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Nevelson, Louise maiden name: Berliawskyfree

Ukrainian, 20th century, female.

Active and naturalised in the United States.

Born 23 September 1899, in Kiev; died 17 April 1988, in New York.

Painter, engraver, sculptor of assemblages, draughtswoman.

NEVELSON, Louise: signature or monogram (Copyright www.ArtistsSignatures.com)

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NEVELSON, Louise: signature or monogram (Copyright www.ArtistsSignatures.com)

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Louise Nevelson’s family left Russia in 1905 and moved to the United States where they settled in Rockland, Maine. She married an American, Charles Nevelson, in 1920 and moved to New York. She studied painting and drawing, but also song and dramatic art, and later dance. Between 1929 and 1930 she studied with the painter Kenneth Hayes Miller at the Art Students’ League in New York. In 1931 she went to Germany and enrolled at the academy founded by Hans Hofmann in Munich. She moved back to New York for good, where she became an assistant to Diego de Rivera who was at that time painting a wall of the New Workers’ School on 14th Street. In 1937, under the Works Progress Administration scheme, she taught at the Educational Alliance School of Art in New York. From 1949 to 1950 she studied pottery and working in aluminium and bronze at the Sculpture Center, and then engraving with Stanley William Hayter at Studio 17, where she worked until 1955.

During the early part of her artistic career, her etchings introduced beings created by a series of organic strokes, sometimes humorous, linked together by a fine and delicate graphism. For two years she shared her time between sculpting and drawing. Attracted by Pre-Colombian and Native Indian art, she travelled in Central and South America from 1941 until around 1949, believing there was a certain correspondence between her own inclinations and that magical, geometric world. In the years that followed these contacts with Latin America, Nevelson showed not only her concern for space, as in Clown Holding the World in His Hand, but also her taste for the primitive arts, as in Fertility. Until around 1955 she used a range of materials like aluminium, terracotta, bronze, plaster, and plexiglas. The sculptures from this period retain the morphological indications dictated by her use of a linear graphism approaching engraving. The figures express a strange quality that mingles humour with pathos, their heads and limbs created from pivoting copper tubes, interchangeable. From 1955 she took up sculpting in wood, gradually moving towards increasingly monumental wooden constructions. She sculpted a series of totemic figures collectively known as the Voyage of the King and Queen of the Sea. At the same time, she created wooden sculptures which she painted black. In 1957, with Forest, she brought a new dimension to these black wooden creations, reminiscent of megalithic stones or fossils. Then came the use of bottle crates which gave her the idea of creating reliefs encased in boxes. Her creations seem to shelter inside dark boxes, not through any fear of death, but with a conviction that life is fragile and must be protected. In 1958 her Moon Garden+One enhanced her reputation even further, and her name started to be known in France, thanks to Michel Tapié, Georges Matthieu, and Pierre Soulages. During the 1960s she moved into her period of creating sculptures in gilded wood before turning her attention to constructions made from wood and then painted white. Each and every one of her monumental compositions, whether black, gold, or white, became a true lyrical abstraction: this was the case with Columns of Sky or Aurora’s Wedding Celebrations.

In her works dating from the 1970s, she forsook the intuitive side of her early assemblages, and starting with pieces made from salvaged wood she turned instead to carefully crafted constructions. While some elements were still made from wood, metals and plastics were also now incorporated, specially worked to reflect her minutely planned designs. Louise Nevelson completed many public commissions, including works for Princeton University and the City of New York, particularly for the Port Authority, the World Trade Center, the Israel Temple, as well as the Boston Institute of Technology and the Embarcadero Center in San Francisco.

Louise Nevelson exhibited engravings and paintings from 1933, adding sculpture in 1936. She took part in many collective exhibitions including: Brooklyn Museum of Art, New York (1935); Museum of Modern Art, New York (1941, 1959, 1961, 1966, 1969); Whitney Museum of American Art, New York (regularly from 1946); Carnegie Institute, Pittsburgh (1958, 1970); Chicago Art Institute (1960, 1967); Venice Biennale (1962, 1976); Documenta III, Kassel and the Tate Gallery, London (1964); Musée Rodin, Paris and Albright-Knox Art Gallery, Buffalo (1965); National Gallery of Art, Washington (1973). In 2001 selected works were shown in the Abstraction: The American-Indian Paradigm ( Abstracción: El paradigma amerindio) exhibition held at IVAM (Instituto Valenciano de Arte Moderno Centre Julio González, Valencia, Spain); in 2002, 30 works produced by Louise Nevelson between the 1940s and 1980s, in the ownership of the Whitney Museum, were exhibited at the Harn Museum in Gainesville, Florida.

