Pace opens an exhibition of rarely seen collages and sculptural wall reliefs created by Louise Nevelson

The First Art Newspaper on the Net    Established in 1996 Saturday, April 13, 2024

Pace opens an exhibition of rarely seen collages and sculptural wall reliefs created by Louise Nevelson
Louise Nevelson, Untitled, 1969. © 2022 Estate of Louise Nevelson / Artists Rights Society (ARS), New York.

PALO ALTO, CA.- Pace is presenting Louise Nevelson: Mirage, an exhibition of rarely seen collages and sculptural wall reliefs created by Louise Nevelson between the 1950s and 1980s, at its Palo Alto gallery. Running from February 25 to April 9, the show highlights the dialogues between Nevelson’s masterful but little-known collage works and her sculptural wall reliefs in painted black wood. The exhibition, which marks the first Bay Area presentation of the artist’s work since a 2016 show at Pace in Palo Alto, brings together two aspects of the artist’s practice that have seldom been considered in relation to one another. Following Pace’s show in Palo Alto, Nevelson’s work will be included in the main exhibition of the 59th Venice Biennale.

Featuring 15 collages and three sculptural wall reliefs, including two works from the key 1966 series Northern Shores, Louise Nevelson: Mirage focuses on the artist’s approach to graphic wall-based objects. Works of this kind—which incorporate combinations of metallic foil, cardboard, sandpaper, tape, wood, spray paint, printed paper, and newspaper—reflect Nevelson’s intense interest in materiality. Her work in collage, which she kept mostly secret during her lifetime, provided a new avenue for explorations of light, shadow, reflection, and line. The daily act of creating abstractions in her collages was inextricably linked with Nevelson’s celebrated sculptural practice.

In the economy of Nevelson’s studio, the collage works emerged as extensions of the same creative gesture that gave rise to her monochromatic, painted sculptures. The artist used store-bought Krylon spray-paint to transform everyday objects and bits of wooden detritus into abstracted geometric forms—the negative traces these spraypainted objects left on scraps of paper and cardboard would become graphic elements in her collages. Singular and idiosyncratic, Nevelson’s collages draw from the rich legacy of modernist collage cultivated by Pablo Picasso, Kurt Schwitters, Jean Arp, and other figures.

Collage, for Nevelson, was a language of radical honesty in which materials laid bare the stories of their origins. Tearing and re-combining traces of the past to produce a raw, unfiltered beauty, Nevelson developed an aesthetic of fragmentation and re-assembly that animated the spirit of all her work as an artist. The constellations of varied materials and forms in Nevelson’s collages shed light on the artist’s process and engagement in rigorous formal experimentations.

Nevelson’s collages were an intensely personal and private mode of expression for the artist. She began creating works of this kind in the early 1950s, but they were never intended for public exhibition. Aside from a few haphazard appearances and the occasional studio photograph, the collages remained mostly unknown until after the artist’s death in 1988.

Pace’s presentation in Palo Alto takes its title from a 1972 interview with Nevelson conducted by Pace Founder and Chairman Arne Glimcher. The artist said in the conversation, “For me black isn't black anyway, and color isn't color as such. Color is rainbow and is just as fleeting as anything on earth … And every minute it's changing through light. So it's a mirage.” While she is best known for her large-scale sculptures, Nevelson did not consider collage subsidiary in her practice. Rather, the medium offered her a way of working through ideas about composition, color, and form, exemplifying her insistence that “black isn’t black.” For Nevelson, collage was a way of being in the world—a prism into the truth of color as mirage.

Pace has represented Nevelson, with whom the gallery’s Founder and Chairman Arne Glimcher maintained a decades-long friendship, since 1963. The artist’s first solo exhibition with Pace in 1961 has been followed by numerous presentations dedicated to her expansive practice at the gallery’s international outposts. In the decades following Nevelson’s death in 1988, Pace has worked closely with the Nevelson estate and cultivated a fruitful relationship with the Louise Nevelson Foundation.

Louise Nevelson (b. 1899, Kiev; d. 1988, New York), a leading sculptor of the twentieth century, pioneered sitespecific and installation art. She is recognized for her sculptures comprised of discarded furniture and other wood elements found in the area surrounding her studio. Composing these elements into nested, box-like structures, she would then paint them in monochromatic black, white, or gold transforming disparate elements into a unified structure. She also experimented with bronze, terracotta, and Plexiglas, moving as well into collage, works on paper, and the realm of public art. With her compositions, Nevelson explored the relational possibilities of sculpture, summing up the objectification of the external world into a personal landscape. Although her practice is situated in lineage with Cubism and Constructivism, her sense of space and interest in the transcendence of the object reveal an affinity with Abstract Expressionism.

Today's News

February 27, 2022

Sotheby's NFT sale, expected to hit $30 million, suddenly canceled

Exhibition surveys the defining decades of the career of Jean Dubuffet

Pace opens an exhibition of rarely seen collages and sculptural wall reliefs created by Louise Nevelson

Exhibition focuses on Edvard Munch's later works and their relevance to contemporary art

Ryan Murphy announced as guest curator for Sotheby's 'Contemporary Curated' auction

Michael Hoppen Gallery opens an exhibition of photographs by Sirkka-Liisa Konttinen

Louise Giovanelli joins White Cube

Michael Hilsman's second solo exhibition with Almine Rech opens in Paris

The sweet smell of success: Records fall for Lalique perfume bottle collection

Tim Van Laere Gallery opens a solo show by Japanese-Swiss artist Leiko Ikemura

Acquisitions at ARCOmadrid 2022

The ABAA New York International Antiquarian Book Fair returns to New York from April 21-24

Laura Hanssens appointed Director of Herbert Foundation

11,000 free pairs of shoes will dance across New York

Major retrospective of Alma W. Thomas at Frist Art Museum examines artist's wide-ranging creative life

'Don Carlo' or 'Don Carlos'? Verdi comes to the Met in French

Bappi Lahiri, India's 'Disco King,' dies at 69

Bard Graduate Center opens two new exhibitions

Bonhams to offer first NFT edition of Nelson Mandela's artwork

Rising star Rachel Jones to rock Bonhams Post-War & Contemporary Art sale in London

Banksy's Bomb Middle England, Toxic Rat, Morons heads to Julien's Auctions

Solo exhibition of new collage works by John Stezaker opens at The Approach

Jona Frank collaborates with Alex Kalman to create immersive installation at the Bowdoin College Museum of Art

Modern Art opens an exhibition of new paintings by Julien Ceccaldi

Art In The Gambling History

Tips for saving money on your trip to Rome

Manual Wheelchairs: Everything You Need to Know

EyJay Inc. Founder and Artist is making his art known, from Toronto to the World

What to do in a case of fire?

Barrie City Council Approves Continued Work for Arts Centre

Explore the World Through Saudi Arabia Flights

Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .


Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

sa gaming free credit
Truck Accident Attorneys
Accident Attorneys

Royalville Communications, Inc
Founder's Site. Hommage
to a Mexican poet.

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site Parroquia Natividad del Señor
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful