All page numbers refer to the 2016 print edition.
Abstract Expressionism, 10, 133
acting. See theater
Adlmann, Jan, 380–81
aging, 413; beauty with, 349–50, 414; celebration of, 397–98; fashion with, 349–51, 377, 379, 389, 414; impact on persona of, 292, 294, 301, 354, 399; view and reaction on, 376, 377, 379, 386, 399, 427
Albee, Edward, 5, 316, 411–12; on fame, 387–88; on fashion, 414; memorial comments of, 427; “The Nevelson” coined by, 10, 252, 349–50, 353, 357–58, 385
Albright, Thomas, 342
alcohol; father’s, habit, 28, 29; habit and problems with, 110, 137–38, 158, 190, 232–35, 238, 312; Haseltine’s use of, 178; in love life, 160; quitting, 389
Aleichem, Sholem, 13, 84, 114, 327
Alexander II (czar), 17–18, 20–21
aluminum. See metal sculpture
ambition, 51; early creative, 49; marriage conflicting with, 52, 55–56, 57–58, 75, 94–95
American Artists’ Congress, 101
American Indian. See Native Americans
American Institute of Architects, 342
Ames, Katrine, 91, 311
Anderson, David, 191, 212–13, 223
Anderson, Sherwood, 107
antiques, 60, 192
anti-Semitism, 16–18, 20–21, 43–45, 174, 382
“architect of shadows,” 175–76, 186–87, 250, 256, 275
Architectural Digest, 393–94
architecture, 192–93, 288, 316; awards, 342; of Citicorp Center project, 362–66; influences and mentors in, 26, 333; metal sculpture and, 299–300; of private residence, 394; sculptures created within, 390; Temple of Israel, 325–26
Archives of American Art, 40
Argent Galleries, 156
Arizona, 314–15, 368, 385–86
Arp, Jean, 206
art critics, 3, 6, 11. See also publicity; on bronze sculptures, 135–36; on Chapel of the Good Shepherd work, 367–68, 370–71; on Circus exhibit, 125–26; on color use, 204–7, 208–10, 219, 231, 240; on Dawn’s Wedding Feast, 198; on Documenta III, 245; on early sculptures, 101, 102, 115–16; on exclusion from major exhibits, 285–87; on fashion persona, 239, 349–55, 357–59, 414; on The Forest exhibit, 175; on gold work, 204–5, 208–10, 240; on Gray Gallery exhibition, 303–4; on Guggenheim Museum exhibit (1986), 413–14; on Guggenheim’s women’s exhibition, 123; on Hanover exhibit, 244; on Homage to the World, 262–63; on large-scale work, 345; at memorial exhibition, 427; mixed responses from, 230–31; on Moon Garden + One exhibit, 182–85; on Mrs. N’s Palace, 369–71; on Nierendorf’s exhibits, 115–16, 127–28; in 1970s, 309; on Orfeo design, 395–96; on outdoor sculpture, 271; on Pace Gallery exhibit (1983), 392; in Paris, 285, 328; on Paris exhibit (1981), 388–89; on Royal Voyage, 164–65; on in Sky Columns Presence, 193; on 30th Street house, 180–81; on Venice Biennale (1962) works, 227–28; on Walker Art Center exhibition, 322–23, 326–27; on Whitney 80th birthday exhibit, 386–87; on Whitney retrospective (1967), 273, 275–76; on Whitney retrospective (1987), 415–16
art dealers and galleries, 159, 166, 192; business practice of, 212; in Europe, 202–3, 320; first exclusive contract with, 155; relationship with, 111, 241–42; role of, 4, 215–16; Surrealism and, 120
Art Institute of Chicago, 205, 213, 277
Artists Equity, 203, 237, 339
Art of Assemblage exhibit, 218–19
Arts Club of Chicago, 280, 288–89
Arts in Therapy exhibit, 123
Art Students League, 58; enrollment and studies at, 70, 71–72, 86; mentors at, 71–74
art teachers. See also Cleveland, Lena; employment as, 100, 155–56; in Europe, 76–77; in 1920s, 58–59; rejection from, 81, 82; for sculpture, 72–73, 98–99
Ashton, Dore, 175, 193, 204, 206, 226, 231
Asian trip, 331–33
Atelier 17, 150–51, 159, 160–61, 163, 175
Atmosphere and Environment series, 4, 266–71, 268, 273, 278, 292–93, 295–96, 323–25
autobiography. See Dawns + Dusks (Nevelson, L.)
awards, 101, 146, 229–30, 377, 393; architecture, 342; Butler Medal for Life Achievement in American Art, 417; Edward MacDowell Medal, 287; honorary doctorate, 301, 326, 327, 388, 401, 405–6; National Medal of Arts, 388, 404; Westbrook College, 389–90
Bach, 282, 304, 387
Baden-Baden, Germany, 8–9, 217–18, 219, 226
Baker, Elizabeth, 306, 349–50
Baldwin, Sidney, 176
Barr, Alfred, 122, 190
Barrie, Edwin, 182–83
basketball, 39, 44, 380
Basky, Louis, 99–100
Baziotes, William, 121
beauty, 71; with age, 349–50, 414; in character and personality, 138–39; depression lifted with, 68–70; father’s influence on seeing, 29; Matchabelli’s, 64–65; mother’s, 21, 35–36; self-awareness of, 35, 45; success and, 114; views on, 68, 69
beer cans, 396–97
Bergler, Edmund, 216, 222–23
Berliawsky, Anita (sister), 32, 38–39, 119, 192, 352; on anti-Semitism, 44–45; divorce of, 106; on “loner” character, 98; relationship with, 371; Rosenborg’s relationship with, 138; support from, 61, 130; trips to Mexico and Central America with, 146–49, 154, 158; trip to Europe with, 139, 141; trip to Los Angeles with, 233–34
Berliawsky, Isaac (father), 18, 23, 32; acculturation of, 28–29; character of, 26, 27–28, 29, 49, 380; childhood of, 15–16; death of, 136, 137; early employment and career for, 26–28; etchings as memorial to, 153; love affairs of, 26, 28, 29, 31; marriage of, 19, 21, 29, 31, 34, 54, 55–56, 60; move to Rockland, Maine, 19, 22–25, 381; relationship with, 29, 39, 96–97, 137; relationship with son, 87–88; on women’s rights, 34, 36
Berliawsky, Issaye, 17, 49
Berliawsky, Leah. See Nevelson, Louise
Berliawsky, Lillian (sister), 15, 26, 29, 32, 66, 192; on anti-Semitism, 44–45; death of, 339–40, 368–69; relationship with, 96–97, 106, 352–53; support from, 61, 190, 191; trip to Los Angeles, 233; WPA work of, 100–101
Berliawsky, Minna Ziesel (mother), 10, 32, 106; beauty and high fashion of, 21, 35–36; childhood of, 19–21, 32, 174; death of, 123, 133, 136, 137; dream with, 417; housekeeping of, 33, 41; illness of, 31–32, 33, 110, 118; influence and support of, 53, 78, 85; isolation and depression of, 31–33, 381; marriage of, 19, 21, 29, 31, 34, 54, 55–56, 60; move to Rockland, Maine, 13, 14, 23–26, 29, 31, 381; relationship with, 33, 34, 35, 58, 79, 85, 129, 154; “royalty” of, 152, 154; work symbolizing, 197–98
Berliawsky, Nathan (brother), 22, 25, 39, 61, 176, 352, 380; on anti-Semitism, 44–45; death of, 388; relationship with, 371, 379–80, 388; support from, 90, 109, 129–30, 328–29, 379, 388
Berliawsky House, Rockland, 27, 27–28
Bernard, Claude, 413
Bernstein, Theresa, 58–59
“Best-Dressed” List, 352
Bicentennial Dawn, 333, 335, 336, 338, 368
birthday, 4, 13, 172, 385–88
black. See color
Black Chord, 242–43, 243, 245
Bloch, Ernst, 89
Bode, Arnold, 244
Bok, Derek, 405–6
Bolotowsky, 117
Bongartz, Roy, 354
Boston, 214–15, 216, 225
Botto, Louis, 316, 318, 355
boxes. See Joe Milone’s shoebox; shadow boxes
