This essay compares two works of art by the artist Louise Nevelson.

Essay by dreamgrafxUniversity, Bachelor'sA+, December 2002

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Louise Nevelson; a Legacy

Louise Nevelson is a milestone in the history of modern art. Her unique and modern pieces have become staples for in the definition of junk art, reinventing the uses for simple objects and turning them into stunning masterpieces.

Jennifer Blessings critique of Nevelson's 'White Vertical Water' and 'Luminous Zag; Night' seem to understand many of the strong elements in her work, yet fail to describe the grandeur scale of intimidation such pieces create in their immediate presence. Nevelson's large finished products tower over their audience with a wall of authority. Their sheer size is enough to send babies quivering back to their mothers. 'Luminous Zag; Night' is able to capture the excitement of vivid repletion creating a constantly moving path for the eye to trace throughout the piece. Jennifer Blessing suggests this as a reaction to Jazz music, while there are actually a plethora of musical and physical inspirations which could have caught the artist's eye.

Perhaps just the unique patterns of street lights which dance down crowded city streets. Or the nightlife, distorted by a rain filter and dispersed throughout the street. Although the patterns of jazz music create a rhythm unique unto themselves, due to the abstraction of the piece it is key that the viewer remain open to many different possibilities for inspiration. Blessing did correctly touch upon the fact that Nevelson dramatisizes her pieces by painting them a uniform black or white. 'Luminous Zag; Night' is a title in which black seems more fitting than white possibly would have been. First of all the 'Night' demonstrates an emotional connection to darkness where white would have separated that connection for the viewer.

'White Vertical Water' successfully creates a connection between the simplicity of its color and the assumption of lightness made by...