Search Details

Word: nevelson (lookup in dictionary) (lookup stats)
Dates: during 1990-1999
Sort By: most recent first (reverse)


Usage:

Smith's work is at its best with the 1960 "Doorway on Wheels." Another assemblage of found and manufactured elements arranged in a strikingly two-dimensional form, this piece recalls Louise Nevelson's monumental works. The work's visual center is not the titled egress, but rather the bow of diamond-forms and supports that it frames...

Author: By Frank A. Pasquale, | Title: David Smith's Abstract Identity | 11/30/1995 | See Source »

...Abstract Art" underpublicized and virtually hidden behind an exhibition of antique clocks. The show opened December 11, but it has not received the exposure and recognition it deserves. The exhibition examines the uses of color and tones in abstract art, spanning from Picasso's Cubist collages to Louise Nevelson's monochromatic sculptural reliefs...

Author: By Mark Roybal, | Title: Significant `Shades' | 1/21/1994 | See Source »

...ground. Here, the paintings themselves become part of a larger painting, with the wall of the room its canvas. Kelly has broken the barriers of the canvas and expanded the field of space in order to create large planes of pure color--or in this case, pure shades. Louise Nevelson blurs the lines of sculpture and painting in Study for Sky Covenant (1973) and Total Totality. She frames numerous, irregular shapes of wood pieces and paints them black. Because of the different textures, angles, and spaces of these forms, different shadows are created and provide the works with interesting color...

Author: By Mark Roybal, | Title: Significant `Shades' | 1/21/1994 | See Source »

...Borofsky's flatulent bits of pictorial free association, or Keith Haring's cute squiggle salads, be thought more original, let alone more beautiful, than the best work of, say, Susan Rothenberg, Nancy Graves, Elizabeth Murray or Vija Celmins? Where are those formidable senior talents, the two Louises, Bourgeois and Nevelson, without whom no account of the post-Surrealist vein in America can be adequate? And what about -- but enough, enough already. One can see why there's a big self-portrait by Philip Guston, full of weltschmerz and peeking nervously over the top of a wall. He must have been...

Author: /time Magazine | Title: Art: The View From Piccadilly | 10/4/1993 | See Source »

| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | Next