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The first comprehensive monograph of Louise Nevelson, written by curator and art historian Germano Celant, is now available for sale on Pace’s website and at our gallery locations for a reduced pre-publication price!

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Happy Birthday Louise Nevelson!

“The greatest thing we have is the awareness of the mind. There we can build mansions. There we have all the things that are not given to us on earth.”
— Louise Nevelson, Dawns & Dusks by Diana MacKown, 1976, p.148

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Reblog of the day: We love this glimse into the past in which a great artist and a great writer meet for the first and last time.

amamblog:

In the early 1980s, American poet Allen Ginsberg rediscovered negatives and drugstore prints he had taken over a period of 40 years and began to systematically reprint his old pictures and make new ones.

As Ginsberg inscribed the snapshots directly onto the photographic paper beneath the image, the camera gradually replaced his notebooks as a way of record keeping. Louise Nevelson, New York, November 9, 1986 invites a viewing experience that oscillates between reading and looking and produces the kind of self-conscious observation Ginsberg aimed to capture and foment through his poetry or, as he famously said, “to notice what we notice.” Ginsberg’s understanding of life as sacramental informed his vision of photography as a way to preserve a fleeting moment. This photograph, taken at the first—and last—time Ginsberg met the artist and captioned sometime after her death in 1988, is a poignant and powerful portrait that both records and memorializes their meeting.

Image: 
Allen Ginsberg (American, 1926-1997)
Louise Nevelson, New York, November 9, 1986, 1986
Gelatin silver print
Charles Olney Fund, 2010.8 

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Louise Nevelson, City on the High Mountain, 1983. Steel painted black, 20’ 6” x 23’ x 13’ 6”. Storm King Art Center, Mountainville, NY. Photograph: Jerry L. Thompson.

Storm King Art Center opens to the public TODAY for it’s 2012 season!

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Louise Nevelson “Untitled”, 1964, wood painted black © 2010 Estate of Louise Nevelson / Artists Rights Society (ARS), New York. Courtesy of The Pace Gallery

Nevelson, who pioneered installation art in America with her assemblage environments of the 1950s, collected detritus lying on the street—scraps of wood, refuse from factories—discarded pieces of history shaped and chiseled by the passage of time, and resurrected it.  ”I always wanted to show the world that art is everywhere,” Louise Nevelson insisted, “except it has to pass through a creative mind.”

Pace’s Arne Glimcher on Louise Nevelson’s “Sky Cathedral - Moon Garden + One” (1957-1960)