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Blank First American Born Painter to Attend and Exhibit at the Ecole Des Beaux Arts Paris

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French artist

This article is about the artist. For the midwife, come across Louise Boursier.

Louise Bourgeois
Louise Bourgeois portrait
Born

Louise Joséphine Bourgeois


(1911-12-25)25 December 1911

Paris, France
Died 31 May 2010(2010-05-31) (anile 98)

New York Metropolis, U.Due south.
Nationality French
Education
  • Sorbonne
  • Académie de la Grande Chaumière
  • École du Louvre
  • École des Beaux-Arts
Known for
  • Sculpture
  • installation art
  • painting
  • printmaking

Notable work

 Spider, Cells, Maman, Cumul I, The Destruction of the Father
Movement
  • Modernism
  • surrealism
  • feminist fine art
Awards Praemium Imperiale

Louise Joséphine Bourgeois (French: [lwiz buʁʒwa] ( heed ); 25 December 1911 – 31 May 2010)[1] was a French-American creative person. Although she is all-time known for her large-scale sculpture and installation art, Bourgeois was also a prolific painter and printmaker. She explored a diversity of themes over the course of her long career including domesticity and the family, sexuality and the body, too every bit death and the unconscious.[two] These themes connect to events from her childhood which she considered to be a therapeutic process. Although Bourgeois exhibited with the Abstract Expressionists and her work has much in common with Surrealism and Feminist art, she was not formally affiliated with a item artistic motility.

Life [edit]

Sculpture by Bourgeois in the Domestic Incidents group exhibit at London's Tate Modern Turbine Hall, 2006

Early on life [edit]

Bourgeois was born on 25 December 1911 in Paris, France.[iii] She was the middle child of three built-in to parents Joséphine Fauriaux and Louis Bourgeois.[4] Her parents endemic a gallery that dealt primarily in antique tapestries. A few years afterward her birth, her family unit moved out of Paris and fix a workshop for tapestry restoration beneath their apartment in Choisy-le-Roi, for which Bourgeois filled in the designs where they had go worn.[3] [5] The lower part of the tapestries were ever damaged which was unremarkably a result of the characters' anxiety and animals' paws.

In 1930, Bourgeois entered the Sorbonne to study mathematics and geometry, subjects that she valued for their stability,[6] [seven] saying "I got peace of listen, simply through the study of rules nobody could alter."[vii]

Her mother died in 1932, while Bourgeois was studying mathematics. Her mother's death inspired her to carelessness mathematics and to begin studying art. She continued to study fine art by joining classes where translators were needed for English-speaking students, peculiarly because translators were not charged tuition. In one such class, Fernand Léger saw her piece of work and told her she was a sculptor, not a painter.[six] Bourgeois took a job as a docent, leading tours at the Musée du Louvre.[viii]

Bourgeois graduated from the Sorbonne in 1935. She began studying art in Paris, get-go at the École des Beaux-Arts and École du Louvre, and after 1932 in the independent academies of Montparnasse and Montmartre such as Académie Colarossi, Académie Ranson, Académie Julian, Académie de la Grande Chaumière and with André Lhote, Fernand Léger, Paul Colin and Cassandre.[9] Bourgeois had a desire for kickoff-hand experience and frequently visited studios in Paris, learning techniques from the artists and assisting with exhibitions.[10]

In 1938, she opened her own gallery in a space next door to her father's tapestry gallery where she showed the work of artists such equally Eugène Delacroix, Henri Matisse and Suzanne Valadon,[11] and where she met visiting American art professor Robert Goldwater equally a customer. They married and moved to the United States (where he taught at New York University). They had three sons, one was adopted. The spousal relationship lasted until Goldwater's death in 1973.[6]

Bourgeois settled in New York Metropolis with her husband in 1938. She continued her didactics at the Art Students League of New York, studying painting under Vaclav Vytlacil, and also producing sculptures and prints.[7] "The first painting had a filigree: the grid is a very peaceful matter because cypher can get incorrect ... everything is complete. There is no room for anxiety ... everything has a place, everything is welcome."[12]

Bourgeois incorporated those autobiographical references to her sculpture Quarantania I, on brandish in the Cullen Sculpture Garden at the Museum of Fine Arts, Houston.[13]

Heart years [edit]

