 June Hughes, Robert. Time , 16 June 76, installation view. The New York Times , 11 May 1, Larson, Kay. The Village Voice , 9—15 July Morris, Diana.
Women Artists News Summer : 2—3. To the Bronx. Alpert, Bill. Argus Seattle , 30 June 7, illustrated. Campbell, R. Seattle Post-Intelligencer , 30 June Glowan, Ron. Artweek , 29 July 4. Winn, Steven. The Seattle Weekly , 28 June—4 July Colby, Joy Hakanson. Harnett, Lila. Cue, 10—23 December Time , 12 December 59— The New York Times , 9 December Lewis, Joanne.
Progressive Architecture , June : 24, illustrated. Shirey, David L. White, David F. Let the Dealers Count the Ways. The New York Times , 18 February Postiglione, Corey. Friedman, Martin. Art News 73, no. Winokur, James L.
Kinglsey, April. Artforum 11 February : 87— Warnod, Jeanine. Canaday, John. The New York Times , 4 November illustrated. Mellow, James R. The New York Times , 19 November illustrated.
Perreault, John. Village Voice , 9 November 34— Bongartz, Roy. The New York Times , 8 May The New York Times , 16 May illustrated. Genauer, Emily. New York Post , 15 May Pollock, Robert.
Patriot Ledger , 1 June illustrated. Lipman, Jean. Gassiot—Talabot, Gerald. The New York Times , 28 January 31, illustrated. Plumb, Barbara. Coates, Robert. Danieli, Fidel A. The New York Times , 12 March , illustrated. Hammel, Lisa. The New York Times , 28 April 45, illustrated. Mcdonald, Gregory. Meyner, Helen. Sekler, Dorothy Gees. The New York Times, 14 May 20, installation view. Driver, Morley.
Giusti, Hedy A. Hakanson, Joy. Morrison, Harriet. Progressive Architecture May : illustrated. Kozloff, Max. Lafean, Richard. McCoy, Garnett. Through her job, she met Bernard and Charles Nevelson. Louise married Charles in , and the couple moved to New York City soon after. This work is an example of Nevelson's early, small-scale abstract constructions that relied on found materials selected for their visual or emotional appeal.
In her search for new materials Nevelson was drawn to wood, as opposed to bronze or marble. This choice reflected her past; her father was a woodcutter and lumberyard owner, and the organic material was a common presence throughout her childhood. The assembled rectilinear wooden blocks of this work present a unified exploration of vertical and horizontal axes, in a visual experiment with constructed forms that influenced her subsequent wall sculptures.
However, the format of this work is still that of a conventional sculpture presented on a base, much like traditional, old master sculptures. While many of her later works were painted in monochromatic black, white, or gold because of the personal symbolism of these colors, Nevelson painted this work a bright green that she chose not to reprise in later sculptures.
The larger than life-size Sky Cathedral is Nevelson's sculptural answer to the monumental Abstract Expressionist canvases of the predominantly male artists that commanded the attention of American art during the s. To create this work, Nevelson salvaged small pieces of scrap wood from old buildings, then nailed and glued these pieces into box-like cubbies and arranged these into one of her earliest wall sculptures. While Sky Cathedral's rectangular, linear basis was informed by the innovations of the Cubists in the early th century, Nevelson formally balanced these with the curving forms of spindles, finials, and architectural moldings, in order to more accurately reflect the enormity and diversity of existence in New York City - her adopted home.
She purposely chose wooden forms that were evocative of both the celestial realm as well as the architecture of the urban environment around her. The various boxes that make up the structure also work to contain the seeming chaos of the assemblage. The individual elements join together in the monumental composition to comprise a work that reflects Nevelson's experience in the world, as well as her beliefs in spirituality.
Although she was raised in the Jewish faith, she studied a wide variety of religions at different times in her life, each affecting her overall spirituality - the compartments of the sculpture reflect her collection of religions. She purposely painted the entire sculpture black to obliterate the past histories of the pieces and unify the work in the black "silhouette, or essence, of the universe.
