Born On This Day- September 23rd... American Artist Louise Nevelson

Nevelson by Avedon

I have a keen interest in American 20th century art, but I know more than even a dilettante like me should about Louise Nevelson. I had a good friend in the 1980s, who wrote a one woman show about Louise Nevelson, & I was present for most of her research & preparation.



Nevelson is known for her abstract expressionist “crates” grouped together to form a new creation. She used found objects or everyday discarded things in her assemblages, one of which was 3 stories high: "When you put together things that other people have thrown out, you’re really bringing them to life – a spiritual life that surpasses the life for which they were originally created."




She was born Leah Berliawsky in Kiev in 1899, & was raised in Rockland, Maine From early childhood Nevelson wanted to be a sculptor, with wood as her medium. It took her more than 6+ decades to make her mark in the art world. Nevelson had one unhappy marriage when she was 18 years old. The union with business man-Charles Nevelson lasted for a decade, & produced one child, a son-Myron. Nevelson left her marriage in 1931 & devoted herself to her art. She would go an entire decade before her 1st exhibit, which was failure. Nevelson had a 2nd show in 1943 & sold nothing. She took the entire show back to her studio & destroyed every piece. After changing direction, & after years of creating small scale pieces, Nevelson's breakthrough large works in wood were critically hailed in the late 1950s. She infused abstract art with her personal story: the epic Jewish migration to the United States between the 1880s & the 1920s, her life as a woman artist, & her involvement in American modernism functioned as the source for her vast body of work.

Nevelson was the entrée for the USA at the Venice Biennale in 1963, but was still not able to make a living from the sale of her work Around this time she met the young artist-Diana MacKown. They soon moved in together. A new period of success & a more concentrated, engaged work followed. Most biographies & Nevelson’s NY Time obituary fail to mention their 26 year relationship. Nevelson’s son & heir had a metal door installed at the apartment the women shared above their studios. He had been estranged from his mother most of his life, but Nevelson had made no provisions for MacKown in her will. MacKown was supported by Jasper Johns, Edward Able, John Cage, & Merce Cunningham when she filed a lawsuit.


I met her once, at her opening of an exhibit at the Pace Gallery. She was there in her trademark scarf & gypsy garb. I was there with a contingency of friends of the actor- Michael Higgins with whom Nevelson was acquainted. She sat in the back room, & received selected visitors who came to pay her court. Tammy Grimes was next in line to pay her respects. Nevelson looked at her blankly. Grimes seemed to have blushed: “I’m Tammy Grimes, I am an actress.” Louise still looked puzzled, but she was polite. “How nice to see you” she answered regally.

“You see, I think that we have measurements in our bodies. Measurements in our eyes. Look, dear, we walk on 2 feet. So we're vertical. That doesn't mean the work has to be vertical, but it means there is a weight within ourselves, or this flight. All these things are within the being: weight, measure & color. If the work is good work, it is built on these laws & principles that we have within ourselves. So when you use a vertical line or a horizontal line, or a texture or the way the shadow falls or a thinner piece or a heavier piece, it all kind of satisfies something in the soul - or, I don't like the word soul, satisfies something within the deed.You add or subtract until you feel. . . the form, the principle, that something that makes the house stand, that makes you stand."