Louise Nevelson Seventh Decade Garden/Painted Aluminum Sculptures (Announcement Card)
Announcement card on glossy stock for an exhibition of Louise Nevelson sculptures held at Pace Gallery from May 8-June 19, 1971. Large format, 7.25” x 10.25”. Photographic image on front side has five hinged “doors” revealing five sculptures. New York Times critic John Canaday wrote of the show, “Louise Nevelson's new exhibition, which opens today at the Pace Gallery proves once again that the woman simply cannot be trusted. For several years now, from show to show, she has implicitly capped off her career with a final demonstration of her powers of invention, but each following year she comes up with some thing new. This refusal to settle into a rut is very wear ng for us art reporters. This year, Mrs. Nevelson has turned up with a beautiful group of 12 tall, tree like painted aluminum sculptures, her first venture into direct welding, which she calls Seventh Decade Garden. I am forced to correct Mrs. Nevelson's arithmetic here. Having put her 70th birthday behind her a couple of years ago, she is now in her eighth, not her seventh, decade. Otherwise I can find no fault with this garden or with the group of 36 small sculptures in an adjoining gallery, which is hardly a weed patch.” Minor bumping and rubbing to extremities, with two small oil stains to text side. Three pin holes to the upper corners and the bottom center. Scarce.
Announcement card on glossy stock for an exhibition of Louise Nevelson sculptures held at Pace Gallery from May 8-June 19, 1971. Large format, 7.25” x 10.25”. Photographic image on front side has five hinged “doors” revealing five sculptures. New York Times critic John Canaday wrote of the show, “Louise Nevelson's new exhibition, which opens today at the Pace Gallery proves once again that the woman simply cannot be trusted. For several years now, from show to show, she has implicitly capped off her career with a final demonstration of her powers of invention, but each following year she comes up with some thing new. This refusal to settle into a rut is very wear ng for us art reporters. This year, Mrs. Nevelson has turned up with a beautiful group of 12 tall, tree like painted aluminum sculptures, her first venture into direct welding, which she calls Seventh Decade Garden. I am forced to correct Mrs. Nevelson's arithmetic here. Having put her 70th birthday behind her a couple of years ago, she is now in her eighth, not her seventh, decade. Otherwise I can find no fault with this garden or with the group of 36 small sculptures in an adjoining gallery, which is hardly a weed patch.” Minor bumping and rubbing to extremities, with two small oil stains to text side. Three pin holes to the upper corners and the bottom center. Scarce.
Announcement card on glossy stock for an exhibition of Louise Nevelson sculptures held at Pace Gallery from May 8-June 19, 1971. Large format, 7.25” x 10.25”. Photographic image on front side has five hinged “doors” revealing five sculptures. New York Times critic John Canaday wrote of the show, “Louise Nevelson's new exhibition, which opens today at the Pace Gallery proves once again that the woman simply cannot be trusted. For several years now, from show to show, she has implicitly capped off her career with a final demonstration of her powers of invention, but each following year she comes up with some thing new. This refusal to settle into a rut is very wear ng for us art reporters. This year, Mrs. Nevelson has turned up with a beautiful group of 12 tall, tree like painted aluminum sculptures, her first venture into direct welding, which she calls Seventh Decade Garden. I am forced to correct Mrs. Nevelson's arithmetic here. Having put her 70th birthday behind her a couple of years ago, she is now in her eighth, not her seventh, decade. Otherwise I can find no fault with this garden or with the group of 36 small sculptures in an adjoining gallery, which is hardly a weed patch.” Minor bumping and rubbing to extremities, with two small oil stains to text side. Three pin holes to the upper corners and the bottom center. Scarce.