For Bourgeois, the early on 1940s represented the difficulties of a transition to a new state and the struggle to enter the exhibition earth of New York Urban center. Her work during this fourth dimension was constructed from junkyard scraps and driftwood which she used to carve upright wood sculptures. The impurities of the wood were and then inconspicuous with pigment, later on which nails were employed to invent holes and scratches in the endeavor to portray some emotion. The Sleeping Figure is i such example which depicts a war figure that is unable to face up the real world due to vulnerability. Throughout her life, Bourgeois's work was created from revisiting her ain troubled by every bit she found inspiration and temporary catharsis from her childhood years and the corruption she suffered from her father. Slowly she developed more than artistic conviction, although her heart years are more than opaque, which might be due to the fact that she received very little attending from the art world despite having her start solo show in 1945.[14] In 1951, her father died and she became an American denizen.[fifteen]

In 1954, Bourgeois joined the American Abstract Artists Group, with several contemporaries, among them Barnett Newman and Advertizement Reinhardt. At this time she besides befriended the artists Willem de Kooning, Mark Rothko, and Jackson Pollock.[10] Equally part of the American Abstract Artists Group, Bourgeois made the transition from woods and upright structures to marble, plaster, and bronze as she investigated concerns similar fear, vulnerability, and loss of command. This transition was a turning indicate. She referred to her art as a series or sequence closely related to days and circumstances, describing her early piece of work every bit the fear of falling which later on transformed into the art of falling and the final development as the art of hanging in there. Her conflicts in existent life empowered her to cosign her experiences and struggles through a unique art form. In 1958, Conservative and her married man moved into a terraced house at West 20th Street, in Chelsea, Manhattan, where she lived and worked for the remainder of her life.[six]

Despite the fact that she rejected the idea that her art was feminist, Bourgeois's subject was the feminine. Works such every bit Femme Maison (1946-1947), Torso cocky-portrait (1963-1964), Arch of Hysteria (1993), all depict the feminine body. In the belatedly 1960s, her imagery became more explicitly sexual equally she explored the human relationship betwixt men and women and the emotional affect of her troubled childhood. Sexually explicit sculptures such as Janus Fleuri, (1968) show she was non afraid to use the female course in new means.[xvi] She has been quoted to say "My work deals with issues that are pre-gender," she wrote. "For example, jealousy is not male or female person."[17] With the rise of feminism, her work found a wider audition. Despite this assertion, in 1976 Femme Maison was featured on the cover of Lucy Lippard'southward book From the Center: Feminist Essays on Women'due south Art and became an icon of the feminist art move.[one]

Later life [edit]

In 1973, Bourgeois started teaching at the Pratt Constitute, Cooper Spousal relationship, Brooklyn College and the New York Studio School of Drawing, Painting and Sculpture. From 1974 until 1977, Bourgeois worked at the School of Visual Arts in New York where she taught printmaking and sculpture.[i] She likewise taught for many years in the public schools in Corking Neck, Long Island.

In the early 1970s, Conservative held gatherings called "Sunday, encarmine Sundays" at her dwelling house in Chelsea. These salons would be filled with immature artists and students whose work would be critiqued by Bourgeois. Conservative's ruthlessness in critique and her dry sense of humour led to the naming of these meetings. Bourgeois inspired many young students to make art that was feminist in nature.[eighteen] However, Louise'south long-fourth dimension friend and assistant, Jerry Gorovoy, has stated that Louise considered her own work "pre-gender".[19]

Bourgeois aligned herself with activists and became a member of the Fight Censorship Group, a feminist anti-censorship collective founded by swain artist Anita Steckel. In the 1970s, the group defended the use of sexual imagery in artwork.[20] Steckel argued, "If the erect penis is not wholesome plenty to go into museums, it should not be considered wholesome enough to get into women."[21]

In 1978 Conservative was deputed past the General Services Administration to create Facets of the Sun, her get-go public sculpture.[i] The piece of work was installed exterior of a federal building in Manchester, New Hampshire.[1] Bourgeois received her first retrospective in 1982, past the Museum of Modern Art in New York Urban center. Until then, she had been a peripheral figure in fine art whose work was more than admired than acclaimed. In an interview with Artforum, timed to coincide with the opening of her retrospective, she revealed that the imagery in her sculptures was wholly autobiographical. She shared with the world that she obsessively relived through her art the trauma of discovering, as a child, that her English governess was also her male parent's mistress.[22] [23]

Bourgeois with To autumn on deaf ears, in 1991

In 1989, Conservative fabricated a drypoint etching, Mud Lane, of the dwelling house she maintained in Stapleton, Staten Isle, which she treated as a sculptural environment rather than a living space.[24]

