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The life and work of the artist Louise Nevelson are examined through the lens of her ideas about light and shadow. Nevelson developed several ways of dealing with a basic fault established in childhood. Some ideas of Christopher Bollas are used in understanding the artist's relationships with art dealers who served her as transformational objects. The artist became the grandmother of environmental sculpture in America and saw her work as a bridge between the third and the fourth dimension—an idealized realm and a popular concept in twentieth-century art that she related directly to light and shadow. Colette Roberts, a dealer with whom she worked, allowed Nevelson to arrive at a signature style. Arne Glimcher, who represented her for twenty-four years, provided the material and psychological comfort that allowed Nevelson to explore new materials and new styles and to arrive at aesthetic solutions of remarkable power and sophistication through her eighty-ninth year. From the time she met Roberts in 1953 until the end of her life thirty-five years later, Nevelson's ideas about light and shadow expressed not only her thoughts about visual perception but her experience of her mother as her original transformational object and unthought known.
The shadow is as important as the object. … I arrest it and I give it architecture as solid as anything can be.