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AN ART SPACE Art and artists Exhibitions and events Artist interview Composite materials LOUISE BOURGEOIS 路易丝·布尔乔亚 Louise Bourgeois'S BIOGRAPHY ｜ Born in Paris, France, 1911 Sculptor, Painter, Critic and Writer Died on May 31, 2010 LOUISE BOURGEOIS Inside and outside Cell (The last climb), 2008 Steel, glass, rubber, thread and wood 151 1/2 × 157 1/2 × 118 in; 384.8 × 400.1 × 299.7 cm In order to fully express my intolerable limits to this family, I must choose a form to vent my anxiety, and can constantly change, destroy and rebirth. For me, sculpture is the reproduction of the body, and my body is the essence of my sculpture. Passage Dangereux, 1997 Metal, wood, tapestry, rubber, marble, steel 104 × 140 × 345 in; 264.2 × 355.6 × 876.3 cm By means of symbols, people can communicate more consciously. But you also have to understand that symbols are symbols. They are not flesh-and-blood exchanges. Photo: © Louise Bourgeois ▲ ©Copyright 2019 · An Art Space Inside and outside ● Exhibition scene 路易丝·布尔乔亚 ｜ 里里外外 对于我来说，雕塑就是躯体的再现，我的躯体就是我雕塑的本质。为了完全表达我对这个家庭不能容忍的极限，我必须选择一个形式发泄心中的焦虑，并且可以不断改变、毁灭并重生。 ——路易丝·布尔乔亚 For me, sculpture is the representation of my body, and my body is the essence of my sculpture. In order to fully express the limits of what I could not tolerate in this family, I had to choose a form to express my anxiety in my heart, which could be constantly changed, destroyed and reborn. -- Louise bourgeois 2019 Louise Bourgeois Composite materials 综合材料·1947-2006 Louise Bourgeois Spider, 1997 Steel, tapestry, wood, glass Fabric, rubber, silver, gold and bone 177 × 262 × 204 in; 449.6 × 665.5 × 518.2 cm
Marble, metal, and glass 120 1/2 × 67 × 95 in; 306.1 × 170.2 × 241.3 cm Cell (Eyes & Mirrors) 1989-1993 Steel, limestone and glass Cell (Choisy), 1990-1993 Collection Glenstone Cell III, 1991 Metal, glass, fabric, bronze, steel, wood 81 1/2 × 87 × 83 in; 207 × 221 × 210.8 cm
Cell XXVI (detail), 2003 Steel, fabric, aluminum, stainless and wood 99 1/2 × 171 × 120 in; 252.7 × 434.3 × 304.8 cm
In and Out , 1995 Metal, glass, plaster, fabric and plastic 81 × 83 × 83 in; 205.7 × 210.8 × 210.8 cm
Cell VII, 1998 Metal, glass, fabric, bronze Steel, wood, bones, wax and thread 81 1/2 × 87 × 83 in; 207 × 221 × 210.8 cm
Red Room (Parents) (detail) , 1994 Wood, metal, rubber, fabric, marble, glass and mirror
Lady in waiting, 2003 Tapestry, thread, stainless steel, steel, wood and glass 82 × 43 1/2 × 58 in; 208.3 × 110.5 × 147.3 cm
Red Room (Child), 1994
Untitled, 1947-1949 Bronze, painted white and blue, and stainless steel 51 4/5 × 12 × 12 in; 131.5 × 30.5 × 30.5 cm
Pillar, 1949-1950 Bronze，63 1/4 × 12 × 12 in 160.7 × 30.5 × 30.5 cm
Untitled, 1954 Painted bronze and stainless steel 55 1/2 × 21 7/10 × 12 in; 141 × 55.2 × 30.5 cm
Untitled, 2003 63 × 20 9/10 × 16 1/10 in; 160 × 53 × 41 cm
NATURE STUDY, 1984 Bronze, polished patina 29 1/2 × 20 1/2 × 15 1/2 in; 74.9 × 52.1 × 39.4 cm
Fragile Goddess, 1970 Bronze, gold patina 10 1/4 × 5 5/8 × 5 3/8 in; 26 × 14.3 × 13.7 cm
AVENZA REVISITED Bronze with silver nitrate and polished patina 17 × 41 × 35 in; 43.2 × 104.1 × 88.9 cm
Give or Take (How Do You Feel This Morning?), 1990 Bronze 4 1/4 × 9 × 6 in; 10.8 × 22.9 × 15.2 cm
Give or Take (How Do You Feel This Morning), 1990 Cast and polished bronze sculpture 4 1/2 × 9 × 6 in; 11.4 × 22.9 × 15.2 cm
Fallen Woman (White, Black and Blue), 1996-1997 Porcelain, gilding 2 7/8 × 11 1/4 × 2 3/4 in; 7.3 × 28.6 × 7 cm