Accordingly, she felt the black paint provided her works with an air of greatness and regal enormity. Both the palette and scale of the piece radically shifted the notion of what kind of work a woman artist could create. Sky Cathedral was part of the series of exhibitions in that marked Nevelson's rise to notoriety. Ben Mildwoff. Nevelson chose to focus on her artistic career rather than her family, and that decision directly informed the installation she titled Dawn's Wedding Feast.
Bride and Disk and Groom and Disk were originally part of that installation and collectively represent nearly ten years of Nevelson's sculptural practice. She used a process similar to that of Sky Cathedral to create all of the elements that made up this final installation. However, rather than paint the various sculptures black, she chose an all-white palette for the wedding-themed installation.
During this period in her career Nevelson actually kept two separate studios, one for the creation of black sculptures and the other for white works.
This separation illustrates just how deeply she believed in the fundamental duality and power of the two opposing tones. For Nevelson, white signified the "emotional promise" and "summoned the early morning," making the hue perfect for a work that examined weddings, a life-event that is typically laden with emotional promise.
The disks attached to the columnar bride and groom sculptures - both key figures in a nuptial celebration - represent the sun and moon, both also present at the allegorical wedding feast at dawn. These key figures, as well as the installation as a whole, reflected both Nevelson's own escape from the constraints of her failed marriage in her 40s as well as her unwavering commitment to her artistic career, a new and different marriage.
With the exhibition of Dawn's Wedding Feast , Nevelson effectively pioneered the idea of installation art, a format that was pivotal to the various postmodern art movements of the following decades. Pick Purchase Fund. As in many of her works, Nevelson created Royal Tide I as part of a larger series of works, which were exhibited at the Venice Biennale. However, for this series Nevelson chose to use gold paint, instead of black or white, to provide a new unifying palette for the wooden detritus that she built into the sculptural wall.
The gleaming gold extending from floor to ceiling lends Royal Tide I the feel of a sumptuous reliquary or gilded altarpiece, as if the abstractions of the sculpture were alchemically charmed in their transformation from ordinary castoffs to art object. It is quite telling that she labeled Royal Tide I and similar works as her "Baroque phase," effectively linking her modern abstract sculpture with the elaborate and ornate works of the 16 th -century Baroque era. In contrast to her more organically arranged pieces, Nevelson organized the individual pieces of Royal Tide I within a matrix of regularly sized wooden boxes and imposed a unifying order throughout the work.
The formal relation of these individual boxes and their contents to the whole wall reflects the meeting of opposites that Nevelson delighted in, imbuing both her artwork and her persona with a sense of the cultural clash she experienced as a child who left Tsarist Russia for America.
The palette of Royal Tide I also reflects her childhood emigration, since, as Nevelson noted, America was often referred to as the land where the streets were paved with gold. The color of the paint also illustrates Nevelson's preoccupation with royalty; she viewed herself as possessing regal qualities, and this notion fueled one of three recurring themes death, marriage, and royalty throughout her work.
Set off on a search for an art of her own making, she began to gather wooden objects on the streets of New York. Like her father, she made her career from wood and junk. Then she hit on the effect that monochrome paint had on the objects when assembled into groupings. The methods and materials that she pioneered during the s provided enough inspiration for a lifetime, and she was able to amplify her style by changes in scale from small-scale to room-size to outdoor installations , colour black to white to gold and imagery personal, cultural and universal.
Nevelson never stood back from the swirl of artistic ferment in New York. Nevelson sat on a panel and agreed to become a sponsor for future meetings. She served as a moderator at many of these meetings, including one in in which Willem de Kooning participated.
In , she was elected president of the New York chapter of Artists' Equity and held the position through Still, she managed to be touched by contemporary trends while maintaining a certain distance to secure her independence. In his catalogue essay, Arthur C. Danto speculates on the meaning that the colour black had for Nevelson. In fact, Danto says, 'black was not intended to contribute meaning to her work, but to induce a sort of alchemical transformation in work and viewer together, with monochrome black used only as a means'.