Bourgeois had some other retrospective in 1989 at Documenta nine in Kassel, Germany.[14] In 1993, when the Royal University of Arts staged its comprehensive survey of American art in the 20th century, the organizers did not consider Conservative's work of significant importance to include in the survey.[22] Still, this survey was criticized for many omissions, with one critic writing that "whole sections of the best American art accept been wiped out" and pointing out that very few women were included.[25] In 2000 her works were selected to be shown at the opening of the Tate Modern in London.[14] In 2001, she showed at the Hermitage Museum.[26]

In 2010, in the last yr of her life, Bourgeois used her fine art to speak up for Lesbian, Gay, Bisexual and Transgender (LGBT) equality. She created the piece I Exercise, depicting 2 flowers growing from one stem, to benefit the nonprofit organization Liberty to Marry. Bourgeois has said "Everyone should have the right to marry. To make a commitment to love someone forever is a beautiful affair."[27] Bourgeois had a history of activism on behalf of LGBT equality, having created artwork for the AIDS activist arrangement ACT Up in 1993.[28]

Decease [edit]

Bourgeois died of heart failure on 31 May 2010, at the Beth State of israel Medical Center in Manhattan.[29] [30] Wendy Williams, the managing director of the Louise Bourgeois Studio, announced her death.[30] She had continued to create artwork until her decease, her last pieces beingness finished the week before.[31]

The New York Times said that her work "shared a set of repeated themes, centered on the human body and its demand for nurture and protection in a frightening world."[32]

Her husband, Robert Goldwater, died in 1973. She was survived by 2 sons, Alain Bourgeois and Jean-Louis Bourgeois. Her showtime son, Michel, died in 1990.[33]

Work [edit]

Femme Maison [edit]

Femme Maison (1946–47) is a serial of paintings in which Conservative explores the relationship of a woman and the home. In the works, women's heads have been replaced with houses, isolating their bodies from the outside world and keeping their minds domestic. This theme goes along with the dehumanization of modernistic art.[34]

Destruction of the Father [edit]

Destruction of the Begetter (1974) is a biographical and a psychological exploration of the ability authorization of father and his offspring. The piece is a flesh-toned installation in a soft and womb-like room. Made of plaster, latex, woods, fabric, and ruby-red light, Destruction of the Father was the commencement slice in which she used soft materials on a large scale. Upon inbound the installation, the viewer stands in the aftermath of a law-breaking. Gear up in a stylized dining room (with the dual impact of a sleeping room), the abstract blob-like children of an overbearing begetter have rebelled, murdered, and eaten him.[35]

... telling the captive audience how great he is, all the wonderful things he did, all the bad people he put down today. But this goes on solar day later on day. In that location is tragedy in the air. Once too often he has said his slice. He is unbearably dominating although probably he does not realize information technology himself. A kind of resentment grows and one day my brother and I decided, 'the time has come up!' We grabbed him, laid him on the table and with our knives dissected him. We took him apart and dismembered him, nosotros cutting off his penis. And he became nutrient. We ate him up ... he was liquidated the same mode he liquidated the children.[36] [ failed verification ]

Exorcism in Art [edit]

In 1982, The Museum of Mod Art in New York City featured unknown creative person, Louise Bourgeois' work. She was lxx years old and a mixed media artist who worked on paper, with metal, marble and beast skeletal basic. Childhood family traumas "bred an exorcism in art" and she badly attempted to purge her unrest with her work. She felt she could get in touch with issues of female identity, the trunk, the fractured family, long before the fine art world and society considered them expressed subjects in art. This was Bourgeous' manner to find her center and stabilize her emotional unrest. The New York Times said at the time that "her work is charged with tenderness and violence, acceptance and defiance, ambivalence and conviction."[37]

Cells [edit]

While in her eighties, Conservative produced two series of enclosed installation works she referred to as Cells. Many are small enclosures into which the viewer is prompted to peer in at arrangements of symbolic objects; others are minor rooms into which the viewer is invited to enter. In the cell pieces, Bourgeois uses before sculptural forms, found objects as well as personal items that carried strong personal emotional charge for the artist.

