Although the majority of works in this exhibition are painted entirely black Nevelson also created many ‘wood painted white environments’ specifically for the Federal Courthouse, Philadelphia and a church at Citicorp Centre, New York. Maybe the choice of black work here was meant to reflect the impact of ‘black’ as a fashionable colour in 50’s/60’s New York and the impact it undoubtedly had on her art.
As I walked around the peaceful, but disturbingly quiet rooms, I noticed most of the exhibits were untitled. Of this I was glad, in a way, because I’d rather the collection of objects be untitled than dubbed ‘blue morning dew on a Venus’s rump’ by some pretentious ponse. However, Nevelson described her art as not simply a collection of objects but believed, once they were arranged by an artist with a creative mind, they took on a new form with the combination producing an overall effect greater than the sum effects of its parts. A striking technique used in 5 of the works is the stacking of small, equally sized wooden boxes to form a sculpture maybe 10 feet high, each filled with a variety of doorknobs, spindles and jigsaw-cut curved objects. The whole ensemble is painted opaque black, stripping each object of its original identity and allowing the piece to homogenise and attain the new form that Nevelson strived to achieve.
Louise Nevelson
Cascade VII, 1979
wood painted black
8' 10" x 10' 10" x 1' 4" (269.2 cm x 330.2 cm x 40.6 cm)
Photo by: Bill Jacobson / Courtesy PaceWildenstein, New York
© Estate of Louise Nevelson/Artists Rights Society (ARS), NY
My favourite pieces were those on the upper floor that were simpler in their construction with fewer rigid lines, where, if you looked at them in a certain way, a definite flow could be seen. One section of arcing bentwood chair might lead into the flowing line created by a piece of ornamental headboard, ending in a spiral effect produced by an elaborate spindle. The upper floor works tended not to be completely painted, sometimes just a few brush strokes and splashes of paint were used, which I thought was just as effective as the all-black approach for different reasons. Leaving rusted and paint-splattered oil cans uncovered allows you to see the history of the item, which I really liked, even though Nevelson said that her intention was for the viewer not to ponder each object’s past but rather to observe the piece as a whole.
Louise Nevelson didn’t go without praise for her work while she was alive, rather the opposite, being granted various honorary degrees and being twice elected president of the National Artist’s Equity. This was an organisation that got together with other artists around the world along with representatives of scientific and governmental fields to take part in the Conference of World Affairs. She was also the first vice-president of the Federation of Modern Painters and Sculptors.
I have to admit I’m not a great fan of sculpture myself but I did enjoy this exhibition and will look out for Nevelson’s name in the future and for those who were influenced by her. I’d recommend going to the Louise Blouin Foundation for a look at the show yourself.
Louise Nevelson: Dawns and Dusks
Until 10 June 2009
Louise Blouin Foundation
3 Olaf Street London W11 4BE
http://www.ltbfoudation.org/
Open Tues-Fri 10am-6pm
Thursday 10am-9pm
Saturday midday-6pm
Nearest Tube: Latimer Road
Take the Hammersmith and City to Latimer Road. Exit the station, turn left. Walk approx. 100m until the road forks. Take the right fork. Continue down this road until you reach Olaf St. on your right.
Posted by Stu
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