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displayed in a series of career-advanc- pate in the MoMaks exhibit, the artist
ing, one-woman shows at the Grand
wrote, "Dear, we'll make a white show"
Central Moderns on East 56th Street
And so it was. Replete with her
in Manhattan.
boxed cubby-holes filled with meticu-
Drawing on American Indian
lously arranged wood shards and
imagery, First Personage employs an
found objects, Dawn's Wedding Feast
8-foot slab of undulating wood with
reflected Nevelon's final reckoning
a knot in its upper quarter that, the
with the marriage and family life that
artist once said, spoke to her when
never was. The color white, she had
she was constructing the sculpture.
said, symbolized a new beginning, the
Jutting out from the left of the slab is
dawn of a new day.
a series of sharply cut spikes, suggest-
In the 1960s, now secure financially
ing that behind the smooth surface is
and with public and private commis-
an agitated id claiming center stage
sions rolling in regularly, Nevelson
in the artist's autobiography:' Rapaport exuded a confidence in her private life
writes in the catalogue.
that came in tandem with her public
First Personage was purchased by
one. In 1963, she got involved with
another woman, Diana MacKown, who
the Brooklyn Museum of Art in 1957,
and the Grand Central Moderns shows lived and worked with Nevelson until
that contained it edged Nevelson ever
Nevelson's death in 1988. Her work,
closer to that elusive dream: success.
too, took on a more monumental (and
Hilton Kramer of the New York Times
sometimes garish) scale.
called the exhibitions "remarkable and
On display at the Jewish Museum
unforgettable." Dore Ashton, also in the are two of her monochrome gold-
Times, called them "always cadenced
painted sculptures, which assume the
and witty," and writing in Arts maga-
artist's hallmark stacked cubical struc-
zine, James Mellow, commented, "This ture. Also on display — one in the
one piece, assembled with others,
flesh, the others scrolling on a nearby
forms a small universe of sentinel
flat-screen TV — are Nevelson's steel
shapes charged with personality."
structures, part of her "Atmosphere
Taking her cue, Nevelson stepped
and Environment" series, which were
out into the light. Beginning in the
commissioned and still stand promi-
late-1950s, Nevelson began the "self-
nently on campuses like Princeton
fashioning" that, at times, detracted
and the Massachusetts Institute of
from the sheer beauty and innovation
Technology, as well as in the Civic
of her work. But Nevelson was no
Center Mall in Scottsdale, Ariz.
dummy, and she knew that if her art
Despite all public enthusiasm for
was to be revered — made, no less, by her work, Nevelson didn't let the suc-
a woman in an industry obsessed with
its men — she had to create a public
Retrospective on page 58
persona as equally stunning as her art.
"I'll use a lie if it works:'
she once said.
And despite all the
posturing, there is little
doubt that Nevelson's work
remained truthful to its
core. The seminal Dawn's
Wedding Feast (1959),
which is displayed for the
first time with almost all
its parts since it was first
shown at the MoMA!s
"Sixteen Americans" show,
remains a deeply personal
work. Though Nevelson had
until then made her name
by using monochrome
black-painted sculptures
— she deemed black "the
most aristocratic of all" —
Louise Nevelson's Transparent Horizon,
when "Sixteen Americans"
1975,
Massachusetts Institute of Technology,
came around, she broke
Cambridge,
Mass., is an example of the sculp-
her own mold. In a letter
tor's
commissioned
works in steel from the
to Dorothy C. Miller, who
"Atmosphere
and
Environment"
series.
invited Nevelson to partici-

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Opening reception
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Exhibition runs through October 7

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