The cells enclose psychological and intellectual states, primarily feelings of fear and pain. Bourgeois stated that the Cells represent "dissimilar types of pain; physical, emotional and psychological, mental and intellectual ... Each Cell deals with a fear. Fear is hurting ... Each Cell deals with the pleasance of the voyeur, the thrill of looking and existence looked at."[38]

Maman [edit]

In the late 1990s, Bourgeois began using the spider as a central image in her fine art. Maman, which stands more than ix metres high, is a steel and marble sculpture from which an edition of six bronzes were subsequently bandage. It first made an appearance as part of Conservative's committee for The Unilever Series for Tate Modern's Turbine Hall in 2000, and recently, the sculpture was installed at the Qatar National Convention Centre in Doha, Qatar.[39] Her largest spider sculpture titled Maman stands at over 30 feet (9.1 one thousand) and has been installed in numerous locations effectually the world.[40] It is the largest Spider sculpture e'er made past Bourgeois.[36] Moreover, Maman alludes to the strength of her mother, with metaphors of spinning, weaving, nurture and protection.[36] The prevalence of the spider motif in her work has given rise to her nickname equally Spiderwoman.[41]

The Spider is an ode to my mother. She was my best friend. Similar a spider, my mother was a weaver. My family was in the business of tapestry restoration, and my mother was in charge of the workshop. Like spiders, my mother was very clever. Spiders are friendly presences that eat mosquitoes. We know that mosquitoes spread diseases and are therefore unwanted. So, spiders are helpful and protective, just like my mother.

—Louise Bourgeois[36]

Maisons fragiles / Empty Houses [edit]

Bourgeois's Maisons fragiles / Empty Houses sculptures are parallel, loftier metallic structures supporting a simple tray. I must meet them in person to feel their impact. They are not threatening or protecting, but bring out the depths of feet within you. Bachelard'due south findings from psychologists' tests show that an anxious child will draw a tall narrow house with no base of operations. Bourgeois had a rocky/traumatic childhood and this could support the reason behind why these pieces were synthetic.[12]

Printmaking [edit]

Bourgeois's printmaking flourished during the early and tardily phases of her career: in the 1930s and 1940s, when she start came to New York from Paris, and so again starting in the 1980s, when her work began to receive broad recognition. Early, she made prints at home on a small press, or at the renowned workshop Atelier 17. That menstruum was followed by a long hiatus, as Bourgeois turned her attending fully to sculpture. It was non until she was in her seventies that she began to make prints over again, encouraged first past print publishers. She set upward her former press, and added a second, while also working closely with printers who came to her house to interact. A very active phase of printmaking followed, lasting until the artist'south expiry. Over the course of her life, Bourgeois created approximately 1,500 printed compositions.

In 1990, Bourgeois decided to donate the complete archive of her printed work to The Museum of Mod Art. In 2013, The Museum launched the online catalogue raisonné, "Louise Bourgeois: The Consummate Prints & Books." The site focuses on the creative person'due south creative process and places Conservative'southward prints and illustrated books inside the context of her overall production by including related works in other mediums that deal with the same themes and imagery.

Themes [edit]

Conservative'south sculpture Cell XIV (Portrait) at Tate Gallery, 2016

1 theme of Bourgeois's work is that of childhood trauma and hidden emotion.[42] After Louise's female parent became sick with flu Louise's begetter began having affairs with other women, nearly notably with Sadie, Louise'due south English tutor. He would bring mistresses dorsum home and exist unfaithful in front of his whole family. [43]Louise was extremely watchful and aware of the situation. This was the starting time of the artist's date with double standards related to gender and sexuality, which was expressed in much of her work. She recalls her male parent maxim "I dearest you lot" repeatedly to her mother, despite infidelity. "He was the wolf, and she was the rational hare, forgiving and accepting him as he was."[44] Her 1993 work Prison cell: You Meliorate Grow Up, function of her Cell serial, speaks directly to Louise'southward childhood trauma and the insecurity that surrounded her. 2002's Requite or Have is defined past hidden emotion, representing the intense dilemma that people face throughout their lives as they try to residuum the deportment of giving and taking. This dilemma is non only represented by the shape of the sculpture, only also the heaviness of the material this piece is made of.[ original enquiry? ]

Motherhood is some other recurrent theme of Conservative's piece of work. Information technology was her mother who encouraged Conservative to describe and who involved her in the tapestry business. Conservative considered her mother to be intellectual and methodical; the continued motif of the spider in her piece of work often represents her mother. The notion of a spider that spins and weaves its web is a direct reference to her parents' tapestry business and can likewise be seen as a metaphor for her female parent, who repairs things. [45]