In 1941 Nierendorf allowed her to hold her first solo exhibition at his gallery in New York, which was to be followed by many others. New York exhibitions included: Pace Gallery (from 1964); Whitney Museum of American Art (1967, 1970, 1980, 1987); Solomon R. Guggenheim Museum (1986). She also exhibited throughout the rest of the United States: Walker Art Center, Minneapolis (1973); Art Museums, San Francisco, Dallas, and Atlanta (1974); Cleveland Museum (1975); Art Museum, Phoenix and Seattle (1980). Exhibitions in Europe include: Staatliche Kunsthalle, Baden Baden (1961); Kunsthalle, Bern and Galleria d’Arte Contemporanea, Turin (1964); Museo Civico, Turin and Kröller-Müller Museum, Otterlo (1969); Moderna Museet, Stockholm (1973); Palais des Beaux-Arts, Brussels, Musée d’Art Moderne de la Ville in Paris, and the Neue Nationalgalerie, Berlin (1974); Galleria Nazionale d’Arte moderna, Rome (1976). Posthumous exhibitions include: Palazzo delle Esposizioni, Rome (1994); Galerie Marwan Hoss, Paris (1996, 2001); Whitney Museum of American Art, New York (1998); Nevelson-Vari: A Dialogue with Sophia Vari, Nohra Haime Gallery, New York (2003).

In 1963 and 1967 she received bursaries from the Tamarind Workshop in Los Angeles. She was also awarded a number prizes and distinctions including: top prize from the Art USA exhibition held at the New York Coliseum (1958); Logan Award from the Chicago Art Institute (1960); honorary doctorate for fine arts from the Western College for Woman in Oxford, Ohio (1966). Nevelson was a member of the Academy of Arts and Letters from 1979.

Museum and Gallery Holdings

Aalborg (Nordjyllands Kunstmus.)

Austin (Jack S. Blanton MA, University of Texas): Double Imagery (1967, lithograph); Untitled (1973, silk screen print, from The New York Collection for Stockholm (30 artists))

Buffalo (Albright-Knox AG): Sky Cathedral (1958, wood and black paint)

Chicago (AI)

Cleveland (MA)

Cologne (Mus. Ludwig)

Dallas (MA): Archaic Figure (1953–1955, etching, aquatint); Diminishing Reflections VIII (Left & Right) (1964, painted wood); Innerview (1965, lithograph)

Detroit (IA)

Edinburgh (Scottish NG of Modern Art)

Fort Worth (Amon Carter Mus.): Untitled (c. 1935, painted plaster); Lunar Landscape (1959–1960, painted wood)

Grenoble (Mus. de Grenoble): Shadow and reflection I (1966)

Hiroshima (City MCA)

Humlebæk (Louisiana Modern AM)

Jerusalem (Israel Mus.): Homage to 6 000 000

La Jolla (MCA of San Diego): Double Images Series (1967, coloured lithograph, set of 16); Untitled (1973, lithograph, from The New York Collection for Stockholm (30 artists)); Untitled (1963, 16 lithographs)

London (Tate Collection): Dancing Figure (c. 1953–1955, intaglio print/paper); Black Wall (1959, painted wood, sculpture)

Los Angeles (County MA)

Minneapolis (Walker Art Center)

Montreal (MBA): Tropical Leaves (1972, collage); Night Blossom (1973)

New York (Brooklyn Mus.): First Personage

New York (Metropolitan MA)

New York (MoMA): Wedding Feast at Dawn (1959); Sky Cathedral

New York (Solomon R. Guggenheim Mus.)

New York (Whitney Mus. of American Art): Black Majesty; Young Shadows; Untitled (1930, drawing); Untitled (1932, drawing)

Paris (MAMVP)

Paris (MNAM-CCI): Tropical Garden II (1957); Reflection of a Waterfall I (1982)

Philadelphia (Pennsylvania Academy of the Fine Arts Gal.)

