I picked Louise Nevelson because I thought it might be interesting to research a modern woman sculptor, and because Tidal Wave and Moon caught my attention in the Museum of Contemporary Art.
Louise Nevelson emigrated to the U.S. with her family as a small child from Czarist Russia in the early 20th century. She is especially known for her monochromatic sculptures made of assembled found wood. This material was a radical jump from what her male contemporaries were using, such as Isamu Noguchi and Alexander Calder’s metal welding. Her trademark became her dynamic form, coming from her studies of Cubism. She avoided using regular carpentry for her sculptures- her process became purely additive. For these sculptures she intentionally selected objects of intimate scale that became grander as part of the whole and combined with the environment. Subject matter she covered ranged from uprooted childhood, culture, and war, to nature’s divinity. She died in 1988.
What I liked about Tidal Wave and Moon was they mystery of each object as it was covered in paint. Along with each object’s mystery I also liked how all the little parts created a whole that was much more interesting than just one of the parts alone. I couldn’t really figure out what it could mean but I was able to see it like a map of the artist’s mind, or perhaps another kind of place. I got a positive feel from it and after researching that she had an additive process I think it’s kind of fitting that one might feel this. The organization of the objects seemed to be fit together very well; harmonized well, which may also have given me a feeling of positivity.
More links on Louise Nevelson:
Pictures + brief biography
Louise Nevelson Foundation
Arne Glimcher on Louise Nevelson’s “Sky Cathedral – Moon Garden + One”