Bride of the Black Moon, 161, 162–63, 164, 195, 198
bride theme, 199–200, 226, 392
bronze, 135–36
brother. See Berliawsky, Nathan
Brown, Diane Harris, 363
Burkhardt, Rudy, 211
Butler Medal for Life Achievement in American Art, 417
Buxton, Mary H., 287–92, 354
Cage, John; at memorial events, 426, 427; relationship with, 5, 316, 330, 372, 410, 412, 413, 417, 423
Calder, Alexander, 3, 118, 121, 123
Caldwell, Bill, 389–90
Calhoun, Charles, 357
Canaday, John, 6, 205, 275, 297–98, 316, 339
career; as art teacher, 100, 156; development, 4, 212–13; father’s early, 26–28; narcissism’s role in, 5–6, 10, 96; 1960s decline in, 232–33; profitability in, 9–10, 191, 194, 202, 203, 205, 210–11; retrospective views on, 389, 391, 402–3, 408; son’s art, 210, 230; WPA work in, 99–101
Cat, 102, 127
Catherine II (the Great), 16
Catholicism, 44
Celebration II, 344, 347, 348
cemetery; family, 28, 137, 186, 384, 425; in feel and themes, 186–88
Central America, 146–49, 154, 158, 159
Cézanne, 77, 105
Chapel of the Good Shepherd, 339, 361, 364–68, 370–71, 379
character and personality, 15, 26. See also fashion; aging’s impact on, 292, 294, 301, 354, 399; Central American trips impact on, 149, 154, 158; childhood in Ukraine impact on, 22; civil rights advocacy in, 279, 310; contradiction and dichotomy in, 354–55; Giza brothers on, 346–47; independence in, 5, 97–98, 312; intelligence in, 4–5; in interviews, 330; of loner to joiner in 1950s, 154–55; in male-dominated field, 155; materialism and, 205, 422; memory and invention in, 9, 11, 90, 133, 173–74; narcissism in, 4, 5–6, 10, 96, 354; persistence in, 66–67; poise and beauty in, 138–39; post-death comments on, 427; privacy in, 183, 185; public, 10, 349–59; shyness in, 38, 39, 57, 66, 327; social life and, 5, 55, 138, 154–55, 233, 237, 316, 330, 371–73, 403, 410, 422; teamwork appreciation in, 395, 397; vulgarity in, 354; youthfulness in, 75
Chasins, Abram, 50, 53, 57–58
Chassidic tradition, 16, 17, 21
Chicago. See Art Institute of Chicago; Arts Club of Chicago; Dawn Shadows; Gray, Richard
Chicago Opera Theater, 395
childhood, 408; anti-Semitism in, 43–45, 174, 382; basketball in, 39, 44, 380; discrimination in, 44–46, 281, 361, 375; father’s, 15–16; home life in, 42; house in Maine, 27, 27–28; immigration to United States in, 13, 14, 19, 23–26; influences and mentors in, 24, 29, 33, 36–38, 51, 52, 54, 162; memory and, 13–14, 24, 174, 375, 381–82; mother’s, 19–21, 32, 174; music instruction and play in, 42–43; nature studies in, 39–40, 41–42, 429; primary school in, 13–14, 49–50; quarantine in Liverpool during, 23–25; relationship with father in, 29, 39; relationship with mother in, 33, 34, 35, 154; social comfort and acceptance in, 38–39, 43–44, 327, 361; talent in, 14, 36–41; technique in, compositions, 40–41; in Ukraine, 21–22; wealth aspirations in, 34–35
Chiron Press, 258–59
Churchill, Jennie, 10, 309–10
Circus exhibit, 118–19, 123–27, 162
Citicorp Center, 339, 361–66
citizenship, 52
Citron, Minna, 151
civil rights movement, 278, 279, 310
Cleveland, Lena, 10; art school in New York of, 37, 51, 72; influence and support of, 36–38, 39, 40–41, 49, 52, 69, 72, 85, 375
cliques, artist, 97, 117
Coates, Robert M., 127
collages, 400–401; first, 315–16, 318; Pace Gallery exhibition of, 329–30
collectors, 199, 203, 217, 291, 302, 321, 392
color, 14, 23–24, 401; art critics on use of, 204–7, 208–10, 219, 231, 240; black use for, 161–65, 183, 186–88, 195–96, 203, 207–8, 240; end of three, works, 240; gold use for, 193–94, 200, 201, 203–10, 221, 230, 240; in opera design, 395; white use for, 194, 195–96, 209, 240, 335, 336
columns, 44, 392; Mayan influence for, 193; metaphor with, 197; sculptural, 123, 152, 192–93, 196–97, 199, 202, 213, 218, 303
commissions; for MIT, 333–34, 368; for Philadelphia, 335; public art, 264–65, 300, 335, 348, 376; for Rockefeller, N., 267–69; for Scottsdale, Arizona, 314–15, 368; for Temple Israel, 324–26, 368
Communism, 88, 89, 156, 324
competitions, 38, 101, 191, 308
Constructivist traditions, 105, 193, 231
contracts; complication of business, 213; with Cordier, 202, 211–12, 216; first exclusive, 155; with Jackson, 189, 191, 201, 207, 210–13, 216, 220, 221–24; with Janis and Kurzman, 228–29, 230; for purchases, 211–12
Cooper Union, 402
Cordier, Daniel; contract with, 202, 211–12, 216; enthusiasm of, 204–5; relationship with, 202–3, 221–22; success with, 217, 223
Cornell, Joseph, 119
Cow Form, 141, 141
creativity; dance’s role in, 94; early ambition and, 49; father’s influence on, 29; in housekeeping, 33; marriage and, 52, 56, 57; views on, 49, 55–56, 65, 94–95
Crocker Center, 406
Cronbach, Robert, 97
Cubism; devotion to, 77, 104–5, 111, 129, 242; early sculptures and, 83–84; fourth dimension and metaphysics in, 63, 77, 104
Cunningham, Merce, 412; at memorial events, 426, 427; relationship with, 5, 316, 372, 410, 412, 413, 417, 423
czars. See Alexander II; Nicholas I
Dalí, Salvador, 119, 120, 352
dance, 57, 327; mentors in, 91–92; study with Kearns, 92–95, 103
Dancer, 93, 93–94
Dawns + Dusks (Nevelson, L.), 35, 109, 135, 154, 159, 209, 247, 338–39
Dawn Shadows, 390, 393, 429
Dawn’s Wedding Feast, 8, 192, 215, 226; buyers of, 216, 379; emotion in, 199–200; installation and design of, 196–99; white use for, 194
death; of brother, 388; dispute following, of Nevelson, L., 420–23; of father, 136, 137; of Haseltine, 247–48; of husband, 194; impact of loved ones, 136–38, 154, 172; of Jackson, 285; of mother, 123, 133, 136, 137; of Nevelson, L., 418, 420–21; of Nierendorf, 136–37, 156; publicity and memorials after, 425–27; of Rivera, 178; of Roberts, 302–3; of sister (Lillian), 339–40, 368–69; of Sitwell, 253; of Smith, David, 264; themes of, 170–71, 186–88, 369; views on, 409–10, 414, 416, 418
Deborah Morton Award, 389–90
de Creeft, José, 139–40
Dehner, Dorothy, 100, 264
depression, 65, 113; beauty and art as aid to, 68–70; father’s, 26, 29; with Hitler’s takeover, 107–8; after Janis show, 232–33; with motherhood, 56, 68; mother’s, 31–33, 381; after Nierendorf’s death, 136–38; in Paris, 83–84; sexual attack and, 106–7
Depression, the Great, 78
Devree, Howard, 115, 116, 145
Diamonstein, Barbaralee, 3, 329–30, 427
Dine, Jim, 201, 204
discrimination. See also anti-Semitism; in childhood, 44–46, 281, 361, 375; of women artists, 278, 305–8
divorce; financial situation after, 90, 95; Matchabelli’s, 64, 65; sister’s (Anita), 106; views on, 58
doctorates, honorary, 301, 326, 327, 388, 401, 405–6
Documenta III, 244–46, 245, 271
Documenta IV, 271, 278–79
donations, art, 401–2, 405–6, 415