Bourgeois has explored the concept of feminity through challenging the patriarchal standards and making artwork near motherhood rather than showing women as muses or ethics.[42] She has been described equally the 'reluctant hero of feminist art'.[46] Louise Conservative had a feminist approach to her work like to fellow artists such as Agnes Martin and Eva Hesse, less driven by the political but rather made work that drew on their experiences of gender and sexuality, naturally engaging with women'south issues.[47]

Architecture and retentiveness are of import components of Bourgeois's work.[48] Bourgeois's work are very organic, biological, reproductive feel to them; they depict attention to the work itself.[49] Louise describes compages equally a visual expression of retention, or retentivity as a type of architecture. The memory which is featured in much of her work is an invented memory - nigh the death or exorcism of her father. The imagined retentivity is interwoven with her existent memories including living across from a abattoir and her male parent's matter. To Louise her male parent represented injury and war, aggrandizement of himself and belittlement of others and most importantly a man who represented betrayal.[44] Her 1993 work Cell (3 White Marble Spheres) speaks to fear and captivity. The mirrors within the present an altered and distorted reality.[ original inquiry? ]

Sexuality is undoubtedly one of the most important themes in the work of Louise Bourgeois. The link between sexuality and fragility or insecurity is likewise powerful. It has been argued that this stems from her childhood memories and her father's affairs. 1952's Spiral Woman combines Louise'southward focus on female sexuality and torture. The flexing leg and arm muscles indicate that the Spiral Woman is even so above though she is being suffocated and hung. 1995's In and Out uses cold metal materials to link sexuality with anger and perhaps even captivity.[ original inquiry? ]

The screw in her work demonstrates the dangerous search for precarious equilibrium, accident-gratuitous permanent change, disarray, vertigo, whirlwind. There lies the simultaneously positive and negative, both future and past, breakup and return, promise and vanity, programme and memory.[ original inquiry? ]

Louise Bourgeois'southward work is powered by confessions, self-portraits, memories, fantasies of a restless being who is seeking through her sculpture a peace and an order which were missing throughout her babyhood.[12]

Collaboration [edit]

Do Not Carelessness Me [edit]

This collaboration took place over a span of two years with British creative person Tracey Emin. The work was exhibited in London months after Bourgeois'south death in 2010. The bailiwick matter consists of male person and female person images. Although they appear sexual, it portrays a tiny female figure paying homage to a giant male person effigy, similar a God. Louise Bourgeois did the water colors and Tracey Emin did the drawing on height. It took Emin two years to make up one's mind how to figure out what she would contribute in the collaboration. When she knew what to practise, she finished all of the drawings in a day and believes every unmarried one worked out perfectly. I Lost You is about losing children, losing life. Bourgeois had to coffin her son every bit a parent. Abandonment for her is not simply most losing her mother but her son as well. Despite the age gap betwixt the two artists and differences in their piece of work, the collaboration worked out gently and easily.[l]

Selected works [edit]

Bibliography [edit]

  • 1982 – Louise Conservative. The Museum of Modern Art. 1982. p. 123. ISBN978-0-87070-257-0.
  • 1994 – The Prints of Louise Bourgeois. The Museum of Mod Fine art. 1994. p. 254. ISBN978-0-8109-6141-8.
  • 1994 – Louise Conservative: The Locus of Retentivity Works 1982-1993. Harry N. Abrams. 1994. p. 144. ISBN978-0-8109-3127-five.
  • 1996 – Louise Bourgeois: Drawings and Observations. Bulfinch. 1995. p. 192. ISBN978-0-8212-2299-seven.
  • 1998 – Louise Bourgeois Devastation of the Father / Reconstruction of the Father . MIT Press in association with Violette Editions. 1998. p. 384. ISBN978-0-262-52246-5.
  • 2000 – Louise Bourgeois: Memory and Architecture. Actar. 1999. p. 316. ISBN978-84-8003-188-two.
  • 2001 – Louise Bourgeois: The Insomnia Drawings. Scalo Publishers. p. 580. ISBN978-3-908247-39-5.
  • 2001 – Louise Bourgeois's Spider: The Architecture of Art-Writing. University of Chicago Press. 29 June 2001. p. 88. ISBN978-0-226-03575-8.
  • 2008 – Louise Conservative: The Cloak-and-dagger of the Cells. Prestel Us. 2008. p. 168. ISBN978-three-7913-4007-4.
  • 2011 – To Whom information technology May Business. Violette Editions. 2011. p. 76. ISBN978-1-900828-36-nine.
  • 2011 – Armed forces. Ediciones Poligrafa. 2011. p. 48. ISBN978-8-434312-53-1.
  • 2012 – The Render of the Repressed. Violette Editions. 2012. p. 500. ISBN978-i-900828-37-6.
  • 2015 – Mumbling Dazzler Louise Bourgeois. Thames & Hudson. 2015. p. 112. ISBN978-0-500093-91-7.

