http://utw10658.utweb.utexas.edu/items/browse?tags=2005.1&output=atom <![CDATA[Blanton Museum of Art Collections]]> 2024-03-28T05:10:46-05:00 Omeka http://utw10658.utweb.utexas.edu/items/show/2891 <![CDATA[Dawn's Presence - Two Columns]]> Manhattan frequently inspired Louise Nevelson. She saw the city as a monumental and ever-changing sculpture. “All I need is to feel New York coming through the wall,” she told a reporter the year this work was first exhibited. Composed of found wooden objects from lower Manhattan and seen in the round, Dawn’s Presence—Two Columns evokes a city-like perspective; just as buildings in a skyline appear to shift as the viewer walks around them.

Nevelson built her career on the color black, which first coated her monochromatic sculptures and wooden installations in the 1950s. She exhibited her first white-painted sculptural installation in 1960. The artist broke up the larger pieces of the installation and reintroduced them later as discrete sculptural works such as this—a frequent practice of hers. The artist first exhibited Dawn’s Presence—Two Columns in New York in 1976 as part of a larger work comprised of several loosely arranged sculptural towers. Nevelson explained, “If you paint a thing black or you paint a thing white, it takes on a whole different dimension. I feel that white permits a little something to enter . . . a little more light, just as you see it in the universe.”
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2017-06-16T17:01:42-05:00

Dublin Core

Creator

Louise Nevelson

Title

Dawn's Presence - Two Columns

Date Created

1969-1975

Spatial Coverage

294.6 cm x 170.2 cm x 78.7 cm (116 in. x 67 in. x 31 in.)

Identifier

2005.1

Medium

Painted wood

Description

Manhattan frequently inspired Louise Nevelson. She saw the city as a monumental and ever-changing sculpture. “All I need is to feel New York coming through the wall,” she told a reporter the year this work was first exhibited. Composed of found wooden objects from lower Manhattan and seen in the round, Dawn’s Presence—Two Columns evokes a city-like perspective; just as buildings in a skyline appear to shift as the viewer walks around them.

Nevelson built her career on the color black, which first coated her monochromatic sculptures and wooden installations in the 1950s. She exhibited her first white-painted sculptural installation in 1960. The artist broke up the larger pieces of the installation and reintroduced them later as discrete sculptural works such as this—a frequent practice of hers. The artist first exhibited Dawn’s Presence—Two Columns in New York in 1976 as part of a larger work comprised of several loosely arranged sculptural towers. Nevelson explained, “If you paint a thing black or you paint a thing white, it takes on a whole different dimension. I feel that white permits a little something to enter . . . a little more light, just as you see it in the universe.”

Rights Holder

Purchase as a gift in memory of Laura Lee Scurlock Blanton by her children, 2005

Date

Pereyaslav, Russia, 1899 - 1988, New York, New York

Type

sculpture

Has Version

http://utw10658.utweb.utexas.edu/plugins/Dropbox/files/object_images/ART New/2005.1.zif

Requires

17285
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