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Born in 1911 in Paris, Louise Bourgeois was raised in a household that famously included her fathers mistress, who was also Louises nanny. She studied philosophy and mathematics before turning to art in 1934, and over the next few years studied at various art academies and in the atelier of Fernand Léger, among others. She moved to New York in 1938 with her new husband, American art historian Robert Goldwater. Her first U.S. showing was in a print exhibit at the Brooklyn Museum, and over the next 50 years, she exhibited consistently in solo and group shows. In 1982, Bourgeois was the subject of the first retrospective ever given to a woman artist at The Museum of Modern Art, New York, and her work has remained in the spotlight ever since.
Published in conjunction with the exhibition "Louis Bourgeois: An Unfolding Portrait" held at The Museum of Modern Art, New York, September 24, 2017-January 28, 2018.
"Published on the occasion of the exhibition Louise Bourgeois & Pablo Picasso: Anatomies of Desire, Hauser & Wirth Zèurich, June 9-September 14, 2019."
A groundbreaking work edited by Germano Celant in collaboration with the artist and her New York studio that enriches our knowledge of Louise Bourgeois Louise Bourgeois, who has produced art since the 1930s, began in the 1990s to use her clothes and the clothes of her loved ones as components in her sculptures and drawings. It is as much a reincarnation of her past and her childhood as a confirmation of her relationship with memory. Her visual approach to fabrics transforms decorative accessories into emotional and personal references which, especially in her Cells and later in her drawings, create representations of a tormented and at the same time powerful womanhood. Further development of the artist's work began in 2002: exploiting the iridescent colours and formal structural properties of pieces of her clothing, she created "The Fabric Drawings," astonishing works alternating between floral figurative pieces and chromatic abstractions. This set of images is collected here in its entirety for the first time, constituting the closest thing yet to a general catalogue.
A critical study of Louise Bourgeois's art from the 1940s to the 1980s: its departure from surrealism and its dialogue with psychoanalysis.
An exploration of the art and writing of Louise Bourgeois through the lens of her relationship with Freudian psychoanalysis From 1952 to 1985, Louise Bourgeois (1911-2010) underwent extensive Freudian analysis that probed her family history, marriage, motherhood, and artistic ambition--and generated inspiration for her artwork. Examining the impact of psychoanalysis on Bourgeois's work, this volume offers insight into her creative process. Philip Larratt-Smith, Bourgeois's literary archivist, provides an overview of the artist's life and work and the ways in which the psychoanalytic process informed her artistic practice. An essay by Juliet Mitchell offers a cutting-edge feminist psychoanaly...
An intimate, powerful portrait of Louise Bourgeois in the final years of her life From 2008 to 2010 Louise Bourgeois allowed Alex Van Gelder into her private world—her studio and home—and indulged his lens, while she worked, rested, waited—mischievous, or lost in thought, weary of decrepitude, raging, defiant to the end. She fills the camera with her presence. It is a profound portrait of an artist of the utmost consequence and a piercing study of extreme age. Louise Bourgeois was one of the last surviving artists of the high modernist era, and her early work anticipated what would come in the late modern and postmodern eras, including minimalism, installation art, and body art. Howeve...
Louise Bourgeois has been on a journey inspired by architecture for six decades, from the early realistic drawings of interiors she made upon her arrival in New York in the late 1930s, to the plaster Lairs of the 1960s, to the Cells and recent commissioned works of the 1990s In her figurative work she has drawn, painted, printed, and sculpted everything from skyscrapers, courthouses, and greenhouses to labyrinths, sanatoriums, towers, nests and of course the many different houses and buildings she has lived in over the years. Throughout her career Bourgeois' work has always had a strong and essential autobiographical element -- and this book illuminates an area of her life that has heavily informed her work, in addition to exploring the relationship of her sculpture to architectural forms.
The body, of both the patient and the analyst, is increasingly a focus of attention in contemporary psychoanalytic theory and practice, especially from a relational perspective. There is a renewed regard for the understanding of embodied experience and sexuality as essential to human vitality. However, most of the existing literature has been written by analysts with no formal training in body-centered work. In this book William Cornell draws on his experience as a body-centered psychotherapist to offer an informed blend of the two traditions, to allow psychoanalysts a deep understanding, in psychoanalytic language, of how to work with the body as an ally. The primary focus of Somatic Experi...
In The Aesthetic Clinic, Fernanda Negrete brings together contemporary women writers and artists well known for their formal experimentation—Louise Bourgeois, Sophie Calle, Lygia Clark, Marguerite Duras, Roni Horn, and Clarice Lispector—to argue that the aesthetic experiences afforded by their work are underwritten by a tenacious and uniquely feminine ethics of desire. To elaborate this ethics, Negrete looks to notions of sublimation and feminine sexuality developed by Freud, Baudelaire, Mallarmé, and Nietzsche, and their reinvention with and after Jacques Lacan, including in the schizoanalysis of Gilles Deleuze and Félix Guattari. But she also highlights how psychoanalytic theory draw...