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On her numerous trips to Mexico, her knowledge of pre-Hispanic sculpture grew, which allowed her to renew her artistic discourse. Beginning in the nineteen fifties, she gained more recognition for her work and began assembling wood, a style for which she would later be recognized and into which she integrated a great many residual, discarded, or abandoned objects. Among these are chair seats, stair rails, picture frames, musical instruments, crates, boxes and clocks, and other objects.[3]
On her numerous trips to Mexico, her knowledge of pre-Hispanic sculpture grew, which allowed her to renew her artistic discourse. Beginning in the nineteen fifties, she gained more recognition for her work and began assembling wood, a style for which she would later be recognized and into which she integrated a great many residual, discarded, or abandoned objects. Among these are chair seats, stair rails, picture frames, musical instruments, crates, boxes and clocks, and other objects.[3]


In 1958 she presented her work Sky Cathedral Moon Garden Plus One, at the Grand Central Moderns Gallery. The work consists of a wall assembled with various objects, black and hefty. In 1959 she was part of the exhibition Sixteen Americans, presented at the Museum of Modern Art (MoMA). By the nineteen sixties, Manhattan's Pace Gallery became the artist's main exhibition center, putting on many of her shows. In 1962 she represented the United States at the Venice Biennale. By 1967, the Whitney Museum had presented a retrospective with one hundred of her works.
In 1953 she began her experimentation with the wooden assemblages for which she was recognized. He began by assembling entire walls with boxes, crates, chair seats, stair railings, balustrades, keels, musical instruments, clocks, spheres, cylinders, among others3. All the assembled elements were painted in a single matt black, white or gold color. The large size of his works produced a special atmosphere in the galleries, which is why he is considered today as one of the precursors of the installation.

Revisión del 19:00 20 sep 2021

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Definición del mensaje (Leah Berliawsky Sadie)
Realizó numerosos viajes a México, donde conoció y profundizó en la escultura prehispánica, que le permitió renovar su discurso artístico. A partir de la década de 1950 adquirió más reconocimiento por su obra e inició el ensamblaje de madera, estilo por la que luego sería reconocida y en el que integró gran cantidad de objetos residuales, dejados o abandonados, para utilizarlos posteriormente en su obra. Entre estos elementos, están presentes asientos de sillas, barandales de escaleras, marcos de cuadros, instrumentos musicales, huacales, cajas y relojes, entre otros <refSculptor Louise Nevelson. CBS Sunday Morning on Youtube.
https://www.youtube.com/watch?v=axSNOTLluN8</ref>. En 1953 inició su experimentación con los ensamblajes de madera por los que fue reconocida. Empezó montando paredes enteras con cajas, huacales, asientos de sillas, barandales de escaleras, balaustradas, quillas, instrumentos musicales, relojes, esferas, cilindros, entre otros3. Todos los elementos ensamblados eran pintados de un solo color negro mate, blanco o color oro. El gran tamaño de sus obras producía una ambientación especial en las galerias, por lo que se le considera hoy en día como una de las precursoras de la instalación.

On her numerous trips to Mexico, her knowledge of pre-Hispanic sculpture grew, which allowed her to renew her artistic discourse. Beginning in the nineteen fifties, she gained more recognition for her work and began assembling wood, a style for which she would later be recognized and into which she integrated a great many residual, discarded, or abandoned objects. Among these are chair seats, stair rails, picture frames, musical instruments, crates, boxes and clocks, and other objects.[3]

In 1953 she began her experimentation with the wooden assemblages for which she was recognized. He began by assembling entire walls with boxes, crates, chair seats, stair railings, balustrades, keels, musical instruments, clocks, spheres, cylinders, among others3. All the assembled elements were painted in a single matt black, white or gold color. The large size of his works produced a special atmosphere in the galleries, which is why he is considered today as one of the precursors of the installation.

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