"[Bryan-Wilson] shows why Nevelson's sculpture matters today, and that art history can be a tool for responding to what is happening now."–Sophie Oliver,
Times Literary Supplement "Here is a book that is not only a transformative study of a single artist but also a record of the scholar's own labor–and her devotion."–
Artforum "The book is at once idiosyncratic, politically avant, and effortlessly, gracefully polyphonic. . . . A major book by a major art historian."–Jon Raymond,
Literary Hub "Dense with insight. . . . The ingenious modular structure mirrors Nevelson's work visually and conceptually, allowing meaning to accrete through a non-hierarchical relationship of parts."–
Brooklyn Rail "Bryan-Wilson paves new roads to better understand both Nevelson's [works] and the worlds they continue to inhabit since their inception."–Andrew Wang,
ARLIS/NA Reviews "Boldly conceived, Julia Bryan-Wilson's far-reaching study gives us a multidirectional understanding of Louise Nevelson's intersectional abstraction that renders the artist strikingly contemporary."–Kobena Mercer, author of
Travel & See: Black Diaspora Art Practices since the 1980s "Julia Bryan-Wilson's
Louise Nevelson is exceptional in its innovative framing, physical structure, and above all, brilliantly original weaving of personal experience, material analysis, and art historical methodologies."–Jo Applin, author of
Lee Lozano: Not Working "Bryan-Wilson brings world-class critical, feminist, and social-historical skills to bear on Nevelson's sculpture and public persona. The result is that we see Nevelson's radiant intelligence in a new light."–Richard Meyer, author of
Master of the Two Left Feet: Morris Hirshfield Rediscovered "From the multicomponent design to the conceptual approaches therein, Bryan-Wilson has crafted an innovative and engaging look at Louise Nevelson. Further, she offers a queered, critical methodology that changes the game."–Bridget R. Cooks, author of
Exhibiting Blackness: African Americans and the American Art Museum