Pittsburgh (Carnegie MA): Pink Leaf (1956, wood, sculpture); Tropical Garden Presence (1974, painted aluminium, sculpture)

Portland, ME (MA): Untitled (c. 1975–1976)

Providence (Rhode Island School of Design)

St Louis (AM)

Tokyo (Hara MCA)

Turin (Gal. Civica d’Arte Moderna e Contemporanea)

Washington, DC (Corcoran GA)

Washington, DC (Hirshhorn Mus. and Sculpture Garden): Black Wall (1964, painted wood construction)

Auction Records

New York, 7 June 1962: Animal Form (wood) USD 525

New York, 27 Jan 1966: Dawn’s Wedding Chapel II (eleven boxes painted white) USD 25,000

New York, 26 Oct 1972: Tidal Wave and Moon (five items in gilded wood) USD 13,000

New York, 3 May 1974: Night Landscape in the Moon Garden (painted wood construction in black) USD 14,500

New York, 21 Oct 1976: Night Rhythm III (1968, black wood and formica, 22 × 31½ × 3¼ ins/56 × 80 × 8.5 cm) USD 13,000

New York, 12 May 1977: Ancient Secrets III (Part 2) (1964, wood and black paint, 33¼ × 23¼ ins/84.5 × 59 cm) USD 10,000

New York, 11 May 1979: Portrait of Diego Rivera (1932, oil on canvas, 24 × 20 ins/61.2 × 50.5 cm) USD 3,200

New York, 17 May 1979: Unit of Seven (1960, painted wood in gold, 78 × 62 ins/198 × 157.5 cm) USD 25,000

New York, 27 Feb 1980: Dawnscape (1975, engraving relief, 27¼ × 31 ins/69 × 78.8 cm) USD 1,900

New York, 11 Nov 1982: Black Excusion 13 (1969, painted wood and formica relief, 37½ × 47¼ × 4¼ ins/95 × 120 × 11 cm) USD 15,000

New York, 10 Nov 1983: Five Nudes (c. 1950–1955, ink, 16½ × 11½ ins/41.9 × 29.2 cm) USD 1,500

New York, 31 Oct 1984: Rain Garden Zag VIII (1978, wood and black paint, 34 × 59 × 7 ins/86.5 × 149.7 × 17.8 cm) USD 56,000

New York, 8 Nov 1984: Nightscape (1975, black paper relief, 27½ × 31 ins/70 × 78.5 cm) USD 3,250

New York, 3 May 1985: Untitled (ink drawing, 11 × 15 ins/28 × 38.1 cm) USD 3,000

Rome, 7 May 1985: Untitled (1963, collage/paper, 30 × 20 ins/76 × 50.5 cm) ITL 3,500,000

New York, 6 Nov 1985: Rain Garden II (1977, painted wood, 41½ × 47 × 4½ ins/105.5 × 119.5 × 11.5 cm) USD 44,000

New York, 10 Nov 1986: The Echo (1957–1961, construction in painted wood, 93½ × 91½ × 13 ins/237.6 × 232.5 × 33 cm) USD 100,000

New York, 12 Nov 1986: Seventh Decade Garden VIII (1971, cast and painted aluminium, h. 91½ ins/232.1 cm) USD 45,000

New York, 4 Nov 1987: Royal Tide III (1960, painted wood, 78 × 60 ins/198.2 × 152.4 cm) USD 110,000

New York, 3 May 1988: Stargate (wooden wall panel in black paint, 40¾ × 22¼ × 3¼ ins/103.8 × 56.8 × 8 cm) USD 38,500

Milan, 8 June 1988: Untitled (1959, shaped black wood, 33¾ × 34¾ ins/86 × 88.5 cm) ITL 36,000,000

New York, 14 Feb 1989: Winged Box (1960, painted wood, 17¾ × 14 × 7¼ ins/45 × 35.6 × 18.6 cm) USD 20,900

New York, 2 May 1989: Rough Sketch for Wedding Chapel I (painted wood, 51 × 6 ins/129.5 × 15 cm, ¾ × 90 ins/2 × 228.5 cm) USD 253,000

Paris, 23 June 1989: Sky Gate XXIX (1973, painted wood, 16½ × 12½ × 3¾ ins/42 × 32 × 9.5 cm) FRF 135,000

New York, 5 Oct 1989: Female Dancer (painted plaster, 15¾ × 17½ × 8 ins/40 × 44.5 × 20.3 cm) USD 22,000

Paris, 9 Oct 1989: End of the Day 3731 Cryptic XIII (1973, box in sculpted black wood, 5 × 9 × 7¾ ins/13 × 23 × 20 cm) FRF 100,000

Milan, 8 Nov 1989: Door (wood and iron with black paint, 46¾ × 32¼ ins/119 × 82 cm) ITL 74,000,000

New York, 9 Nov 1989: Design for Landscape XXIV (1975, construction in painted wood, 62 × 51 × 5½ ins/157.5 × 129.5 × 14 cm) USD 110,000