Documentary [edit]

  • 1987 – Bourgeois, Louise. Louise Bourgeois: ART/new york No. 27. Inner-Tube Video. [51]
  • 2008 – Bourgeois, Louise. Louise Bourgeois: The Spider, the Mistress, and the Tangerine. Zeitgeist Films.

Exhibitions [edit]

  • 1947 – Persistent Antagonism at San Francisco Museum of Modern Art, San Francisco.
  • 1949 – Untitled at Art Institute of Chicago, Chicago.
  • 1967 – Untitled at National Academy of Design, New York Urban center.
  • 1972 – Number Lxx-Two at Storm King Fine art Center, Mountainville.
  • 1982 – Louise Bourgeois, at The Museum of Modern Fine art, New York Metropolis.
  • 1982 – Eyes, marble sculpture, at Metropolitan Museum of Art, New York City.
  • 1984 – Nature Written report: Eyes at Albright-Knox Art Gallery, Buffalo.
  • 1987 – Louise Conservative: Sculpture 1947–1955 at Gallery Paule Anglim, San Francisco, California.
  • 1992 – Sainte Sebastienne at Dallas Museum of Fine art, Dallas.
  • 1993 – Loiuse Bourgeois: Recent Work at U.S. Pavilion, 45th Venice Biennale, Venice, Italy.
  • 1993 – Helping Easily in permanent brandish at Chicago Women's Park & Gardens as of 2011, Chicago.[52]
  • 1994 – The Prints of Louise Bourgeois at The Museum of Modern Art, New York City.
  • 1994 – The Nest at San Francisco Museum of Modern Art, San Francisco.
  • 1994 – Louise Bourgeois: The Locus of Memory, Works 1982–1993 at the Brooklyn Museum, Brooklyn and The Corcoran Gallery of Art, Washington, D.C.
  • 1995 – Louise Bourgeois: The Locus of Retention, Works 1982–1993 at Galerie Rudolfinum, Prague.
  • 1997 – Maman at Kemper Museum of Gimmicky Art, Kansas Metropolis.
  • 1999 – Maman at Guggenheim Museum Bilbao, Bilbao.
  • 1999 – Granite eyeball benches and 25' bronze water fountain, at Agnes R. Katz Plaza, Pittsburgh, PA. Sculptures are currently on permanent display.
  • 2000 – Fallen Woman at Galleria d'arte moderna Palazzo Forti, Verona.
  • 2007 – Maman at Tate Mod, London.
  • 2008 – Louise Bourgeois at Centre Georges Pompidou, Paris, Exhibition appointment: 5 March 2008 – ii June 2008.[53]
  • 2008 – Louise Bourgeois Full Career Retrospective at Solomon R. Guggenheim Museum, New York Metropolis.[54]
  • 2008 – Nature Written report at Inverleith Business firm, Edinburgh.
  • 2008 – Louise Bourgeois for Capodimonte at National Museum of Capodimonte, Naples.
  • 2009 – Louise Bourgeois: Moi, Eugénie Grandet, un processus d'identification at Maison de Balzac, Paris.
  • 2010 – Louise Bourgeois: The Fabric Works, at Fondazione Vedova Venice. Travelling to Hauser & Wirth, London.
  • 2010 – Louise Conservative: Mother and Kid at Gallery Paule Anglim, San Francisco, California.
  • 2011 – Louise Bourgeois: À 50'Infini at Fondation Beyeler, Riehen, Exhibition appointment: 3 Sep 2011 – 8 Jan 2012.
  • 2011 – Louise Bourgeois. The Return of the Repressed, at Fundación Proa, Buenos Aires.Travelling to Instituto Tomie Ohtake, São Paulo and Museu de Arte Moderna, Rio de Janeiro.
  • 2011 – Louise Bourgeois (1911-2010) at the National Gallery of Canada, Ottawa, Ontario, Canada, Exhibition date: 21 Apr 2011 – eighteen Mar 2012.
  • 2012 – Louise Bourgeois: Witting and Unconscious at the Qatar Museums Authority Gallery, Katara, Doha, Qatar, Exhibition date: 20 January 2012 – one Jun 2012.[55]
  • 2012 – Louise Bourgeois: The Return of The Repressed at Freud Museum, Exhibition date: vii March 2012 – 27 May 2012.[56]
  • 2012 – Louise Bourgeois: Belatedly Works at Heide Museum of Mod Art, Exhibition date: 24 November 2012 – 11 March 2013.[57]