drawings, 37, 39–41, 74–75, 123, 178
Dream House series, 315–16, 317, 318–19
dreams, 196, 216, 222–23, 417
drinking. See alcohol
Drohojowska, Hunter, 385
Duchamp, Marcel, 121, 123, 199–200, 205, 225, 397
Duncan, Isadora, 91, 95
Dürer, 40, 77
Eaton, Marjorie, 71, 86–87, 90, 229
education. See also Art Students League; art teachers; in music, 42–43, 57; primary school, 13–14, 49–50; sister’s (Anita), 38–39
Edward MacDowell Medal, 287
egotism. See narcissism
80th birthday celebration, 4, 385–88
Eisenhart, Willy, 395, 396, 422
Elliot, David, 357
Embarcadero Center, 341
emotion; in childhood, 42; in Dawn’s Wedding Feast, 199–200; in The Forest exhibit, 171–72; in Moon Garden + One, 178, 183; in Sky Columns Presence, 193
employment. See career
End of Day series, 315, 318, 329
England. See Liverpool; London
environmental art, 4, 167, 314, 335, 367, 370–71; impetus for, 188–89, 333, 386–87; metal for, 299–300; of 1950s, 11–12; of 1960s, 273–75; pioneer of, 8, 183–84, 272–73, 404, 426
Equal Rights Amendment, 310
Ernst, Jimmy, 114, 118, 121, 123–24, 126
Ernst, Max, 111, 114, 121, 225; exhibitions with, 118, 119; influence of, 126, 152; as juror for Exhibition by 31 Women, 122
estate, 403–4, 420–25
etchings; first set of, 150–52, 160–61; Mayan and pre-Columbian influence in, 147, 151–53; memorial, 137, 153–54; photograph similarity in, 152–53; themes in, 151–54, 186–87
Europe; acting and singing in, 82; political climate in 1930s, 84; representation in, 202–3, 320; study in, 76–83; trips to, 79, 83–85, 139, 141, 192
Exhibition by 31 Women, 122–23
exhibitions, 4, 12, 109. See also Moon Garden + One exhibit; Museum of Modern Art; Pace Gallery; Whitney Museum of American Art; Arts Club of Chicago, 280, 288–89; in Baden-Baden, Germany, 8–9, 217–18, 219, 226; of bronze sculptures, 135–36; Circus, 118–19, 123–27, 162; of collages, 329–30; after death, 426–27; Documenta III, 244–46, 245, 271; Documenta IV, 271, 278–79; exclusion from, 285–86, 307; Farnsworth Museum, 379–81, 383, 407–8; first sculpture, 99–102; first solo, 159; The Forest, 167, 167–68, 170–75, 177, 429; Grand Central Moderns Gallery, 143, 157, 162, 167, 167–68, 170–75, 177, 182–83, 190, 291, 371, 429; Gray Gallery, 303–4, 355, 376–77; Guggenheim, 122–23, 277, 413–14; Hanover Gallery, 244; of influence, 61–62, 118, 119; Jackson Gallery, 192–93, 201, 206–7, 207, 209, 214, 230–31, 386; of Japanese Noh robes, 68–69; of Kahlo, 122–23; Louise Nevelson: The Fourth Dimension, 385–86; MFAH, 287–91, 354; MoMA, 123, 194–95, 198, 200, 215, 216, 218–19, 226, 272, 285, 307; Neuberger Museum, 340, 344–46, 345, 376–77, 390; Nierendorf Gallery, 93, 114–16, 119, 123, 127–28, 133, 135–36, 142; Norlyst Gallery, 118–19, 123–24, 126, 141; outdoor, 301–2; in Paris, 204–5, 328, 388–89, 413; with sister (Lillian), 100–101; Sky Columns Presence, 192–93, 196–97, 199, 202, 303; Studio Marconi, 320–21, 321, 331; of terra-cottas, 159, 162, 164–65, 222; traveling, 218, 226, 289, 320, 322, 326, 328, 331–33; Walker Art Center, 320–24, 326–27, 331, 363
exile, 16–17, 18, 19, 20–21, 174
Expanding Reflection series, 259–60, 260, 263
Expressionism, 10, 133, 231
eyelashes, false. See fashion
Façade, 253–54, 258, 259, 278
fame. See also success; Albee on, 387–88; in family history, 17–18; humility with, 407–8; with Jackson, 219–20; in 1950s, 3, 191–92, 194; in 1960s, 215–18, 230; in 1970s, 4; with Pace Gallery show (1964), 249; in Rockland, 379–80; among sculptors, 3, 276–78
family history, 15, 20; Chassidic mysticism in, 21; fame in, 17–18; immigration to United States in, 18–19, 22–25; impact of, 10; in Ukraine, 15–16, 20–21, 35, 162, 174, 371
Farkas, Mary, 94, 95
Farnsworth Museum, 413, 414; collection at, 388, 407; director of, 375–76, 388; exhibitions at, 379–81, 383, 407–8
Fascism, 98, 107
fashion, 138–39, 205–6, 278, 347; with age, 349–51, 377, 379, 389, 414; childhood influences in, 36, 37–38; critics on, 239, 349–55, 357–59, 414; false eyelashes in, 24, 255, 284, 302, 308, 351, 359, 370, 379; family’s view on, 352–53; finances and need for, 95–96; gypsy influence on, 46–47, 284; of Kahlo, 97; makeup’s use for, 255; mother’s adherence to, 21, 35–36; persona through, 5, 302, 349–55, 357–59, 407; Sitwell’s influence on, 252–53, 255; at Venice Biennale (1962), 226
father. See Berliawsky, Isaac
feminist movement, 338; behavior before, 5–6; interviews for writers of, 310–12; relationship with, 9–10, 307–9, 343; success before, 306, 307
Feuchtwanger, Lion, 89
films, 82
finances; assisting son with, 210, 318, 412–13; brother’s assistance with, 90, 109, 129–30, 329; after divorce, 90, 95; family’s help with, 108, 113, 129–30, 191; for fashion, 95–96; husband’s declining, 59–60, 76; Nierendorf’s help with, 113; promiscuity and, 96; self-made, 194, 202, 203, 205, 210–11; son’s support of, 127, 145, 318–19; WPA eligibility and, 101
First Personage, 73, 167, 168, 168, 169, 170, 171–72
Flannagan, John, 89, 140
Flatbush Boys’ Club, 100
Ford, Betty, 336, 337–38
The Forest exhibit, 167, 167–68, 170–75, 177, 429
Foshee, Rufus, 208, 214–15, 226; on Janis and Kurzman deal, 228–29, 237; relationship with, 208, 216, 223–24
Four Figures, 74
fourth dimension; of Cubism, 63, 104; death and, 369; Hofmann and, 78; at Matchabelli’s school, 62, 64–66; meaning of, 62–64, 162; in Moon Garden + One, 184–85, 188; reflection and, 249–50, 259; shadow and, 175–76, 251; spirituality and, in art, 63–64, 161–62, 166, 385–86, 430; in theater arts, 62, 64, 65, 386
Frankenthaler, Helen, 205, 286, 307
freedom and independence; with age, 399; in character and personality, 5, 97–98, 312; creativity as key to, 49, 65, 94–95; dance’s role in, 93–94; in early sculptural work, 105; Eaton as step to, 87; in Krishnamurti’s teachings, 10, 67–68; marriage and loss of, 25–26; mother’s support for, 78; promiscuity representing, 95
Friedan, Betty, 306
Friedman, Martin, 320, 321–23, 328, 330
funeral. See cemetery; death
Furman, Wendy, 314–15
Futurism, 63
Gaddes, Richard, 394–98
Galerie Gmurzynska, 425
galleries. See art dealers and galleries
The Game, 7–8, 8
Geist, Sidney, 138, 145, 152
Gelb, Jan, 111–12, 151
Geldzahler, Henry, 285–86, 307, 309, 311
Genauer, Emily, 302; on Bicentennial Dawn, 338; on early sculptural work, 101, 102, 115–16; on Metropolitan Museum exclusion, 286; on Moon Garden + One exhibit, 183; relationship with, 417, 427; on Whitney retrospective (1967), 275–76
General Services Administration (GSA), 335, 337
Geometric Abstraction, 105
German Gothic masters, 77
Germany, 8–9, 112, 217–18, 219, 226; Documenta III in, 244–46, 245, 271; Documenta IV in, 271, 278–79; travels and study in, 76–81, 83
