New York Time article on Louise Nevelson’s show at the Jewish Museum.

Nevelson earned her place in art history, somewhere between the totemic structures of David Smith and the emotionalism of Eva Hesse, with mysterious abstract assemblages made from street-salvaged remnants of wood: baseball bats, milk crates, driftwood, picture frames, toolboxes, toilet seats, newel posts and gingerbread carvings. Her grand — even grandiose — oeuvre recycles themes of royalty, mortality, marriage, displacement and the tension between interior and exterior space.

Nevelson is one of my favorite artists, and there is a great collection of her work at The Farnsworth Museum, in Rockland, Me. (the second largest collection of her work in a public institution in the US, by the way), (and, which I blogged about here) if you’re ever up this way.