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A deep dive into the life and work of sculptor Louise Nevelson
recontextualizes her art in light of social movements, travel, and
her experiences in dance and theater  Known for her
monumental wooden wall pieces and outdoor sculptures, Louise
Nevelson (1899–1988) was a towering figure in twentieth-century
American art. A more nuanced picture of Nevelson emerges in The
World Outside: Louise Nevelson at Midcentury. Discussions about
Nevelson’s early involvement with modern dance and subsequent
immersion in avant-garde theater bring new understandings of her
drawings and sculptures. A reframing of her travels to Mexico and
Guatemala in the early 1950s demonstrates, for the first time, how
colonial archaeology haunted her visual language for decades.
 Other little-known facets of Nevelson’s life—her
interest in folk art, architecture, and period furniture—open up
a conversation about the artist’s approach to America’s past
material culture. A pioneering examination of Nevelson’s
printmaking experiences at Tamarind Lithography Workshop reveals
how the artist created alternative modes of viewing through
unconventional methods and materials. The book also reconsiders
Nevelson’s work in the context of the environmental movement.
Additionally, three contemporary artists relate Nevelson’s role
in their careers and lives, a local expert describes her roots and
relationship to Maine, and the artist’s granddaughter shares
thoughts on Nevelson’s spirituality.  Distributed for the
Amon Carter Museum of American Art Exhibition Schedule Amon Carter
Museum of American Art, Fort Worth, TX (August 27, 2023–January
7, 2024) Colby College Museum of Art, Waterville, ME (February
6–June 9, 2024)
A New American Sculpture, 1914-1945 is the first publication to
situate the individual contributions of Gaston Lachaise, Robert
Laurent, Elie Nadelman, and William Zorach into a compelling
constellation of artists with shared aesthetic and social concerns.
Although each European-born, American artist cultivated his own
distinct style, their creative priorities were all deeply rooted in
quiet composition, synthetic approaches to anatomy, and
architectural unity of curves and volume. At a time when abstract
forms were popular, Lachaise, Laurent, Nadelman, and Zorach were
all ultimately in favor of maintaining the integrity of the human
body to explore modernist styles. This handsome book underscores
their unrelenting search for a novel American visual tradition at
the intersection of modernism, historic visual culture, and
contemporary popular imagery. Distributed for the Portland Museum
of Art Exhibition Schedule: Portland Museum of Art
(05/26/17-09/08/17) Memphis Brooks Museum of Art, Memphis,
Tennessee (10/14/17-01/07/18) Amon Carter Museum of American Art
(02/17/18-05/13/18)
Set in the small-town, pre-civil rights South, The Hawk and the Sun
is the story of one day in the life of Dandelion, a physically
impaired man who is the sole black resident in the town of Tilden.
Years before, the birth of a mixed-race child to a white prostitute
had precipitated an outpouring of hatred against Tilden's black
citizens, all of whom but Dandelion had been driven from town. In
this atmosphere of smoldering self-righteousness, Dandelion
survives on handouts and what little he can earn from odd jobs.
Finally, the town turns against him as well. Seen hurrying from the
house of the neurotic Miss Ella as her screams fill the air of an
August morning, Dandelion is apprehended and falsely accused of
rape. Before the day's end, he is tortured and lynched. In his
rendering of Dandelion, of those who murdered him, of those who
looked the other way, and of the lone white man who stood futilely
against the mob, Byron Herbert Reece brings his readers face to
face with the horrifying spectacle of collective fear and racism.
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