Louise nevelson biography arthur
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Louise Nevelson (–) moved to New York City in , where she later studied at the Art Students League (–30) beneath the tutelage of Kenneth Hayes Miller. She continued her education by studying with Hans Hoffman in Munich and working as an assistant to Diego Rivera prior to participating in her first group exhibition organized by the Secession galleri at the Brooklyn Museum in As a part of the Works Progress Administration, Nevelson taught art at the Education Alliance School of Art and received her first solo exhibition at the Nierendorf Gallery in New York City. During the mid-Fifties that she produced her first series of black wood landscape sculptures. Shortly thereafter, three New York City museums acquired her work: the Whitney Museum of American Art purchased Black Majesty (), The Brooklyn Museum purchased First Personage (), and The Museum of Modern Art purchased Sky Cathedral (). Pace has represented Nevelson's estate since
SELECTED BOOKS
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Artist Spotlight: Louise Nevelson
This is a REPOST of a blog I wrote in for my Master&#;s degree in Graphic Design. I chose to study geometry in relation to natural and man-made design. Because this is an academic paper, it&#;s structured differently to my normal posts and includes formal REFERENCES &#; please don&#;t be alarmed!
&#;Some of us come on earth seeing,
Some of us come on earth seeing color.&#;
&#; Louise Nevelson
Louise Nevelson (—) was a Russian-born American sculptor who created intricate, abstract geometric art out of pieces of wood and debris that she found on the street of New York City where she lived. Her sculptures held a grand and intimidating appeal, many of them towering walls made up of individual boxes, which were filled with the objects she found.
I am drawn to Nevelson&#;s work because it is comprised of detritus that most people discard, ignore and believe to be useless. She scavenged most of the wood used in her sculptures and from this scrap
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Guests remember how, at a dinner given by the Israel Museum in honor of Louise Nevelson, the sculptor stood up and said, "First of all, I want to thank . . . myself."1 No one was more aware of the extent of her contribution to contemporary art, nor knew better the lifelong effort it took, than she. It was sheer force of personality&#;a powerful combination of talent, perseverance and
guts&#;that enabled Nevelson to will her art onto a reluctant world.
When Nevelson began exhibiting her work in the times were not ready for her and whatever critical acclaim came her way was rendered almost consolatory by her gender. An unnamed critic in Cue magazine wrote of her first exhibition: "We learned the artist was a woman in time to check our enthusiasm. Had it been otherwise, we might have hailed these sculptural expressions as by surely a great figure among moderns." Nevelson's breakthrough moment occurred in when curator Dorothy Miller invited her, at the age of 60, to be in the "1