000			01900nam a22001935i 4500
020			_a9780300236705 (set) _c$2541
040			_aDLC _beng _cDLC
082			_a700.411
100	1		_aBryan-Wilson, Julia
245	1	0	_aLouise Nevelson's Sculpture : drag, color, join, face _cJulia Bryan-Wilson
260			_aNew Haven and London _bYale University Press _c2023
300			_a4 vol. _bcol. ill.
500			_aIn slipcase
520			_a"In this radical rethinking of the art of Louise Nevelson (1899-1988), Julia Bryan-Wilson provides a long-overdue critical account of a signature figure in postwar sculpture. A Ukraine-born Jewish immigrant, Nevelson persevered in the male-dominated New York art world. Nonetheless, her careful procedures of construction--in which she assembled found pieces of wood into elaborate structures, usually painted black--have been little studied.Organized around a series of key operations in Nevelson's own process (dragging, coloring, joining, and facing), the book comprises four slipcased, individually bound volumes that can be read in any order. Both form and content thus echo Nevelson's own modular sculptures, the gridded boxes of which the artist herself rearranged. Exploring how Nevelson's making relates to domesticity, racialized matter, gendered labor, and the environment, Bryan-Wilson offers a sustained examination of the social and political implications of Nevelson's art. The author also approaches Nevelson's sculptures from her own embodied subjectivity as a queer feminist scholar. She forges an expansive art history that places Nevelson's assemblages in dialogue with a wide array of marginalized worldmaking and underlines the artist's proclamation of allegiance to blackness."
600			_aNevelson, Louise, _d1899-1988
650			_aSculpture, American _y20th century
650			_aSculpture, Modern _y20th century _zUnited States
942			_cBK
999			_c16964 _d16964