Giacometti, Alberto, 119, 126, 139, 359; influence of, 129; at Venice Biennale (1962), 225, 227, 227
Gill, Brendan, 417
Gilli, Norina. See Matchabelli, Norina
Girl Reading, 102, 103, 103
Gittelsohn, Roland B., 326
Giza, Edward, 346–47
Giza, Robert, 295, 346–47
Glimcher, Arnold (“Arne”), 4, 11, 22, 210, 252, 419. See also Pace Gallery; on aging, 399, 413; Asian trip with, 331–33; correspondence with, 81–82, 349; death of Nevelson, L., and, 418; farewell exhibition by, 426–27; first show with, 214–15; founding of Pace Gallery by, 213–14; on gold work, 208–9; Gray working with, 304; hand surgery of, 293; Harvard dedication and, 405–6; Homage to 6,000,000 show and, 247–48; introduction to, 216; metal sculpture and, 264, 300–301; on mirror use, 249–50; on Moon Garden + One exhibit, 183; Mrs. N’s Palace construction and, 368; Paris trip with, 388–89; relationship with, 235, 238–39, 241, 243–44, 246, 251, 257, 318, 319–20, 335, 403, 411; talent and success of, 239–40, 284; at Venice Biennale (1962), 225–26
Glimcher, Eva, 215, 257, 283–84
Glimcher, Marc, 405–6
Glimcher, Milly, 214, 215, 230, 257, 323, 331–32, 351
Gluck, 394–96, 407
Glueck, Grace, 273, 275, 286
Goldthwaite, Anne, 58
gold work. See color
Goodelman, Aaron, 103
Gordon, C. Leonard, 422–23
Gorky, Arshile, 99
Gothic masters, 77
“Gothic Queen,” 91, 311
Gottlieb, Adolph, 10, 99, 117
government commissions. See commissions
Graham, Martha, 91–92, 93, 252, 255
Grand Central Moderns Gallery; exhibitions at, 143, 157, 162, 167, 171, 182–83, 190, 291, 371; The Forest exhibit at, 167, 167–68, 170–75, 177, 429; Robert’s taking charge of, 156
grandchildren, 137, 151, 172, 210, 279, 353, 371–72, 372
grandparents, 20, 21, 24
Gray, Richard (Richard Gray Gallery); exhibitions with, 303–4, 355, 376–77; relationship with, 304, 358
Greenberg, Clement, 191, 309, 311
grids, 9, 250, 259, 315, 323–26, 342, 399–400
Gross, Chaim, 98–99
GSA. See General Services Administration
Guatemala. See Central America
Guggenheim, Peggy, 118, 121, 122–23, 132–33
Guggenheim Museum, 204, 277–78, 413–14, 416
gypsies, 46, 46–47, 284
hallucinatory events, 67, 68–69
Hamner, Easley, 363–65, 367
Hanover Galleries, 218, 237, 244
Hare, David, 121, 285, 286
Harnett, Lila, 370–71
Harvard University, 326, 401, 405–6
Haseltine, Teddy, 234; as assistant, 18, 151, 177, 192, 194, 211, 239; death of, 247–48; problems with, 216, 232–33; relationship with, 177–78, 194
Head, 178
health, 293; from alcohol use, 235; failing, at end, 417–18; mother’s ill, 31–32, 33, 110, 118; recovery from surgery, 138, 139; son’s concern for, 150, 210
Henderson, Linda, 63
Herbert, David, 192, 203
Hess, Thomas, 184–85, 198
High Tor (Anderson, S.), 107
Hitler, 81, 107–8, 112, 340, 404
Hoffeld, Jeffrey, 344–45, 379, 424
Hofmann, Hans; beginnings of, 76–77; rejection from, 81, 82, 84; study with, 76, 77–78, 86, 90
Holocaust, 107–8, 246–47, 257, 279
Homage to 6,000,000, 246–48, 256–57, 392
Homage to Dame Edith, 253–54, 256
Homage to the World, 261–63
homosexuality, 232, 312, 410, 423
housekeeping, 33, 41, 130, 132, 266
houses. See Berliawsky House, Rockland; Spring Street houses; 30th Street house; Westport house
Houston. See Museum of Fine Arts in Houston
Hughes, Robert, 287, 370, 386–87
husband. See Nevelson, Charles
Ice Palace I, 269, 269–70
illness. See health
immigration, 13, 14, 18–19, 22–26, 44, 381
independence. See freedom and independence
India, 333
Indian art, 89, 130, 142, 146, 193, 265
influences and mentorship, 11, 58–59, 372; in architecture, 26, 333; at Art Students League, 71–74; childhood, 24, 29, 33, 36–38, 51, 52, 54, 162; of Cleveland, 36–38, 39, 40–41, 49, 52, 69, 72, 85, 375; in dance, 91–92; for early sculptural work, 83–84, 93–94, 102–3; of Ernst, M., 126, 152; of Giacometti, 129; gypsy, 46–47, 284; of Hofmann, 86; of Klee, 120, 128, 132, 141; of Krishnamurti, 67, 94, 409; on marriage, 51, 53–55, 78, 85; of Matchabelli, 64–66, 69, 85; of Matisse, 74, 76; of Mayan art and culture, 147, 151–52, 193, 198; of mother, 53, 78, 85; in music, 26, 57, 248–49; in nature, 39–40, 41–42, 429; of Picasso, 10, 63, 77, 104–5, 132, 154, 303, 359; of pre-Columbian style, 102–3, 105, 115, 333; of Rosenborg, 117; of Sitwell, 252–53, 255; of Surrealism, 6–7, 9, 10, 77, 242; of theater, 62, 73–74, 327; of women, 10, 36–37, 309–10
installations. See environmental art; exhibitions; walls
International Theatre Arts Institute, 64, 65–66
International Theatre Exposition, 61–62
inventory, 211, 425
IRS, 404, 421–25
Israel, 257, 340, 390
Italy, 139, 320–22, 321, 331
Jackson, Martha (Martha Jackson Gallery), 4, 205; artist advocacy of, 213–14; background of, 201; contract with, 189, 191, 201, 207, 210–13, 216, 220, 221–24; death of, 285; exhibitions at, 192–93, 201, 206–7, 207, 209, 214, 230–31, 386; problems with, 221–25; success with, 210–11, 217, 219–20, 221, 223; support of, 189–90, 191, 201–4, 233–34; works owned by, 233
Jacobi, Lotte, 159, 160
Jacobowitz, Arlene, 170
Janis, Sidney (Sidney Janis Gallery); contract with, 228–29, 230, 232–33, 237; Glimcher, A., deal with, 238; Jackson compared with, 224–25; legal battles with, 234, 235, 237, 240–41, 411; solo show with, 230–32; walls recovered from, 238, 242
Japan, 332–33, 390–91
Jerusalem, 257
Jewell, Edward Alden, 126
Jewish heritage, 14–16, 20–21, 340, 361, 390
Jewish Museum, 257, 277–78
Jews, 15, 107–8, 365–66. See also anti-Semitism; Holocaust; exile of, 16–17, 18, 19, 20–21, 174; marriage and matchmaking for, 50–51; in 1930s Europe, 84; in Rockland, Maine, 25, 28, 33, 380
Joe Milone’s shoebox, 121–22, 132, 147
“Johnny,” 149, 149–50, 160
Johns, Jasper, 200, 279, 286, 332; at memorial service, 426; relationship with, 372, 410, 418
Johnson, Cletus, 344
Juilliard School, 282, 292
Junkers, Adja, 212
Kahlo, Frida, 88, 306; exhibition of, 122–23; fashion of, 97; relationship with, 89–90; visits with, 146, 148
Kandinsky, 63, 111, 121
Katz, Leo, 150
Katz, William, 315, 372–73, 397, 412, 417–18
Kaz, Nathaniel, 96
Kearns, Ellen, 10, 309; as art dealer, 166; dance study with, 92–95, 103; metaphysics from, 124, 166
Kelly, Ellsworth, 200, 276–77, 279, 286, 293
Kendall, Thomas, 211, 223
Kiesler, Frederick, 78; fourth dimension theater of, 62, 64, 65; space creation of, 121; Surrealism and, 77
King, Martin Luther, Jr., 278, 279
king themes. See royalty themes
Klee, Paul, 110, 118; exhibitions of, 121; influence of, 120, 128, 132, 141
Kleiman, Carol, 355, 357
Koch, Ed, 373, 385
de Kooning, Elaine, 306
de Kooning, Willem, 4, 10, 99, 201, 306
