Intern Pick: Sky Chapel (1960), Louise Nevelson
Written by Sophia Plancich
Published on September 27, 2024
Emerging amidst a time of abstract expressionism, Louise Nevelson stands out for her unique ability to captivate viewers through the composition and form of her monochromatic works. Nevelson’s sculptures, composed of various objects, are visually striking, drawing the eye to their intricate assembly and composition. Her story is representative of the coveted ‘American Dream’, having migrated from Russia to the U.S. in 1905. Nevelson spent time in Maine before moving to New York City, where her career as an artist blossomed.
Nevelson’s signature style- monochromatic sculptures that emphasize form—memorializes her creative vision. Deemed the “Grandmother of Environments,” she worked with wooden scraps, boxes, and other found objects to construct her works, transforming ordinary materials into beautifully intricate pieces. These assemblages, with their focus on shape, form, and negative space, offer a constantly evolving visual experience.
At the Lowe Art Museum, one of Nevelson’s iconic works, Sky Chapel (1960), is on display in the Tobin Gallery. This sculpture was created just two years after her renowned Sky Cathedral (1958), which resides at the Museum of Modern Art in New York City. Though Sky Chapel is slightly smaller and more intimate, it retains the same depth of detail and captivating presence. Nevelson’s choice to work almost exclusively in monochromatic black (and later white and gold) reflects her belief that black is “the most aristocratic color,” a concept that, when juxtaposed with her use of discarded materials, challenges conventional notions of class and value. This provocative statement underscores the inherent tension in her work, centered in elevating scraps into objects of cultural significance.
Nevelson’s ability to transform everyday objects into compelling environments is what I find most striking. She referred to herself as “the original recycler,” demonstrating her creativity by repurposing materials that others might consider trash. Her works are breathtaking examples of how discarded items can be reimagined into something extraordinary.
The political climate surrounding immigration during her time adds another layer of depth to her creations. Through her innovative use of objects, their composition, and the intentional negative space between them, Nevelson’s micro-environments reflect both the physical and emotional landscapes she navigated as an immigrant artist. Every time I examine her work, I notice new relationships between the objects, spaces, and layers, revealing the depth and intentionality behind her arrangements.
References:
“Louise Nevelson” (n.d.) Pace University https://www.pacegallery.com/artists/louise-nevelson/
“Louise Nevelson: Sky Cathedral” (n.d.) Museum of Modern Art https://www.moma.org/collection/works/81006
“Louise Nevelson” (n.d.) University of Miami, Lowe Art Museum
https://emuseum.miami.edu/people/2175/louise-nevelson
