September 16, 2016

A childhood immigrant to the United States from Russia, Louise Nevelson studied painting before coming to prominence as a sculptor in the late 1950s.

Gathering found objects from the urban environment around her studio in New York, she presented them within boxes.

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Each served as a composition in isolation, but Nevelson began to accumulate boxes on a grand scale in assemblages that she called ‘walls’.

‘Black Wall’ 1959 is one of the earliest of the large-scale works that Nevelson exhibited and constitutes an alternative portrait of the affluent consumer-driven New York City.

September 7, 2016

Theatre KAPOW recently began it's the fourth season of the ARTiculate Playreading Series (featuring new or rarely produced plays that relate to special exhibitions at the Currier Museum of Art) and will begin with a special reading of Edward Albee's 2008 "Occupant" read in relation to "Dream Houses XXXIII, 1972," by artist Louise Nevelson, which is housed in the Currier's permanent collection.

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Occupant by Edward Albee:
"Unapologetically flamboyant, New York sculptor Louise Nevelson's life was one marked by intrepid artistic triumphs as well as deep inner turmoil. In Edward Albee's Occupant, both her public accomplishments and private emotional conflicts are thoroughly examined by an unnamed interviewer who questions the posthumous Nevelson with an unabashed scrutiny. From her unique vantage point beyond the grave, Nevelson answers his queries with a clarity born of the distance provided by death. The result is a touching, humorous, and honest tribute to a woman who was a pioneer for free-thinking females everywhere, but also stood strongly on her own as one of the 20th century's greatest artistic minds. Edward Albee's Occupant is a testament of will, internal strength, and the cryptic force that continues to drive great artists." - Currier Museum of Art

June 30, 2016

A much-needed, comprehensive biography of a great American artist. Wilson, an art historian and practicing psychoanalyst, is perfectly suited to write this intimate, revealing biography of the artist she interviewed many times and considers ‘one of the greatest American artists of the twentieth-century.’ — Kirkus Reviews

Jun 07, 2016 – Jul 16, 2016

For the first time, Pace London presented an exhibition of sculptures by Louise Nevelson.

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PRESS RELEASE

Pace London is pleased to announce an exhibition of works by Louise Nevelson, surveying the artist’s practice from the mid-1950s until her death in 1988. The exhibition is the fourth solo presentation of the artist’s work ever in London and the first since 2009.

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Nevelson created her first assemblages in the mid-1950s, and quickly made an impact in the New York art scene with her pioneering approach to sculpture. Inspired by Cubism, Nevelson took scraps of wood and other materials found on the street near her studio and assembled them into free-standing and wall-mounted sculpture that she would paint a solid colour—most famously, black or white.

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Nevelson’s sculptures range from small assemblages to free-standing columns and monumental wall-based works consisting of multiple small compartments. Although the physical form of the scraps remains unchanged in her work, Nevelson subsumes them in an entire system, creating a unified whole from disparate parts. She insisted on the psychological and expressive virtue of her work, which was illustrative of a highly personal cosmology rooted in light and shadow.

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The exhibition coincides with Pace New York’s presentation of Blackness in Abstraction, a major exhibition organised by Adrienne Edwards, a curator at Performa and curator-at-large at the Walker Art Center. The exhibition considers the eponymous theme, treating Nevelson and her expressive treatment of black as a historic anchor for subsequent generations of artists.

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December 2, 2015

"New York's Pace Gallery had a hit with Louise Nevelson, a sculptor it has represented since 1963. The gallery sold 16 of her black assemblages for between $75,000 and $1 million apiece on Wednesday." Follow the link below to read the whole article about which artists to follow during Art Week Miami on the Wall Street Journal.

September 5, 2015 - July 23, 2017

"Dawn’s Forest" is Louise Nevelson’s largest, most complex environmental sculpture and her last major work.

Created in the artist’s signature assemblage style, the monumental sculpture is made of various white-painted abstract wood elements. The work’s monochromatic color gives a sense of unity to its disparate objects, the white finish suggestive of the untainted possibilities that dawn brings to each day. The tree-like standing columns, as tall as 25 feet, and vertical hanging pieces all underscore the forest-like atmosphere, allowing the viewer to walk under the “trees” as well as through them.

Nevelson worked on Dawn’s Forest for more than a year, completing it in the spring of 1986. It is unusual among her environmental sculptures because of its size and its color; most of her other large works were painted black. Commissioned by Georgia-Pacific and MetLife, Dawn’s Forest was displayed at the Georgia-Pacific Center in Atlanta from 1986 until 2010. It was gifted to The Baker Museum of Art in 2010.

September 22, 2012

Naples Philharmonic Center president and CEO Kathleen van Bergen speaks about her organization loaning Louise Nevelson's Dawn's Forest sculpture to Southwest Florida International Airport. The 12-piece abstract sculpture is expected to be installed at the airport before the holiday travel season. The Alliance for the Arts, in Lee County, is works with the Southwest Florida International Airport to place changing art in the terminal. 

January 14, 2012 - May 20, 2012

We are pleased to announce that works from Timothy Yarger Fine Art by famed sculptor Louise Nevelson will be on view at the Naples Museum of Art, Italy.

January 23, 2010 - December 31, 2011

Morehouse Wing (James Gallery)

Louise Nevelson is rightly recognized as one of America’s most important sculptors of the twentieth century and one of the most significant women artists the nation has produced, but few people know that she grew up in the small coastal village of Rockland, Maine. Her initial discovery of art took place at age nine in the Rockland Public Library, where she saw a plaster cast of Joan of Arc, the popular medieval French heroine of whom numerous sculptures were produced in America and Europe around the turn of the twentieth century. Her life as an artist began in earnest after she moved to New York City, and by 1962 her works were collected and shown by major museums throughout the world. Nevelson established her reputation as an innovative sculptor working in aluminum, plastic, Cor-ten steel, and wood, creating wall reliefs, free-standing sculptures, and large wall-sized boxes. The Farnsworth Art Museum mounted its early exhibitions of Nevelson in 1979 and1985. Between 1981 and 1985 Nevelson and other members of her family donated more than eighty paintings, prints, drawings, sculptures, and pieces of jewelry to the museum, helping to build the Farnsworth’s collection of the artist’s work into the second largest in the world.