Kramer, Hilton, 193, 240, 250, 275, 393, 427; on Chapel of the Good Shepherd work, 367; of collage works, 329; criticism of artist exclusion, 285, 286–87; on fame’s impact, 3; on The Forest, 173, 177; on gold work, 209–10; on Janis show, 230–31; on Moon Garden + One exhibit, 183–84; on Mrs. N’s Palace, 371; on public art, 346
Kramer, Richard, 96, 102
Krasner, Lee, 303, 312
Krasnow, Iris, 409–10
Krishnamurti, Jiddu, 10, 67–68, 84, 94, 409, 417
Kuh, Katherine, 205
Ku Klux Klan, 44, 45
Kurzman, Sam, 223–24, 228–30, 232, 235, 237, 238
Kyoto. See Japan
Lacoste, Michel Conil, 285
Lambert, Eleanor, 352
legal issues and battles, 232; estate-related, 421–25; with Janis and Kurzman, 234, 235, 237, 240–41, 411
Levy, Julien, 111, 119
Lichtblau, John, 156
Lieberman, William, 402, 426
Liebling, Estelle, 57, 82
Lipman, Howard and Jean, 427; collections owned by, 199, 203, 212, 217, 219; donations by, 415; publicity with, 217, 358–59, 393–94; support of, 272, 282, 314
Lippincott, Donald (Lippincott Inc.), 294, 413; character of, 293–94; construction process with, 299–301, 344, 376–77, 378, 398; Giza brothers with, 346–47; introduction to, 266, 292–93; relationship and work with, 293–97, 325, 343, 344
lithographs, 233–35, 236, 242, 251–52, 426
Little Italy, 190, 369, 372
Liverpool, 23–25
“livingness,” 9
London, 244
Los Angeles, 233–35, 402, 406
Louise Nevelson at 85 exhibit, 399–400
Louise Nevelson Plaza, 373–74, 398
Louise Nevelson: The Fourth Dimension exhibit, 385–86
love life, 4; father’s, 26, 28, 29, 31; with “Johnny,” 149, 149–50, 160; Nierendorf in, 114; promiscuity in, 95–97, 107, 155, 257, 312; with Rosenborg, 116–17, 119, 137–38
Love Wall, 394–95
lunar deities, 197–98
Lust, Dora, 76
MacDowell Colony, 287
MacIver, Loren, 118
MacKown, Diana, 22, 221, 334, 372, 427; as assistant, 239, 247–48, 259, 319; autobiography collaboration with, 35, 338–39; at death of Nevelson, L., 418, 420; dispute with Nevelson, M., 420–23; introduction to, 233; Japan trip with, 390–91; music influence of, 248–49; relationship with, 251–52, 312, 318, 404, 410, 412, 417–18, 422–23; sexuality rumors with, 312, 410, 423; terra-cottas gifted to, 403, 420–23
Maine. See Farnsworth Museum; Rockland, Maine
Maklers (Makler Gallery), 302–3, 338, 388
Malevich, 63, 121
maquettes, 333, 364, 376–77
Marconi, Giorgio (Studio Marconi), 320–22, 321, 326, 328, 331, 425
Margo, Boris, 89
Margolis, David, 88, 96–97
marriage, 4, 216; ambition conflicting with, 52, 55–56, 57–58, 75, 94–95; dissatisfaction with, 60–61, 65, 66, 69–70, 162, 237; freedom loss with, 25–26; influences and impetus for, 51, 53–55, 78, 85; matchmaking and courtship prior to, 50–54; parent’s, 19, 21, 29, 31, 34, 54, 55–56, 60; separation from, 86–87, 90, 94–95; sexuality before and during, 54, 60; son’s, 173; theme of, 198, 199–200, 226, 369, 392; views on, 51, 52, 172–73, 198, 308, 357, 410; World War I and, 49–50
Martha Jackson Gallery. See Jackson, Martha
Massachusetts. See Boston; MIT
Masson, André, 120, 123
Matchabelli, Norina (née Gilli), 10; acting study with, 64–66; fourth dimension teaching and, 62, 64–66; influence of, 64–66, 69, 85; metaphysics and, 65, 67, 85; stardom of, 69, 78
materialism, 205, 422
materials. See media and materials
Mathieu, Georges, 180–81, 206
Matisse, 74, 76
Matulka, Jan, 76
Mayan art and culture, 89, 116, 146, 186, 187, 333; Dawn’s Wedding Feast influenced by, 198; etchings influenced by, 147, 151–53; Sky Columns Presence influenced by, 193; spirituality of, 148–49
McGovern campaign, 313
Meara, Emmett, 281, 361, 375
media and materials, 9. See also collages; metal sculpture; Plexiglas; shadow boxes; arrangement of, 203; bronze as, 135–36; early exploration in, 6–7, 102; expanded use of, in 1960s, 271; mirrors in, 242, 249–51, 259; for Moon Garden + One exhibit, 181–82, 182; printers’ trays as, 315, 329; scrap and found objects for, 118–19, 123–26, 163, 177, 262–63, 295–97, 299, 315, 383, 391, 396–97, 400–401; terra-cotta as, 140–44, 151, 158, 159, 162; in Volcanic Magic series, 400–401; wood as, 117, 121–22, 132, 133, 143, 147, 181–82, 204, 261, 322; wood to metal translation, 295–97, 324–25, 341–43
memorials; after death of Nevelson, L., 425–27; in themes, 137, 153–54, 186, 368–69
men, 403. See also love life; artist cliques and, 97; mentors, 10; in 1950s art world, 155; in 1970s art world, 305–6; promiscuity double standard with, 97; sculptor bias towards, 99, 307; with women artists, 97, 306; in WPA, 99
mentorship. See influences and mentorship
metal sculpture. See also Lippincott, Donald (Lippincott Inc.); architectural fulfillment with, 299–300; of Atmosphere and Environment series, 4, 266–71, 268, 273, 278, 292–93, 295–96, 323–25; beginning of, 260, 264, 266–67, 297; commissions for large-scale, 333–34, 376; first show of, 267; Glimcher, A., on, 264, 300–301; “lace,” 398; of Night Tree, 296, 296–99, 342, 413; wood to, translation, 295–97, 324–25, 341–43
metaphysics, 150, 245, 250, 259. See also Krishnamurti, Jiddu; Cubism and, 77, 104; depression and, 107; hallucinatory events and, 67, 68–69; interest in, 45, 65, 77–78; interview covering views on, 409–10; Kearns and, 124, 166; Matchabelli and, 65, 67, 85
Metropolitan Museum of Art, 68–69, 285–86, 307, 402, 416
Mexico, 146–49, 154
Meyerowitz, William, 58–59
MFAH. See Museum of Fine Arts in Houston
Mies van der Rohe, 288, 291–92
Milan. See Marconi, Giorgio (Studio Marconi)
Mildwoff, Ben (brother-in-law), 83, 98, 177, 190, 199, 212, 339
Mildwoff, Lillian. See Berliawsky, Lillian
Miller, Dorothy, 5, 122, 226, 227, 272, 291; on MacKown dispute, 422; on Moon Garden + One, 190; relationship with, 194–95, 219–20, 237
Miller, Kenneth Hayes, 71–73, 75, 90
Milone, Joe. See Joe Milone’s shoebox
Minimalism, 6, 276–77, 279, 318
The Miracle (Vollmoeller), 64
Miró, Joan, 111, 120, 225, 375
mirrors, 242, 249–51, 259
Mirror Shadow series, 9, 399–400, 400, 414–15, 429
MIT, 333–34, 343, 368
Modernism, 76–77, 92, 121, 132, 148
MoMA. See Museum of Modern Art
Mondrian, Piet, 63, 105, 121, 132, 231, 271
Moon Garden + One exhibit; breakthrough with, 137, 171, 174–75, 176, 177, 178; design and media for, 177, 181–82, 182; fourth dimension aspects in, 184–85, 188; reviews and publicity of, 182–85, 190–91; themes in, 178, 183, 186
Moore, Henry, 102, 152, 225, 246, 260, 277
Morrison, Don, 322–23
mother. See Berliawsky, Minna Ziesel
Mother and Child (1934), 102–3
Mother and Child (1948), 141, 142, 143
motherhood; artist life conflict with, 67–68, 94–95; depression with, 56, 68; disappointment with, 56–57, 65; guilt in, 80–81, 318, 404, 411, 420–21; intimacy lack in, 411–12
