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Night Presence II

Louise Nevelson (AKA Louise Berliawsky), American (born Russia), (September 23, 1899–April 17, 1988)

Creation date: 1976
Creation place: United States

Other Information

Type: Steel Sculpture
Medium and Support: Welded Cor-Ten Steel
Credit Line: Museum purchase through the Earle W. Grant Endowment Fund
Accession Number: 1976.137
Dimensions: 155 5/8 in. x 95 3/4 in. x 55 1/4 in. (395.29 cm x 243.21 cm x 140.34 cm)
Currently on view

Provenance

Pace Gallery, New York, New York (1976 - April 21, 1976)

Louise Nevelson, New York, New York (1976 - 1976)

San Diego Museum of Art, San Diego, California (April 21, 1976 - )

Label Copy

Sculpture, Fine Arts Gallery, San Diego, 1977.
The images and symbols of Nevelson are composed of discarded commonplace things: tenement building remnants, driftwood, lumber yard discards, found objects and the viewer is invited to explore familiar objects and to make new discoveries in a unique environment. These sculpture collages can be walled in reliefs, sanctuary showcases, shadow boxes or silent minarets. "Night Presence" executed in Corten steel (designed to have protective coating of rust on the sculpture) is a copy of a smaller piece done in wood; a 22 foot model stands on Park Avenue in New York.

San Diego Museum of Art
May S. Marcy Sculpture Court and Garden, brochure c. 1978
The calm composure and majestic restraint in his nude bronzes identify Maillol as a true classicist. "L'Ile de France," a girl wading wading, represents his most often repeated female form whcih he considered the most ideal beauty. "Leda" an earlier work suggest even her name the heritage from antiquity.
San Diego Museum of Art
May S. Marcy Sculpture Court and Garden, brochure c. 1978
Foremost among all sculptors working with discarded objects was, and remains, Louise Nevelson. In her uncompromising formal rigor she betrays the Cubist-derived aesthetic sophistication that underlay the art of the sixties and provided a common bond among virtually all its practitioners, whatever their stylistic persuasion. Her famous "walls" contain commonplace objects in stacked and inteconnected boxes and crates, but they have the air of being collections of treasured trophies. The unerring balance of expressive power and hermeticism sustains the inventions that she continues to pour forthe with undiminished vigor.
Last Updated: 12/10/2020

Exhibition

This object was included in the following exhibitions:

Sculpture, Fine Arts Gallery, San Diego , 1/1/1977 - 4/1/1977

San Diego Museum of Art: May S. Marcy Sculpture Court and Garden , 1/1/1978 - 00/00/00

May S. Marcy Sculpture Court & Garden , 8/2/2012 - 00/00/00

Bibliography

This object has the following bibliographic references:

Ms. Mary Stofflet. San Diego Museum of Art, San Diego Museum of Art. San Diego, California, 1993
Page Number: 178, 219, Figure Number: 219

Louise Bostock Lang, ed. Eyewitness Travel Guides: California Dorling Kinderley Limited. London, England, 1997
Page Number: 247, Figure Number: 247

Ms. Betti-Sue Hertz. San Diego Museum of Art, San Diego Museum of Art. San Diego, California, 2003
Page Number: 237, Figure Number: 237

Marks

Signature, Top center:

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