Louise Nevelson

Louise Nevelson, Mirror-Shadow VII, 1985, Photo by: G.R. Christmas/ Courtesy The Pace Gallery. © 2012 Estate of Louise Nevelson / Artists Rights Society (ARS), New York.

Naples Museum of Art

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By Veron Ennis

The monumental collection of work in the exhibition “Louise Nevelson” at Naples Museum of Art is comprised of precious slices of Nevelson’s career. The black wood assemblages range from 1956 to 1984. Organized by the museum and the Pace Galleries, New York, the selection includes “the last great works by Nevelson not in museum or private collections,” says Jeff Burch of PaceWildenstein Gallery.

Like the gates of heaven, Nevelson’s majestic white sculptural environment Dawn‘s Forest (1985), newly acquired by the museum in 2010, heralds what awaits inside the exhibition. The first encountered wall unit, Spring Street (1984), was one of the final works left in Nevelson’s studio when she died. Its profound, engulfing grandeur is unavoidably emotional, contrary to its light and uplifting title. End of Day Nightscape (1973) anchors one room, spreading from wall to wall, embodying the vastness and complexity of what could be the lights, buildings and city blocks of New York.

“The acquisition of Dawn’s Forest inspired a closer look at Nevelson,” explains Jessica Wozniak, Curator of Education at the museum, “and hosting the exhibition thoroughly expanded the educational experience.” Wishing there had been a thorough, printed catalogue of the show, I left with full understanding that this collection will have enduring significance in American modern art.