Motherwell, Robert, 121, 124, 245, 286
movies. See films
Mrs. N’s Palace, 239, 367–71, 369, 373, 386, 402
Muchnic, Suzanne, 409
Mueller, Fred, 265, 287, 289–91
Mullarkey, Maureen, 416
Munich, 76–81, 83
Munich Olympic Games, 340
Murphy, Barbara, 363, 364–65
Museum of Contemporary Art, 402, 406
Museum of Fine Arts in Houston (MFAH), 287–91, 354
Museum of Modern Art (MoMA), 71, 122, 123, 352; Art of Assemblage exhibit at, 218–19; Dawn’s Wedding Feast at, 8, 192, 194, 196–200, 226; exclusion from, exhibits, 285, 307; Sixteen Americans exhibit at, 194–95, 198, 200, 215, 216, 226, 272; Sky Cathedral at, 190, 199, 215; women’s inclusion at, 305, 306
Museum of Natural History, 146
music, 44, 92. See also opera; singing; education in, 42–43, 57; husband’s love of, 61; influences and mentorship in, 26, 57, 248–49; walls compared with, 282–83, 304, 387
narcissism, 4, 5–6, 10, 96, 354
Nassau County Museum of Fine Art, 392–93
National Association of Women Artists, 156–57
National Endowment for the Arts, 300, 314, 376
National Medal of Arts, 388, 404
Native Americans; admiration and identification with, 45–46, 147, 279; art of, 89, 130, 142, 146, 193, 265
nature studies, 39–40, 41–42, 429
Nazis, 84, 107, 279, 404–5
Neel, Alice, 97, 99, 377
negative spaces, 9, 74, 170, 208, 394–95, 398
Nemser, Cindy, 310–11
Neuberger Museum, 340, 344–46, 345, 376–77, 390
Nevelson, Bernard (brother-in-law), 50, 60–61
Nevelson, Charles (husband), 4, 51, 53, 60, 216. See also marriage; character of, 52, 53, 60–61; death of, 194; dominance of, 58, 66, 71; financial troubles of, 59–60, 76; move to Texas, 90; relationship with son, 87–88; trips to Europe and, 79
Nevelson, Louise (née Berliawsky, Leah), 32, 35, 47, 53, 60, 109, 135, 149, 154, 159, 208, 209, 227, 236, 247, 248, 252, 294, 295, 327, 336, 338–39, 350, 356, 365, 372, 380, 412, 419. See also specific topics
Nevelson, Mike (“Myron”) (son), 18, 32, 56, 60, 61, 195; abandonment issues for, 78–81, 87–88, 403, 411, 413, 420–21; art career of, 210, 230; birth of, 56; concern for mother’s health from, 150, 210; estate disputes and tax trouble with, 420–25; estate left to, 403–4, 420; financial assistance to, 210, 318, 412–13; living with, 109, 160; marriage and fatherhood of, 173, 210; in Merchant Marine, 110, 112–13, 143; mother’s death and, 418, 420; relationship with, 57, 80–81, 87, 105–6, 112–13, 133, 138, 143, 173, 194, 210, 257, 318, 371–72, 410–13, 420–21; relationship with father, 87–88; Sculptotek founded by, 319, 404, 423; support from, 127, 145, 234, 318–19; Westport house and, 229, 234
Nevelson, Neith (granddaughter), 137, 151, 279, 353, 372, 372
“The Nevelson,” 10, 252, 349–50, 353, 357–58, 385
Nevelson Plaza. See Louise Nevelson Plaza
New Deal, 99, 300
New School for Social Research, 102, 109, 218
New Workers School, 87, 88, 90
New York City. See also 30th Street house; Cleveland at art school in, 37, 51, 72; courtship visits to, 54; as impetus for marriage, 51, 54, 55; Jewish exiles in, 18; Little Italy home in, 190, 369, 372; move to, 43; Pace Gallery’s move to, 225, 226; public art projects in, 373–75; Surrealism in 1940s, 109; WPA’s influence on, 100
New York School, 4
Nicholas I (czar), 16
Nicolaïdes, Kimon, 72–75
Nierendorf, Karl, 4, 11, 110, 123; death of, 136–37, 156; support from, 113–14, 130, 136; World War II and, 112
Nierendorf Gallery, 120, 224; drawings at, 123; first show at, 93, 114–16, 119; sculpture at, 119, 127–28, 133, 135–36, 142
Night Focus Dawn, 282–83, 283
Night Sail, 402, 406
Nightsphere-Light, 281–82, 283
Night Tree, 296, 296–99, 342, 413
Night Wall I, 405–6
Nochlin, Linda, 307–8
Noguchi, Isamu, 3
Norlyst Gallery, 118–19, 123–24, 126, 141
O’Doherty, Brian, 206, 231
O’Keeffe, Georgia, 97, 205, 306, 359, 372, 392, 404
Oldenburg, Claes, 204, 216, 277, 279, 293, 342, 346
Olympic Games. See Munich Olympic Games
opera, 26, 55; design, 394–98, 396; study and performances of, 43, 57
Opera Theatre of St. Louis (OTSL), 394–98, 396
Orfeo and Euridice (Gluck), 394–96, 407
ostracism. See discrimination
OTSL. See Opera Theatre of St. Louis
Ouspensky, P. D., 63
Pace Gallery, 223, 242, 278, 283–84, 331; collages exhibition at, 329–30; estate inventory to, 425; first metal works show at, 267; first show at, 215, 216; founding of, 213–14; Homage to 6,000,000 show at, 246–48, 256–57, 392; Louise Nevelson at 85 exhibit at, 399–400; memorial show at, 426–27; move to New York City, 225, 226; Mrs. N’s Palace exhibit at, 367–71; 1964 debut at New York’s, 246–47, 249, 257–59; 1972 exhibit at, 315–16, 317, 318–19; 1983 exhibit at, 391–92; publicity for, 225, 256; Recent Wood Sculptures exhibit at, 281, 340, 368
Pale of Settlement, 16, 17, 20, 26, 33
Palestine, 340
Paris; exhibitions in, 204–5, 328, 388–89, 413; Plexiglas works in, 284–85; travels to, 82–85, 328, 388–89
Pavia, Phillip, 155
Péladeau, Marius, 375–76, 379, 382–84, 388, 407, 413
Percent for Art, 300, 333, 341, 363, 375, 405
personality. See character and personality
Peterson, Ralph, 362–68, 365
Philadelphia, 335
Phoenix Art Museum, 385–86
photography, 152–53, 211
Picasso, Pablo, 4, 82, 118; fourth dimension and, 63; influence of, 10, 63, 77, 104–5, 132, 154, 303, 359
“plastic problem,” 91
Plexiglas; beginning use of, 242; of Ice Palace I, 269, 269–70; with metal, 260; for reflection, 249–50, 259; restrictive nature of, 278–79; in Transparent Sculpture series, 269–71, 270, 278; works in Paris, 284–85
poetry, 161, 163, 187, 246–47
pogroms, 15, 17, 18, 20–22, 32, 174, 390
Poleskie, Steve, 258–59
politics, 84; involvement and interest in, 98, 279, 313, 323–24, 340, 390, 405; in 1970s, 313, 323–24
Pollock, Jackson, 99, 306
polychrome work, 101–3, 115–16, 135, 400
Pop Art, 204, 215, 258, 279
Portrait of America, 88
Pratt Art Institute, 37, 51, 72
pre-Columbian style, 89. See also Central America; Mayan art and culture; in etchings, 151–53; identification with, 148–49, 159; influence of, 102–3, 105, 115, 333; terra-cotta works of, 141
prejudice. See discrimination
primitive art, 146–48
printers’ trays, 315, 329
prizes. See awards; competitions
promiscuity, 95–97, 107, 155, 257, 312
public art, 294, 346–47, 393. See also commissions; of Louise Nevelson Plaza, 373–74, 398; process of constructing, 376–77, 379; at World Trade Center, 374–75
publicity, 91, 122, 255, 311, 330; on Circus exhibit, 124; after death, 425–26; of Farnsworth Museum exhibit, 379–81; fashion and character in, 350–55; after gold work, 205; Lambert’s, 352; last self-made, 416; with Lipmans, 217, 358–59, 393–94; metaphysics in, 409–10; of Moon Garden + One exhibit, 182–85, 190–91; in 1970s, 301; for Pace Gallery, 225, 256; of television appearances, 191–92, 379–80, 427; Vogue magazine, 31, 253, 256, 256; for Whitney retrospective (1967), 273, 275–76