  • 2013 – Louise Bourgeois 1911–2010 at Museum of Gimmicky Canadian Art, Exhibition date: 22 June 2013 – 11 Aug 2013.[58]
  • 2014 – Louise Conservative: A Adult female Without Secrets at Middlesbrough Institute of Modernistic Art, Exhibition engagement: 18 Jul 2014 – 12 Oct 2014.[59]
  • 2015 – ARTIST ROOMS: Louise Bourgeois: A Woman Without Secrets at Southampton Urban center Art Gallery, Exhibition date: 16 Jan 2015 – 18 April 2015.[60]
  • 2015 – Louise Conservative. Structures of Beingness: the Cells at Haus der Kunst, Munich, Germany, Exhibition appointment: 27 Feb 2015 – 2 Aug 2015.[61]
  • 2015 – Louise Bourgeois: I Accept Been to Hell and Dorsum at Moderna Museet, Stockholm, Sweden, Exhibition date: fourteen Feb 2015 – 17 May 2015.[62]
  • 2016 – Louise Bourgeois: Structures of Existence: The Cells at Guggenheim Museum, Bilbao, Spain, Exhibition date: 18 March 2016 – 4 September 2016.[63]
  • 2016 – Louise Bourgeois: Turning Inwards at Hauser & Wirth, Switzerland, Exhibition date: 2 Oct 2016 – ane Jan 2017[64]
  • 2017 – Louise Conservative: Man Nature: Doing, Undoing, Redoing at Kistefos-Museet, Jevnaker, Kingdom of norway, Exhibition date: 21 May 2017 – 9 Oct 2017.[65]
  • 2017 – Louise Bourgeois: Spiders at San Francisco Museum of Modern Art, Exhibition engagement: 7 Oct 2017 - 4 Sept 2018.[66]
  • 2017 – Louise Bourgeois: Twosome at Tel Aviv Museum of Art, Tel Aviv, State of israel, Exhibition date: vii Sept 2017 - 17 Feb 2018.[67]
  • 2017 – Louise Bourgeois: An Unfolding Portrait at The Museum of Modern Art, Exhibition date: 24 Sept 2017 - 28 Jan 2018.[68]
  • 2018 – Louise Bourgeois: The Empty Firm at Schinkel Pavillon, Berlin, Exhibition date: 21 Apr 2018 – 29 July 2018.[69]
  • 2018 – Louise Bourgeois: To Unravel a Torment at Glenstone Museum, Potomac, MD, United States, Exhibition date: ten May 2017 – 1 Jan 2020.[70]
  • 2019 – Louise Conservative & Alex Van Gelder at UM Museum, Seoul, Republic of korea, Exhibition appointment: 1 Oct 2019 – 31 Dec 2019.[71]
  • 2019 – 1999-12-03 Abels, Carolyn, "Katz Plaza in Cultural District is Defended," Pittsburgh Mail-Gazette (v73, n125, B-ane)
  • 2021 – Louise Bourgeois, Freud'due south Girl at The Jewish Museum, New York, NY, Us, Exhibition date: 21 May 2021 – 12 Sept 2021.[72]

Recognition [edit]

  • 1972: Mary Beth Edelson's Some Living American Women Artists / Last Supper (1972) appropriated Leonardo da Vinci'due south The Final Supper, with the heads of notable women artists collaged over the heads of Christ and his apostles. Bourgeois was amongst those notable women artists. This image, addressing the office of religious and art historical iconography in the subordination of women, became "1 of the most iconic images of the feminist art movement."[73] [74]
  • 1977: Honorary doctorate from Yale University
  • 1981: Fellow of the American Academy of Arts and Sciences[75]
  • 1990: Elected into National University of Pattern[76]
  • 1990: Edward MacDowell Medal, MacDowell Colony, Peterborough, NH.[77] [78]
  • 1991: Lifetime Achievement in Contemporary Sculpture Honor (Hamilton, New Jersey, USA)
  • 1997: National Medal of Arts
  • 1999: Praemium Imperiale for lifetime accomplishment
  • 1999: Gilt Lion at the Venice Biennale
  • 2003: Wolf Foundation Prize in the Arts (Jerusalem)
  • 2005: Austrian Ornamentation for Science and Art[79]
  • 2008: National Order of the Legion of Award
  • 2009: "Commandeur" of the pataphysical Ordre de la Grande Gidouille.[eighty]
  • 2009: Honored by the National Women's Hall of Fame

