Louise Nevelson Locks Gallery

Untitled, 1957
mixed media collage
40 x 32 inches

Louise Nevelson Locks Gallery

Untitled, 1957
painted wood construction
40 x 30 inches

Louise Nevelson Locks Gallery

Untitled, 1959
mixed media collage
46 x 36 inches

Louise Nevelson Locks Gallery

Untitled, 1979
collage: gilded wood form, 1/2 inch abrasive disk on cardboard, etching on paper, and matboard mounted on 1/4 inch luan plywood
32 x 20 inches

Louise Nevelson Locks Gallery

Untitled, 1981
collage: wood, paint, cardboard, and paper on mounted on 1/4 inch luan plywood
32 1/8 x 20 inches

Louise Nevelson Locks Gallery

Untitled, 1981
collage: mirrors, grey and white cardboard, black paint, grey mat board mounted on 1/4 inch luan plywood
30 x 19 7/8 inches

Louise Nevelson Locks Gallery

Untitled, 1983
polychrome collage
30 3/16 x 20 inches

Louise Nevelson Locks Gallery

Untitled, 1983
collage: mirror, black painted wood, and mat board mounted on 1/4 inch luan plywood
30 1/8 x 20 1/4 inches

Louise Nevelson Locks Gallery

Untitled, 1983
mixed media collage
30 1/8 x 20 inches

Louise Nevelson Locks Gallery

Untitled, 1983
collage: wood, mat board, and cardboard on 1/4 inch luan plywood
30 1/8 x 20 inches

Louise Nevelson Locks Gallery

Untitled, 1983
polychrome collage
30 x 20 inches

Louise Nevelson Locks Gallery

Untitled, 1984
mixed media collage
30 x 20 inches

Louise Nevelson Locks Gallery

Royal Tide III, 1961
gold painted wood construction
93 1/4 x 68 1/8 x 11 3/4 inches

Louise Nevelson Locks Gallery

Untitled, 1979
thirty black painted wood and mirror elements
78 x 65 x 17 inches

Press Release

Locks Gallery is pleased to present Louise Nevelson: Sculpture and Collage, on view March 2nd through April 13th, 2012. There will be an opening reception on Friday, March 2nd, from 5:30 to 7:30pm.

Louise Nevelson’s fiercely independent approach to sculpture has become an iconic achievement in postwar art. Working primarily in wood—often found and discarded—the artist’s assemblages create environments of light, shadow, architecture and spatial dynamics. Her stacks of constructed boxes, each with intricate interior spaces became a signature approach. A selection of wood wall constructions and collages (in effect her drawings), shown side-by-side offer insight into her evolving ideas about materials and assemblage. The works on view date from 1957 to 1981 and include a gold sculpture from her important Royal Tide series. Nevelson’s decision to uniformly paint all of her constructions a single color was fully realized by the 1950s—she chose gold after first working only in black, then white. In describing the gold sculptures, she noted with irony and as an immigrant, “They promised that the streets of America would be paved in gold.”

Louise Nevelson was born in Kiev, Russia in 1899 and emigrated to the U.S. at age five. She studied at The Art Students League of New York, painted with Hans Hoffman in Germany, and worked as an assistant for Diego Rivera. She was featured in the U.S. Pavlillion in 1962 and 1976. The subject of retrospectives at the Whitney Museum of American Art, NY, in 1967 and 1998, she also had an international traveling restrospective in 1973. Louise Nevelson died in 1988.