グッゲンハイム美術館のインスタグラム(guggenheim) - 7月11日 05時38分
“When I was a kid I saw pictures of Nevelson, and that gave me some faint hope that there could be an interesting life”— Jenny Holzer.
In the mid-1950s, Louise Nevelson began to assemble wooden objects into sculptures, aligning herself with artists who used accumulations of found and discarded items, in the tradition of assemblage. In “Luminous Zag: Night” (1971), 105 units are filled with rows of crenulated wooden beams, column fragments, and finials, while vertical and horizontal zigzags create dynamic, rhythmic patterns.
See this work on view in #ArtisticLicense, the museum's first exhibition curated by artists. Plan your visit at guggenheim.org/artisticlicense.
Photo: David Heald
#LouiseNevelson #Guggenheim
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scotthsanders
I love how she found most of her wood around Mott Street in SOHO.
When she passed, her son took over her building, threw away all of her remaining found wood (already painted black) and evicted her elderly lifelong friend. What a jerk...
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Nevelson made inky black lithographs at Tamarind Lithography Workshop in Los Angeles in 1963 and fell in love with the immediacy of ink on paper, too. We are big fans.
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