pyramids, 147–49, 257, 333
queen themes. See royalty themes
Quiriguá. See Central America; Mayan art and culture
Raynor, Vivien, 359
Reagan, Ronald, 388, 404–5
Rebay, Hilla, 75
Recent Wood Sculptures exhibit, 281, 340, 368
reflection, 242, 249–51, 259
Reinhardt, Guenther, 156
religion, 257, 361, 365–66; in childhood, 43–44; in themes, 171, 186, 197
Richard Gray Gallery. See Gray, Richard
Rivera, Diego, 11, 306; death of, 178; introduction to, 86–87; Portrait of America murals by, 88; promiscuity of, 97; relationship with, 89–90, 252; visits with, 146, 148; work with, 87, 88–89, 100
Roberts, Colette, 4, 148, 170–71, 254; death of, 302–3; on gold and white works, 209, 240; relationship with, 155–58, 166–67, 307; on shadow box use, 177, 241; on spiritual aspects of art, 160, 166, 185, 209, 231; support of, 157, 160, 204, 212, 231
Rockefeller, David, 260, 324, 341–42, 373–74
Rockefeller, Nelson, 88–89, 213, 237, 267–69, 271, 329
Rockland, Maine, 380. See also Farnsworth Museum; childhood home in, 27, 27–28; family cemetery in, 28, 137, 186, 425; family’s move to, 13, 14, 18, 19, 22–26, 29, 31, 381; Jews in, 25, 28, 33, 380; ostracism in, 44–45, 281, 361, 375; publicity on, 381–83; recognition in, 375–76, 379–83, 401, 407–8; school in, 13–14, 49–50; wealth in, 34–35
romance. See love life
Rosati, James, 293, 294
Rosenborg, Ralph, 116–19, 129–30, 137–38
Rothko, Mark, 4, 10, 99, 117, 185, 235
Royal Tide series, 201, 206–7, 207, 209, 214, 217, 230–31, 386, 392
Royalty, 151, 153, 153
royalty themes, 137, 151–53, 164–65, 171, 181, 186, 369
Royal Voyage, 164–66, 165, 167, 205, 386
Russell, John, 11–12, 399, 425–26, 427
Russia. See also Ukraine; czars of 1880s, 16–18, 20–21; Pale of Settlement in, 16, 17, 20, 26, 33
Russian immigrants, 44
Sage, Kay, 121
Sailing, 7, 7, 8
Saint Peter’s Church, 330, 339, 361–67, 370–71
Sandler, Irving, 264–65
San Francisco, 202, 323, 326, 340–42, 368, 390
Sawyer, Kenneth, 201, 206
Scaasi, Arnold, 351, 353, 412
Schanker, 117
Schwartz, Constance, 392–93
Schwitters, Kurt, 119, 123, 193, 206, 228, 231
sculptors, American; fame among, 3, 276–78; Lippincott’s space for, 293; male bias for, 99, 307; Miller, K., teaching of, 73; Pace Gallery exhibition of, 331; Tatti’s developments for, 100
Sculptors Guild, 97, 155, 204, 237
Sculptotek, 319, 404, 421, 422, 423–24
sculpture, 14. See also media and materials; metal sculpture; works; aluminum cast of, 143; within architecture, 390; bronze, 135–36; columns in, 123, 152, 192–93, 196–97, 199, 202, 213, 218, 303; critics on early, 101, 102, 115–16; first, exhibitions, 99–102; first wood, 161; freedom in early, 105; influences for early, 83–84, 93–94, 102–3; large-scale, 167, 264–65, 293–94, 300–301, 333–34, 340–45, 348; last series of, 415; at Nierendorf Gallery, 119, 127–28, 133, 135–36, 142; outdoor, 245, 267, 271, 279, 293, 294, 300–302, 331, 344, 346; small-scale, 280; teachers, 72–73, 98–99; for WPA, 102–3
Sculpture: A Group Exhibition by Young Sculptors, 99
Sculpture Center, 139–40, 143–45
Seckler, Dorothy, 175–76, 264, 272
Seitz, William C., 219, 227–28, 248
Seldis, Henry J., 326–28
self realization, 10, 67–68, 84
Seventh Decade Garden series, 297–98, 298, 323, 342, 345–46
sexuality, 232; dance and, 91; with “Johnny,” 149; before and during marriage, 54, 60; physical attack and, 106–7; promiscuity and, 95; rumors of, with MacKown, 312, 410, 423; sculptures and, 93–94; views on, 311–12
shadow. See also “architect of shadows”; fourth dimension and, 175–76, 251; light and, balance in technique, 184, 186–87, 344–45; to reflection, 251
Shadow and Reflection series, 263, 263, 278, 284
shadow boxes; equal-sized, in composition, 241–43, 243, 246, 315; first use of, 174–75, 177; impact of, in Moon Garden + One, 183–84; metaphor of, 193
Shadows and Flags, 390, 398
Shirey, David, 345
shyness, 38, 39, 57, 66, 327
Sidney Janis Gallery. See Janis, Sidney
Silent Music series, 242, 245, 248, 257–59, 276, 284
silk-screen prints, 257–60, 260, 263, 278
Simkhovitch, Helena, 152
singing, 43, 44, 327; in Europe, 82; opera, 57; talent for, 58
sisters. See Berliawsky, Anita; Berliawsky, Lillian
Sitwell, Edith, 10, 252–55, 256
Sixteen Americans exhibit, 194–95, 198, 200, 215, 216, 226, 272
Sky Cathedral, 183–84, 186, 189, 190, 194, 195, 199, 202, 215
Sky Columns Presence, 192–93, 196–97, 199, 202, 303
Sky Covenant, 323–26, 366, 368, 390
Sky Gate – New York, 374–75
Sky Landscape II, 377, 378
Sky Presence series, 8–9, 192–93, 217–18, 219, 304
Sky Tree, 340–42, 368, 390
Smith, David, 73, 100, 139, 271, 285; admiration from, 116; death of, 264; Minimalism of, 276; recognition of, 3, 99; shows with, 245, 277, 279, 331
Smith, Dido, 140–41, 161
Smith College, 326, 327
smoking, 210, 339, 341, 351, 389
Smolerank, Golde (grandmother), 20, 21, 24
Smolerank, Irving (grandfather), 20
Smolerank, Minna. See Berliawsky, Minna Ziesel
social life, 55, 97, 117, 371, 373; in art world, 5, 138, 237, 316, 330, 372, 403, 410, 422; in childhood, 38–39, 43–44, 327, 361; after mid-career decline, 233; 1950s rise in, 154–55
Solman, Joseph, 117
Solomon, Richard, 240, 324, 405, 415
son. See Nevelson, Mike
spirituality, 6, 110, 228. See also Krishnamurti, Jiddu; metaphysics; dance unlocking, 91; in fourth dimension of art, 63–64, 161–62, 166, 385–86, 430; gold work and, 209; Haseltine’s, 177, 233; of Mayan culture, 148–49; in poetry, 161; relationship with, 10, 233, 429–30; Roberts on, in art, 160, 166, 185, 209, 231
Spoleto Festival, 393
Spring Street houses, 228, 265, 418, 420; Architectural Digest spread on, 393–94; loss and recovery of, 221, 232, 238; purchase and move to, 190–91, 217
Steber, Eleanor, 397–98
steel. See metal sculpture
Steinberg, Harris, 234, 237
“Stela C,” 186, 187
Stieglitz, Alfred, 97, 306
Structure View, 170, 171
Studio Marconi. See Marconi, Giorgio
success; Ashton on dangers of, 226; beauty and, 114; with Cordier, 217, 223; before feminist movement, 306, 307; of Glimcher, A., 239–40, 284; with Jackson, 210–11, 217, 219–20, 221, 223; views on, 402–3, 406–7, 408, 425–26
surgery. See health
Surrealism; influence and mentors of, 6–7, 9, 10, 77, 242; 1940s, 109, 120–21; pre-1940s, 119; relationship with, 118, 120–21, 126, 129, 429; women’s exhibition of, 122–23
Swarz, Sahl, 139, 143
Sylvester, David, 244
Tamarind Lithography Workshop, 233–35, 236, 242, 251–52, 426
Tatti, Alexander, 100
