Edited by Caitlin Julia Rubin. Foreword by Luis A. Croquer. Text by John Gordon, Jennifer Wulffson Bedford, Jennie C. Jones.
Documenting Louise Nevelson's first museum retrospective
In 1967, for her first museum retrospective, Louise Nevelson (1899–1988) was given carte blanche to transform the Rose Art Museum at Brandeis University into an all-emcompassing, theatrical environment for her sculpture. Nevelson installed her show across the whole museum, draping the walls of the permanent collection with the colors that reflected the black, white, gold and navy palette of her works. Louise Nevelson: I Must Recompose the Environment includes previously unpublished exhibition layouts (annotated by Nevelson), installation photographs and texts that place this show in the context of Nevelson's career and the museum’s early history. This publication accompanies the now out-of-print catalog of the 1967 show organized in collaboration with the Whitney Museum and serves as a document both of the then-nascent museum and the solidifying legacy of an artistic icon.
Featured image is reproduced from 'Louise Nevelson: I Must Recompose the Environment.'
in stock $30.00
Free Shipping
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
In the spring of 1967, the Whitney Museum of American art gave Louise Nevelson her first major museum retrospective. (She was 68 years old.) Afterwards, the show traveled to the young and hungry Rose Art Museum at Brandeis University, where the artist was given total freedom to go big. "Everything, upstairs, downstairs, even the stairwell," was turned over to the artist, according to a September, 1967 review in the Boston Globe. "Everything except a measly little desk by the door which was glared by sunshine had been stripped to allow Nevelson’s work to be the sole thing in the place, to BE the place. I must recompose the environment, she had said. Windows had been blocked out, permanent unmovable exhibits covered, decorations obliterated, walls repainted." This refreshingly concise volume, published by Inventory Press and Rose Art Museum, does an excellent job of bringing that historic show to life. Called a "welcome, historical deep dive," by Ursula editor Randy Kennedy, it is "the product of an adventurous faith in artists that more museums should revisit today." continue to blog
FORMAT: Pbk, 7.25 x 9 in. / 88 pgs / 30 duotone / 50 b&w. LIST PRICE: U.S. $30.00 LIST PRICE: CANADA $45 GBP £27.00 ISBN: 9781941753231 PUBLISHER: Inventory Press/Rose Art Museum AVAILABLE: 6/18/2019 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: WORLD
Published by Inventory Press/Rose Art Museum. Edited by Caitlin Julia Rubin. Foreword by Luis A. Croquer. Text by John Gordon, Jennifer Wulffson Bedford, Jennie C. Jones.
Documenting Louise Nevelson's first museum retrospective
In 1967, for her first museum retrospective, Louise Nevelson (1899–1988) was given carte blanche to transform the Rose Art Museum at Brandeis University into an all-emcompassing, theatrical environment for her sculpture. Nevelson installed her show across the whole museum, draping the walls of the permanent collection with the colors that reflected the black, white, gold and navy palette of her works. Louise Nevelson: I Must Recompose the Environment includes previously unpublished exhibition layouts (annotated by Nevelson), installation photographs and texts that place this show in the context of Nevelson's career and the museum’s early history. This publication accompanies the now out-of-print catalog of the 1967 show organized in collaboration with the Whitney Museum and serves as a document both of the then-nascent museum and the solidifying legacy of an artistic icon.
