3 Olaf Street , London , W11 4BE

The Louise Blouin Foundation is delighted to announce its partnership with PaceWildenstein, to showcase the first major London exhibition of works by the sculptor LOUISE NEVELSON in nearly four decades. The exhibition, opening 30 April, will feature a collection of works highlighting the career of one of the most innovative and influential sculptors from the Post War period in America bringing together some of the most monumental and seminal examples of Louise Nevelson’s art from the 1950s to the 1980s. Louise Nevelson: Dawns and Dusks will be on view at Louise Blouin Foundation, 3 Olaf Street … (read more)

The Louise Blouin Foundation is delighted to announce its partnership with PaceWildenstein, to showcase the first major London exhibition of works by the sculptor LOUISE NEVELSON in nearly four decades. The exhibition, opening 30 April, will feature a collection of works highlighting the career of one of the most innovative and influential sculptors from the Post War period in America bringing together some of the most monumental and seminal examples of Louise Nevelson’s art from the 1950s to the 1980s. Louise Nevelson: Dawns and Dusks will be on view at Louise Blouin Foundation, 3 Olaf Street Notting Hill, from 30 April through to 14 June 2009. An opening reception will be held on Wednesday, 29 April from 6 to 9 pm.

Louise Nevelson continuously investigated the space between form and illusion, the space between painting and sculpture and between solid and void. “I always wanted to show the world that art is everywhere,” Louise Nevelson insisted, “except it has to pass through a creative mind.” Nevelson pioneered installation art in America with her assemblage environments of the 1950s. She collected detritus from a variety of urban sources including street-discarded furniture, scraps of wood, refuse from factories, hat forms, patterns and moulds. She then gave the elements a new identity by ‘cleansing’ them with a solid colour: traditionally white, gold or black. These elements were then composed in boxes, sometimes constructed but more often found or reclaimed objects. She would spend weeks or even years rediscovering and rearranging the boxes, reinventing these collections of identifiable materials laden with meaning into formalist constructions that subverted the original associations of found objects. The final state of completion would be a compound structure in the form of a wall that existed between form and shadow, between painting and sculpture.

With works never exhibited before, the exhibition includes large-scale painted black monochrome wood wall relief and free-standing sculptures ranging in size up to nearly 10 feet by 12 feet, and mixed-media collages on paper and board, which incorporate materials such as wood, paper, newsprint, paint, vinyl, metal, and other found objects.

Courtesy of the Louise Blouin Foundation

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