taxes. See IRS
technique, 218, 283. See also color; media and materials; shadow boxes; animal forms in, 116, 141–42; Central American trips impact on, 148–49, 154, 158; in childhood compositions, 40–41; of combining past work into new, 11, 212, 333–34; early drawing, 74; grid use in, 9, 250, 259, 315, 323–26, 342, 399–400; large scale beginnings and, 167; light and shadow balance in, 184, 186–87, 344–45; “livingness” in, 9; Miller, K., teaching, 72–73; negative space in, 9, 74, 170, 208, 394–95, 398; order and arrangement in, 41; shadow boxes in, 174–75, 177; wood to large metal sculpture, 295–97, 324–25, 341–43
television appearances. See publicity
Temple Israel, 324–26, 368
“The Ten,” 97, 117
terra-cottas, 141, 142, 151, 158, 249; exhibitions of, 159, 162, 164–65, 222; gifted to MacKown, 403, 420–23; ingenuity with, 143–44; process and inspiration for, 140–42
Texas, 90, 204, 287–88
theater. See also opera; designs for, 394–96, 396, 407; fourth dimension in, 62, 64, 65, 386; influence of, 62, 73–74, 327
themes, 11; of death and cemeteries, 170–71, 186–88, 369; in etchings, 151–54, 186–87; marriage and bride, 198, 199–200, 226, 369, 392; memorial, 137, 153–54, 186, 368–69; in Moon Garden + One exhibit, 178, 183, 186; religious, 171, 186, 197; royalty, 137, 151–53, 164–65, 171, 181, 186, 369; trees in, 39–40, 296–99, 340–42, 345–46, 429; voyage, 165–66, 343–44, 369
therapy, 216, 222–23
30th Street house, 96; interior design of, 130, 131, 179, 180, 180–81, 427; “Johnny” at, 149, 149–50; move from, 179, 190–91; purchase of, 129–30, 133, 136, 137
Three Four Time, 128, 128–29, 161, 162
Tokyo. See Japan
Transparent Horizon, 333–34, 368
Transparent Sculpture series, 269–71, 270, 278
La Traviata, 57, 415
tree themes, 39–40, 296–99, 340–42, 345–46, 429
Trova, Ernest, 259, 266
Two Figures, 99
Ukraine; childhood in, 21–22; family history in, 15–16, 20–21, 35, 162, 174, 371; Jewish prosecution and exile in, 18, 19, 20–21, 174
United States Information Service (USIS), 331–32
Vail, Laurence, 121
Venice Biennale (1962), 227; arrival at, 199, 226; catalogue essay for, 227–28; Glimcher, A., at, 225–26; participation in, 9, 199, 219, 227–28; return from, 229
Vietnam War, 279, 312
The Village, 167, 174
Vogue magazine, 31, 253, 256, 256
Volcanic Magic series, 400–401, 413, 415, 416, 429
Vollmoeller, Karl, 64
Voyage, 343–44
voyage themes, 165–66, 343–44, 369
Vytlacil, Vaclav, 76
Walinska, Anna, 95, 138–39
Walker Art Center, 320–24, 326–27, 331, 363
Wallach, Amei, 312, 392, 413–14
walls, 237; appreciation for, 82, 184, 188–89, 202–3, 206; composition of, 231–32; dismantling of, 212–13; evolution to, 184; exhibition of, in Germany, 217–18; first curved, 242–43, 245–46; gold, 193–94, 204, 206, 208, 221; Kiesler’s, 121; musical nature of, 282–83, 304, 387; recovered from Janis, 238, 242; selling of, 211–12, 221–22; as signature style, 4, 162; symbolism of, 170, 183, 207, 228; at Venice Biennale (1962), 227–28
Warhol, Andy, 258, 279, 286
Watts, Schuyler, 193
Wayne, June, 233–35, 251–52, 330, 372, 426
Weber, Max, 63, 146
The Wedding Bridge, 168, 171–72
Westbrook College, 389–90, 391
Weston, Edward, 118
Westport house, 224, 229, 232, 234
white. See color
White House, 4, 377
Whitney Museum of American Art, 4, 14, 352; 80th birthday exhibition at, 386–87; 1967 retrospective at, 260, 264, 272–78, 274, 306, 351, 371; 1987 retrospective at, 415–16; women’s inclusion at, 305, 306
will. See estate
Willard, Charlotte, 205, 275
Winged City, 161
women, 156–57. See also feminist movement; dance and liberation for, 94; discrimination of, artists, 278, 305–8; etchings depiction of, 152–54; exclusion and inclusion in exhibits, 286, 305–7; father’s views on, 34, 36; Guggenheim’s exhibition for, 122–23; husbands of, artists, 97, 306; leader in, artists, 4, 307, 358; mentors, 10, 36–37, 309–10; in 1950s art world, 155; in 1970s art world, 305; promiscuity double standard for, 97; views on, 255–56, 307–9, 343, 403; in WPA, 99
wood. See media and materials
works. See also exhibitions; metal sculpture; sculpture; walls; Atmosphere and Environment series, 4, 266–71, 268, 273, 278, 292–93, 295–96, 323–25; Bicentennial Dawn, 333, 335, 336, 338, 368; Black Chord, 242–43, 243, 245; Bride of the Black Moon, 161, 162–63, 164, 195, 198; Cat, 102, 127; Celebration II, 344, 347, 348; Chapel of the Good Shepherd, 339, 361, 364–67, 370–71, 379; Cow Form, 141, 141; Dancer, 93, 93–94; Dawn Shadows, 390, 393, 429; Dream House series, 315–16, 317, 318–19; End of Day series, 315, 318, 329; Expanding Reflection series, 259–60, 260, 263; Ferocious Bull, 124–25, 125; First Personage, 73, 167, 168, 168, 169, 170, 171–72; Four Figures, 74; The Game, 7–8, 8; Girl Reading, 102, 103, 103; Head, 178; Homage to 6,000,000, 246–48, 256–57, 392; Homage to Dame Edith, 253–54, 256; Homage to the World, 261–63; Ice Palace I, 269, 269–70; King II, 137, 171, 181, 186; Love Wall, 394–95; Mirror Shadow series, 9, 399–400, 400, 414–15, 429; Mother and Child (1934), 102–3; Mother and Child (1948), 141, 142, 143; Mrs. N’s Palace, 239, 367–71, 369, 373, 386, 402; Night Focus Dawn, 282–83, 283; Night Sail, 402, 406; Nightsphere-Light, 281–82, 283; Night Tree, 296, 296–99, 342, 413; Night Wall I, 405–6; Royal Tide series, 201, 206–7, 207, 209, 214, 217, 230–31, 386, 392; Royalty, 151, 153, 153; Royal Voyage, 164–66, 165, 167, 205, 386; Sailing, 7, 7, 8; Seventh Decade Garden series, 297–98, 298, 323, 342, 345–46; Shadow and Reflection series, 263, 263, 278, 284; Shadows and Flags, 390, 398; Silent Music series, 242, 245, 248, 257–59, 276, 284; Sky Cathedral, 183–84, 186, 189, 190, 194, 195, 199, 202, 215; Sky Covenant, 323–26, 366, 368, 390; Sky Gate – New York, 374–75; Sky Landscape II, 377, 378; Sky Presence series, 8–9, 192–93, 217–18, 219, 304; Sky Tree, 340–42, 368, 390; Structure View, 170, 171; Three Four Time, 128, 128–29, 161, 162; Transparent Horizon, 333–34, 368; Transparent Sculpture series, 269–71, 270, 278; Two Figures, 99; The Village, 167, 174; Volcanic Magic series, 400–401, 413, 415, 416, 429; Voyage, 343–44; The Wedding Bridge, 168, 171–72; West Queen, 151, 152–53, 186; Winged City, 161; Zag series, 263, 280
Works Progress Administration (WPA), 300; beginnings of, 99–100; employment with, 99–101, 156; sculptural work for, 102–3
World Trade Center, 374–75
World War I, 49–50
World War II, 112, 120, 126–27, 318
WPA. See Works Progress Administration
Wriston, Walter, 361, 365
Wyeth, Andrew, 407
Yasko, Karel, 335
Yucatan. See Central America
Zag series, 263, 280
Zimmer, William, 414, 416