Paris, 18 Feb 1990: Elegant Lady (mixed media/paper, 18 × 14 ins/45.7 × 35.5 cm) FRF 33,000

New York, 27 Feb 1990: End of Day I (1972, relief in painted wood, 34¼ × 18½ × 4 ins/87 × 47.3 × 10.2 cm) USD 66,000

London, 5 April 1990: Doorway of Sky V (1973, painted wood, 77¼ × 26 ins/196.5 × 66 cm) GBP 18,700

New York, 9 May 1990: House of Dreams XIV (1972, construction in painted wood, 84 × 18 × 18 ins/213.4 × 45.7 × 45.7 cm) USD 121,000

London, 18 Oct 1990: Restrained Reflections XIV (1965, wood and black paint, 26 × 14 × 2¾ ins/66 × 35.5 × 7 cm) GBP 16,500

New York, 6 Nov 1990: Untitled (ink/paper, 17 × 11½ ins/43.2 × 29.2 cm) USD 2,420

New York, 13 Feb 1991: Untitled (1972, collage of paper/card, 30 × 20 ins/76.2 × 50.8 cm) USD 4,400

New York, 15 Feb 1991: Secret Box (1966, painted wood construction, 9 × 9½ × 6½ ins/23 × 24 × 16.5 cm) USD 17,600

New York, 1 May 1991: Perpendicular Waterfalls XX (wood and black paint, 78 × 32 × 8¾ ins/198.2 × 81.2 × 22.5 cm) USD 33,000

New York, 2 May 1991: Door Curtain of Sky IV (wall relief in wood and black paint, 40 × 23½ ins/101.9 × 60 cm, 3½ × 5 ins/9 × 12.7 cm) USD 38,500

New York, 3 Oct 1991: Black Light Zag 5 (1971, wood and black paint on a formica frame, 46½ × 49¼ × 7½ ins/118 × 125 × 19 cm) USD 57,750

New York, 12 Nov 1991: Moon Garden Reflections (three boxes on a wooden base painted black, 80½ × 30 × 10¼ ins/204.5 × 76.5 × 26 cm) USD 104,500

Paris, 15 Dec 1991: End of the Day, 3731, XIII (black wooden box, 5½ × 9 × 7¾ ins/14 × 23 × 20 cm) FRF 48,000

New York, 6 May 1992: Untitled (montage of wood and black paint, 93 × 95 × 17 ins/236.2 × 241.3 × 43.2 cm) USD 165,000

New York, 12 June 1992: Woman’s Head (pink marble, h. 14¾ ins/37.5 cm) USD 3,850

New York, 6 Oct 1992: Underwater Landscape (1956, wooden construction in a glass and metal armoire, 28¾ × 17 × 17 ins/73 × 43.2 × 43.2 cm) USD 60,500

New York, 18 Nov 1992: Exotic Landscape (wood and black paint, wall relief, 57 × 129 × 15 ins/144.7 × 327.7 × 38.1 cm) USD 121,000

New York, 23–25 Feb 1993: Underwater Landscape (wooden construction in box in glass and metal, 28¾ × 17 × 17 ins/73 × 43.2 × 43.2 cm) USD 34,500

New York, 4 May 1993: Untitled (1976, 10 columns of cut and painted wood, 95 × 94 × 28¾ ins/241.3 × 238.8 × 73.1 cm) USD 90,500

New York, 9 Nov 1993: Dawn of the Royal Epoch (1960, wood and gold paint, 91 × 63 × 11 ins/231.1 × 160 × 27 cm) USD 195,000

New York, 3 May 1995: Dawn Landscape XV (1975, white painted wood, 38 × 26 × 4 ins/96.5 × 66 × 10.2 cm) USD 28,750

Milan, 12 Dec 1995: End of Day XIX (1972, wood and black paint, 32 × 16½ × 3½ ins/81.5 × 42 × 9 cm) ITL 19,550,000

New York, 22 Feb 1996: Dawn Landscape XXXVI (1976, relief in painted wood, 47¼ × 39¼ × 6 ins/120 × 99.7 × 15.2 cm) USD 48,300

New York, 10 Oct 1996: Figural Study (1933, pen and ink/paper, 20¾ × 10½ ins/53 × 26.7 cm) USD 977

New York, 20 Nov 1996: Rain Garden Zag VIII (1978, wood and black paint, 34 × 59 × 7 ins/86.4 × 149.9 × 17.8 cm) USD 54,050