The first works that visitors to the Jewish Museum will see are the sculptures that make up 'Moving-Static-Moving Figures' c. These terracotta and tattistone sculptures are forceful testimonies to the power and presence of black in Nevelson's work. The shapes and figures seem ancient and modern and, in the end, timeless; the lines scratched into the wood could be primitive efforts at communication. The dichotomies continue: rough and polished, simple and sophisticated, childlike and mature.
Nevelson worked by improvisation. In the studio or in galleries setting up shows, she would, often, create in a quick, intuitive way that seems astounding given the harmonious arrangements that resulted.
A self-assured hand is evident in works from every period of her career. Walking through the exhibit, Nevelson's presence is as strong as that of her creations. In 'Mrs. N's Palace' , painted wood and black mirrored floor, Nevelson's use of her biography as a source is clear.
Fascinated by royalty, palaces, kings and queens, such images figured in many of her works, but here she created a palace for herself that is also a tomb filled with fragments from her life. Every inch of 'Mrs. N's Palace' - front, back sides, ceiling and floor - displays her sculpture. In this work, though, it is not the crowning glory of a life's work but a quiet reflection on the decline that comes at the end.
Symbolic elements in 'Mirror-Shadow VII' include a chair that faces inward and is pushed through a sculptural box, another box filled with cast-offs, and a circular form resting on a shelf that seems to indicate release.
The powerful presence of black in Nevelson's work is matched by the startling effect of her first publicly exhibited work in white. Even without knowing the work's impetus, coming upon Nevelson's 'Dawn's Wedding Feast' is a poignant experience. The artist created the wood installation for a show at the Museum of Modern Art in New York and hoped that the individual pieces of the assemblage would remain together. This was not the case, but Rapaport and the Jewish Museum's staff were able to secure loans from twelve museums and private collections to reassemble the work.
Although, or perhaps because, Nevelson's own marriage was not successful, the symbolism of marriage was important to her. In her sculpture, she brought together disparate and distinct entities to explore what remains and what changes through the alchemy of union.
The woman who felt that she was losing an essential part of herself married to a well-to-do businessman found herself in a marriage to art. The white paint in 'Dawn's Wedding Feast' is an emblem of hope, possibility and new beginnings.
For this exhibition, the year-old Nevelson was grouped with the younger generation of artists making waves in the international art scene, including the year-old Jasper Johns, year-old Robert Rauschenberg, year-old Frank Stella and year-old Ellsworth Kelly. In some ways, the exhibition represents a turning point for Nevelson. She took it as a chance to make a new statement and came up with a grand conception based on the theme of marriage.
The gold sculptures in the exhibit are somewhat disappointing, and visitors may find it difficult to articulate the reasons. The dignity and mystery conveyed by the colour black and the hope and possibility reflected by the colour white are solid perceptions. The gold sculpture does not elicit such clear perceptions. Sculptor Mark di Suvero, who learned of Nevelson's work in the late s when he moved to New York City and met her on two occasions, said he first saw some of her gold sculptures in in a show at the Whitney Museum.
According to di Suvero, he found them to be jarring. It was this kind of pandering art. The gold ones looked like - it wasn't that she was sanctifying these scraps. They were disturbing in the sense that they looked like she wanted to make them into costume jewellery. Like glitz, glitter Since Nevelson conceived of her sculpture as environments, it seems natural that she be offered and accept commissions for outdoor and indoor public installations.
These include works for religious institutions St. She was one of the first artists and only woman to play a major role in a renaissance of public art beginning in the s. She had rejected metal in the s for many reasons, including its association with war. Her son had served in the merchant marine. But for her public works, she embraced Cor-ten steel with gusto.
Before leaving the exhibition, visitors can see Nevelson's public works in the environments for which they were created on a video screen. Nevelson donated to the city the more than twenty-foot sculpture, which is based on a small wooden work of She chose the site on Park Avenue with her dealer Glimcher, who explained that she wanted to establish a connection between Spanish Harlem and the Upper East Side.
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