About The Work
This screen print with gold foil overlay depicts Nevelson's monumental public sculpture "Bicentennial Dawn" commissioned for the Philadelphia Courthouse. The sculpture was commissioned by the US government in celebration of the country's 200th birthday and the "Art in Architecture" program. Possibly her largest single work of art, the sculpture consists of 29 elaborate column-like forms residing on three separate terra-cotta bases in addition to elements suspended from the ceiling.
Courtesy of Caviar20
About Louise Nevelson
From The Magazine
- Interviews & Features: The Artspace Group Show: Ukrainian Art
- Interviews & Features: Monica Nelson - The Art for Home Interview
- News & Events: To Protest Trump's Ban, This Museum Will Remove All Art Made By Immigrants
- Art 101: MoMA, the Groovy Years: 7 Transformative Exhibitions From the Swinging Sixties
- Interviews & Features: In Search of a More Equal Art History: Curator Adrienne Edwards on the Upending Power of "Blackness in Abstraction"
Screen print
34.00 x 24.50 in
86.4 x 62.2 cm
Signed, dated 1976 and numbered by the artist.
About The Work
This screen print with gold foil overlay depicts Nevelson's monumental public sculpture "Bicentennial Dawn" commissioned for the Philadelphia Courthouse. The sculpture was commissioned by the US government in celebration of the country's 200th birthday and the "Art in Architecture" program. Possibly her largest single work of art, the sculpture consists of 29 elaborate column-like forms residing on three separate terra-cotta bases in addition to elements suspended from the ceiling.
Courtesy of Caviar20
About Louise Nevelson
From The Magazine
- Interviews & Features: The Artspace Group Show: Ukrainian Art
- Interviews & Features: Monica Nelson - The Art for Home Interview
- News & Events: To Protest Trump's Ban, This Museum Will Remove All Art Made By Immigrants
- Art 101: MoMA, the Groovy Years: 7 Transformative Exhibitions From the Swinging Sixties
- Interviews & Features: In Search of a More Equal Art History: Curator Adrienne Edwards on the Upending Power of "Blackness in Abstraction"
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