Fallen Woman, 1996 Black porcelain and polished gold 3 1/4 × 3 1/4 × 11 3/4 in; 8.3 × 8.3 × 29.8 cm
Fallen Woman, 1996 Porcelain biscuit and gold 12 1/5 × 3 3/20 × 3 3/20 in; 31 × 8 × 8 cm
Arch of Hysteria, 1993 Bronze, polished patina 33 × 40 × 23 in; 83.8 × 101.6 × 58.4 cm
Topiary, 2005 Bronze, silver nitrate patina 6 3/4 × 11 1/4 × 10 1/4 in; 17.1 × 28.6 × 26 cm
TOPIARY, 2006 Bronze, silver nitrate patina 8 7/10 × 9 3/10 × 4 in; 22.2 × 23.5 × 10.2 cm
FEMME, 2005 Bronze, silver nitrate patina 13 × 16 1/2 × 7 3/4 in; 33 × 41.9 × 19.7 cm
Knife Couple, 1949 (cast 1991) Bronze and stainless steel 67 1/2 × 12 × 12 in; 171.5 × 30.5 × 30.5 cm
NATURE STUDY, 1986 White marble 35 × 61 × 29 in; 88.9 × 154.9 × 73.7 cm
Mamelles, 1991 Pigmented urethane rubber 19 × 120 × 19 in; 48.3 × 304.8 × 48.3 cm
Assaults, 1999 Wall relief; steel and lead 10 1/4 × 16 1/2 × 1/2 in; 26 × 41.9 × 1.3 cm
Pregnant Woman II, 1947-1949 Bronze coated and polished Ed. 4/6 52 × 16 × 16 in; 132 × 40.6 × 40.6 cm
Fée Couturière Painted bronze 39 1/2 × 22 1/2 × 22 1/2 in; 100.3 × 57.2 × 57.2 cm
Figure, 1999 Fabric, pink Portuguese marble, metal and glass 8 7/10 × 17 1/2 × 10 1/5 in; 22.2 × 44.5 × 26 cm
Rondeau for L, Conceived in 1963 and cast in 1990 Bronze 11 × 11 × 10 1/2 in; 27.9 × 27.9 × 26.7 cm
The Couple, 2003
In and Out, 1995 Metal, glass, plaster, fabric, and plastic
The Loved Hand, Conceived in 1967 and cast in 1990 Bronze 9 × 12 1/10 × 8 in; 22.9 × 30.8 × 20.3 cm
Untitled (No. 2), 1996 Pink marble on steel base 26 × 31 × 25 in; 66 × 78.7 × 63.5 cm
UNTITLED , 2004 Pink marble 10 1/4 × 24 × 16 in; 26 × 61 × 40.6 cm
Untitled, 2001 Bronze with silver nitrate patina, in 3 parts
Untitled，Fur
Single III, 1996
Maman , 1999 Louise Bourgeois’ Spider 路易丝·布尔乔亚的蜘蛛 ｜
我的童年从未失去它的魔力，它从未失去它的神秘，它从未失去它的戏剧。 ——路易丝·布尔乔亚 My childhood has never lost its magic, it has never lost its mystery, and it has never lost its drama. —Louise Bourgeois
Louise Bourgeois: Structures of Existence – The Cells The pair first met in 1980 when Jerry was hanging her work in a Soho gallery and the artist walked past the window. “I didn’t know the work so well and I’d only seen a few pieces, but I thought they were strong,” he says. He was 25 and she was 70.
Louise Bourgeois: Structures of Existence – The Cells Rather than a meeting of minds, their first conversation was an argument in which Bourgeois shouted at Jerry that he was hanging her work all wrong. “She could be quite aggressive and powerful, but then she calmed down after we had some tea. She then invited me to her house and so I saw even more of her work.”
Louise Bourgeois: Structures of Existence – The Cells At first, Jerry only worked for Bourgeois a few hours a week but slowly his role grew to assistant, manager and friend. Her career spanned 70 years but it was only later in life, with Jerry’s involvement, that she became more known. The work, rather than the fame, always remained priority for Bourgeois.
Louise Bourgeois: Cell VI, 1991, Structures of Existence – The Cells “I had to force her to go to a few of her own openings in the beginning even though she didn’t want to… She felt the whole thing was unnecessary, so was rarely involved in the commercial side of her work.”
Louise Bourgeois: Passage Dangereux, 1997, Structures of Existence – The Cells
Louise Bourgeois: Cell XXVI, 2003, Structures of Existence – The Cells |
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