New York, 21 Nov 1996: Night Zag IV (1973, painted wood, formica, 31¼ × 38¾ × 6¼ ins/79.1 × 98.4 × 15.6 cm) USD 20,700; Untitled (1957, wood and black paint, 13¼ × 10 × 3¾ ins/33.6 × 24.5 × 9.6 cm) USD 5,750

New York, 7 May 1997: Untitled (c. 1960, wood and black paint, 52 × 15 ins/132.1 × 38.1 cm) USD 43,125; Volcanic Magic XXVIII (1985, painted wood, iron, paper and collage/panel, 40 × 32 × 4½ ins/101.6 × 81.2 × 11.5 cm) USD 6,325

New York, 8 May 1997: Royal Eclipse (1960, wood, gold paint, diptych, relief, 36¾ × 75½ × 3½ ins/93.4 × 191.8 × 9 cm) USD 20,700

New York, 19 Nov 1997: Dawn’s Wedding Chapel IV (1959–1960, wood and white paint, 109 × 87 × 13½ ins/276.9 × 221 × 34.3 cm) USD 222,500

New York, 6 and 7 March 1998: Royal Couple (1953–1955, engraving and aquatint, 23½ × 20 ins/59.7 × 50.5 cm) USD 920

New York, 23 Feb 1999: Sky Bridge I (1974, painted wood, 12½ × 24½ × 5 ins/31.6 × 62.2 × 13 cm) USD 6,325

New York, 14 May 1999: Homage to the Moon (1968, painted wood, 85¾ × 38½ × 9¾ ins/218 × 98 × 25 cm) USD 40,000

New York, 9 March 2000: Spirits (1955, ink and pastel, 12 × 17½ ins/30.5 × 44.3 cm) USD 2,300

New York, 10 May 2000: Moon Garden Wall 11 (1969–1975, painted wood, 96 × 72 × 23 ins/243.8 × 182.8 × 60.9 cm) USD 149,000

New York, 8 March 2001: Untitled (1983, colour etching and aquatint, 39¾ × 29½ ins/101 × 75 cm) USD 1035

Milan, 20 Nov 2001: Sky Portal (1974, painted wood, 16 × 16 × 3 ins/41 × 40.5 × 8 cm) ITL 28,175,000

New York, 14 May 2002: Luminous Voyage/Mirror Image (1969–1977, painted wood relief, 99¾ × 133½ × 11 ins/253.4 × 339.1 × 27.9 cm) USD 113,525

Paris, 26 Oct 2002: Collage (1974, spray paint, 34½ × 34½ ins/ 88 × 88 cm) EUR 9,025

New York, 16 May 2003: Untitled (1933, ink and pastel, 17¾ × 12¼ ins/45 × 31.1 cm) USD 4,183

London, 21 Oct 2003: Untitled (1974, mixed media collage, 55¾ × 45 ins/141.7 × 114.5 cm) GBP 6,000

Paris, 26 May 2004: Colonne II (1959, painted wood, height 104¾ ins/266 cm) EUR 42,300

New York 30 June 2004: Collage (1979, collage, 21¾ × 17¾ ins/55 × 45 cm) USD 4,200

London, 7 Feb 2005: Totem 1 (1959, painted wood, 95¼ × 5¾ × 3¼ ins/22 × 14.5 × 8.5 cm) GBP 15,600

New York, 11 May 2005: Sky Columns Presence (in 4 parts) (1960, painted wood, 66 × 5¾ × 3¾ ins/167.6 × 14.6 × 9.5 cm) USD 132,000

New York, 11 May 2006: Dawn’s Landscape XXV (1975, painted wood, 46 × 66 × 6½ ins/117 × 168 × 16.5 cm) USD 180,000

New York, 15 Nov 2006: Untitled (1969, wood construction painted black, 39½ × 28½ × 4¼ ins/100.3 × 72.7 × 10.8 cm) USD 72,000

London, 9 Feb 2007: End of Day XXIV (1972, painted wood, 32¼ × 16½ × 5 ins/81.9 × 42 × 12.8 cm) GBP 26,400

New York, 10 Sept 2007: Dawn’s Presence Two (in 6 parts) (1969–1975, painted wood, 97½ × 78 × 57 ins/247.7 × 198.1 × 144.8 cm) USD 553,000

New York, 15 May 2008: Mirror Shadow XXXVII (1981–1982, wood, painted black, 42 × 71 × 14 ins/106.7 × 180.3 × 35.6 cm) USD 623,400

