London's Pace Gallery launches a retrospective of prominent sculptor Louise Nevelson

在战后纽约的鼎盛时期，一位60岁的俄罗斯侨民假睫毛和对头巾的热爱是当时的艺术家。

由塞西尔·比顿(Cecil Beaton)和罗伯特·梅普莱索普(Robert Mapplethorpe)合影的路易丝·内弗森(Louise Nevelson)现在被认为是艺术界最具标志性和最重要的人物之一，她以开创性的雕塑环境和她对装置艺术的贡献20世纪70年代，尼弗森的作品为女权主义艺术的发展铺平了道路，他的作品挑战了只有男性作品才可能是大规模的禁忌。

这是自1963年以来的第26次，也是她在伦敦的佩斯画廊首次亮相，Nevelson的作品将取代佩斯画廊，她将在50年代中期至1988年去世期间举办一场展览，对她的作品进行调查。Nevelson从旧建筑中打捞小块废木料，然后钉上钉子，把它们粘在一起，创作了从小型组装到独立立柱和以墙壁为基础的巨幅作品的雕塑，然后用实色-最著名的是黑色或白色-画它们。这位艺术家有意挑选木制品来唤起人们的回忆，但在她的木雕成名之后，她还探索了有机玻璃、铝和钢等材料。

除了展示一系列重要的单色雕塑外，展览还将包括在芝加哥和哈佛大学展出的艺术家为公共空间制作的钢模。泰晤士河

During the mid-1950s she produced her first batch of black wood sculptures, which the Whitney Museum decided to acquire, leading to her big break

Despite the unconventional materials used in her art, Nevelson's works established her reputation for sculptural bravado

Although primarily a sculptor, Nevelson shared with abstract expressionist painters an interest in creating large works that play with line, flatness and scale

Like her contemporaries Mark Rothko and Barnett Newman, Nevelson was interested in the sublime and spiritual transcendence

Outside of her influence on feminist art, her sculpture also heavily influenced the development of installation art of the late 1960s and 1970s

Nevelson's work is fundamental to the history of feminist art, as it challenged the dominant stereotype of the macho, male sculptor

Untitled, c. late 1970s, wood painted black. Courtesy of Pace Gallery

keywords:Louise Nevelson, sculpture, installation, exhibition, Pace Gallery, London, feminism

关键词：路易丝·尼夫森，雕塑，装置，展览，佩斯画廊，伦敦，女权主义