That Louis Nevelson is believed by many critics to be the greatest twentieth-century sculptor (雕刻家) is all the more remarkable because the greatest resistance to women artists has been, until recently, in the field of sculpture. Since Neolithic (新石器时代的) times, sculpture has been considered the privilege of men, partly, perhaps, for purely physical reasons: it was faultily assumed that women were not suited for the hard manual labor required in sculpting stone, carving wood, or working in metal. It has been only during the twentieth-century that women sculptors have been recognized as major artists, and it has been in the United States, especially since the decades of the fifties and sixties, that women sculptors have shown the greatest originality and creative power. Their rise to prominence (声望) parallels the development of sculpture itself in the United Sates: while there had been a few talented sculptors in the United States before the 1940’s, it was only after 1945-when New York was rapidly becoming the capital of the world-that major sculpture was produced in the United States. Some of the best was the work of women.
By far the most outstanding of these women is Louis Nevelson, who in the eyes of many critics is the most original female artist alive today. One famous and influential critic Hilton Kramer, said of her work, "For myself, I think Ms. Nevelson succeeds where the painters often fail. "
Her works have been compared to the Cubist (主体主义的) constructions of Picasso, the surrealistic (超现实主义的) objects of Miro and the Merzhau of Schwitters. Nevelson would be the first to admit that she has been influenced by all of these, as well as by African sculpture, and by Native American and pre-Columbian art, but she has absorbed all these influences and still created a distinctive art that expresses the landscape and the aesthetic (审美的) sensibility of the twentieth century. Nevelson says, "I have always wanted to show the world that art is everywhere, except that it has to pass through a creative mind. "
Using mostly discarded wooden objects like packing crates (板条箱), broken pieces of furniture, and abandoned architectural ornaments, all of which she has collected for years, she assembles architectural constructions of great beauty and power, creating very freely with no sketches, she glues and nails objects together, paints them black, or more rarely white or gold, and places them in boxes. These assemblages, walls, even entire environments create a mysterious, almost awe-inspiring atmosphere. Although she has denied any symbolic or religious intent in her works, their three-dimensional grandeur and even their titles, such as Sky Cathedral and Night Cathedral, suggest such connotations (涵义). In some ways, her most ambitious works are closer to architecture than to traditional sculpture, but then neither Louis Nevelson nor her art fits into any neat category.
When Louis Nevelson works, she ______.