London, 21 Oct 2008: Untitled (wood, painted gold, 70 × 23¾ × 11¾ ins/177.8 × 60.4 × 30 cm) GBP 49,250

New York, 12 Nov 2009: Dawn’s Wedding Feast Totem II (in 2 parts) (1959–1962, wood, painted white, 100½ × 13 × 13 ins/255.3 × 33 × 33 cm) USD 182,500

Paris, 24 Nov 2009: Forest Dawn (1960, painted wood, 18 × 16 ins/46 × 41 cm) EUR 26,147

New York, 13 May 2010: Cascades—Perpendiculars XLIV (in 3 parts) (1980–1982, wood with paint, 75 × 43½ × 11½ ins/190.5 × 110.5 × 29.5 cm) USD 266,500

New York, 14 Dec 2010: Dawn Figure II (1962, painted wood, 24 × 8 × 8 ins/60.9 × 20.3 × 20.3 cm) USD 31,250

London, 20 April 2011: Black Box (1959, paint, wood, hinges, and nails, 11¼ × 8 × 3½ ins/28.5 × 20 × 9 cm) GBP 15,000

New York, 10 Nov 2011: Dawn’s Landscape XXV (1975, painted wood, 46 × 66 × 6½ ins/116.8 × 167.6 × 16.5 cm) USD 134,500

New York, 10 May 2012: Night Wall II (1976, painted Cor-ten steel, 96 × 138 × 17 ins/243.8 × 350.5 × 43.2 cm) USD 782,500

Paris 24 Oct 2012: End of Day XIII (1972, painted wood assemblage, 34¼ × 18¾ × 6 ins/87 × 47.5 × 15 cm) EUR 41,550

Paris, 8 March 2013: Silence-Music II (1979–1982, painted wood, relief, 53 × 50¾ × 10 ins/135 × 129 × 25.5 cm) EUR 68,874

New York, 16 May 2013: Night Music B (1962, gold painted wood, 87 × 51 × 9½ ins/221, 129.5 × 24.5 cm) USD 363,750

New York, 15 May 2014: New Dawn Cathedral Column (1956–1958, painted wood, 115 × 12 × 12 ins/292.1 × 30.5 × 30.5 cm) USD 275,000

Munich, 5 June 2014: Nightscape Presence 1.0 (1973, painted wood, 23¾ × 26 × 3½ ins/60.5 × 66 × 8.8 cm) EUR 34,400

Bibliography

  • Mathieu, Georges (preface): Louise Nevelson, exhibition catalogue, Galerie Daniel Cordier, Paris, 1960.
  • Roberts, Colette: ‘Louise Nevelson’ in coll. Musée de poche, Georges Fall, Paris, 1964.
  • Baro, Gene: Nevelson: The Prints, Pace Editions, New York, 1974.
  • Louise Nevelson, exhibition catalogue, Centre National d’Art Contemporain, Paris, 1974.
  • Glimcher, Arnold B.: Louise Nevelson, Praeger, New York, 1976.
  • Noël, Bernard: L’Espace en demeure: Louise Nevelson, Vieira da Silva, Abakanowicz. Le Dehors mental, Galerie Jeanne Bucher, Paris, 1978.
  • Albee, Edward: Louise Nevelson, Atmospheres and Environments, exhibition catalogue, Whitney Museum of American Art, New York, 1980.
  • Diamonstein, Barbaralee/Nevelson, Louise: Louise Nevelson: œuvres 1953–1980, exhibition catalogue, Galerie de France, Paris, 1981.
  • Wilson, Laurie: Louise Nevelson, Iconography and Sources, Garland, New York, London, 1981.
  • Lipman, Jean/Kramer, Hilton: Nevelson’s World, Hudson Hills Press, New York, 1983.
  • Nevelson, Louise/MacKown, Diana: Aubes et crépuscules. Conversations enregistrées, Éd. des Femmes, Paris, 1983.
  • Cain, Michel: Louise Nevelson, Chelsea House Publishers, New York, 1989.
  • Celant, Germano: Louise Nevelson, Éd. Charta, Milan, 1994.
  • Celant, Germano: Louise Nevelson, Silent Music, exhibition catalogue, Galerie Gmurzynska, Cologne-Marienburg, 1996 (text in German and in English).
  • Hoffeld, Jeffrey: Louise Nevelson, exhibition catalogue, Galerie Marwan Hoss, Paris, 1996.
  • Paternosto, César, and others: Abstracción: El paradigma amerindio, exhibition catalogue, Instituto Valenciano de Arte Moderno (IVAM), Valencia, 2001.