Collections [edit]

Major holdings of her work include the National Gallery of Art in Washington, D.C.;[81] the Museum of Modern Art in New York[82] and Nasher Sculpture Center;[83] the San Francisco Museum of Modern Fine art;[84] National Gallery of Canada;[85] Tate in London;[86] and Centre Pompidou in Paris.[87] Throughout her career, Bourgeois knew many of her core collectors, such as Ginny Williams, Agnes Gund, Ydessa Hendeles and Ursula Hauser.[88] Other private collections with notable Bourgeois pieces include the Goetz Collection in Munich.[88]

Art market [edit]

Bourgeois started working with gallerist Paule Anglim in San Francisco in 1987, Karsten Greve in Paris in 1990, and Hauser & Wirth in 1997. Hauser & Wirth has been the principal gallery for her estate. Others, such as Kukje Gallery in Seoul and Xavier Hufkens in Brussels go along to deal in her piece of work.[88]

In 2011 one of Bourgeois's works, titled Spider, sold for $x.7 million, a new record cost for the artist at sale,[89] and the highest toll paid for a piece of work by a woman at the time.[90] In late 2015, the slice sold at another Christie's auction for $28.2 million.[91]

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Further reading [edit]

  • Heartney, Eleanor; Posner, Helaine; Princenthal, Nancy; Scott, Sue (2007). After the Revolution: Women Who Transformed Contemporary Fine art. Prestel Publishing Ltd. p. 351. ISBN978-3-7913-4755-4.
  • Armstrong, Carol (2006). Women Artists at the Millennium. October Books. p. 408. ISBN978-0-262-01226-three.
  • Herskovic, Marika (2003). American Abstract Expressionism of the 1950s: An Illustrated Survey. New York School Press. p. 372. ISBN978-0-9677994-i-4.
  • Herskovic, Marika (2000). New York Schoolhouse: Abstract Expressionists. New York School Press. p. 393. ISBN978-0-9677994-0-7.
  • Deepwell, Katy (May 1997). Deepwell, Katy (ed.). "Feminist Readings of Louise Bourgeois or Why Louise Conservative is a Feminist Icon". N.paradoxa. London: KT Printing (iii): 28–38. ISSN 1461-0426.
  • Wasilik, Jeanne G. (1987). Assemblage. Kent Fine Fine art, Inc. p. 44. ISBN978-1-878607-15-vii.

External links [edit]

Louise Bourgeois in The Museum of Fine Arts, Houston: https://www.mfah.org/blogs/inside-mfah/a-confessional-sculpture-past-louise-bourgeois

  • Louise Bourgeois in The Museum of Modern Art Online Drove
  • Louise Bourgeois: The Consummate Prints & Books - The Museum of Modern Art
  • Louise Bourgeois at Hauser & Wirth
  • 'My art is a class of restoration', interview with Rachel Cooke for The Observer, 14 October 2007
  • Louise Bourgeois at the Qatar National Convention Heart
  • Louise Bourgeois: À 50'Infini. Exhibition at Fondation Beyeler Exhibition and interview with curator Dr. Ulf Küster (video)
  • Webcam of the sculpture "Maman" outside of the National Gallery of Canada, Ottawa
  • Louise Bourgeois Louise Bourgeois'due south Exhibition at Fundació Antoni Tàpies 6/11/1990 - six/1/1991
  • Louise Bourgeois in American public collections, on the French Sculpture Census website Edit this at Wikidata
  • Louise Bourgeois at Schinkel Pavillon Berlin
  • Louise Bourgeois | HOW TO Come across the artist with MoMA Principal Curator Emerita Deborah Wye
  • Louise Conservative | HOW TO See the artist with Sewon Kang
  • Archives of American Art, Smithsonian Institution: Oral History Interview

rolfmuccer.blogspot.com

Source: https://en.wikipedia.org/wiki/Louise_Bourgeois

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