[41] At this point, her work fell in with the Feminist movement and exhibition opportunities increased significantly. She was already in her 60s. Bourgeois was born on Christmas Day in Paris to Joséphine Fauriaux and Louis Bourgeois, the second of three children. Ihre Wohnung, genauer ihr Bibliothekszimmer, im New Yorker Stadtteil Chelsea wurde 1996 für viele Jahre zum allsonntäglichen Salon für angemeldete Künstler aller Sparten aus aller Welt, die Kostproben ihres Schaffens geben wollten. In the late 1960s and early ’70s, Bourgeois frequently traveled to Italy to work in marble and bronze.
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Die Werkstatt wurde von Bourgeois' Mutter Josephine geleitet, der sie sehr nahe stand. Im Frühjahr 1999 fand die Ausstellung Spinnen, Einzelgänger, Paare in der Kunsthalle Bielefeld statt. [13], Die Japan Art Association würdigte Louise Bourgeois’ Lebensleistung 1999 mit der Verleihung des Praemium Imperiale, des bedeutendsten Preises für Zeitgenössische Kunst. Through these tempestuous years among her male peers, Bourgeois experienced the typical ambivalence of the career-minded wife and mother, fighting off anxiety-attacks while preparing for her shows. In den 1960er Jahren begann Bourgeois mit Latex, Gips und Gummi zu experimentieren. Während ihrer Kindheit wurde Bourgeois in der Werkstatt als Helferin eingestellt, um zu waschen, zu nähen und zu zeichnen. [1] She also taught for many years in the public schools in Great Neck, Long Island.
This was the beginning of the artist's engagement with double standards related to gender and sexuality, which was expressed in much of her work. Stattdessen vertrauen beide Elternteile der anderen Person, die genauso blind ist wie sie selbst, die Verantwortlichkeiten der Beziehung an - was wiederum beiden schadet.
Beschreibung des Kunstwerks: Die Spinne taucht erstmals in den 1940er Jahren in Bourgeois' Werk auf und hatte klare, positive Assoziationen für die Künstlerin, die die Spinne als Symbol ihrer Mutter sah. In der zweiten Version wird die Skulptur von Bourgeois selbst getragen. Despite this assertion, in 1976 Femme Maison was featured on the cover of Lucy Lippard's book From the Center: Feminist Essays on Women's Art and became an icon of the feminist art movement.[1]. "[33], Her husband, Robert Goldwater, died in 1973. This website highlights the themes that preoccupied her, and the creative process revealed in her evolving print states and versions. —Louise Bourgeois. She felt she could get in touch with issues of female identity, the body, the fractured family, long before the art world and society considered them expressed subjects in art. Her mother's death inspired her to abandon mathematics and to begin studying art. Die meiste Zeit des Jahres lebte ihre Familie im schicken Stadtviertel St. Germain in einer Wohnung über der Galerie, wo ihre Eltern Wandteppiche verkauften. In 1973, Bourgeois began to teach at Pratt Institute in Brooklyn, Cooper Union in Manhattan, Brooklyn College and the New York Studio School of Drawing, Painting and Sculpture. Später ließ sie Käfige aus Drahtgitter anfertigen, in denen sie ihre Installationen aufbaute. There lies the simultaneously positive and negative, both future and past, breakup and return, hope and vanity, plan and memory. Childhood family traumas "bred an exorcism in art" and she desperately attempted to purge her unrest with her work. "[11], Bourgeois incorporated those autobiographical references to her sculpture Quarantania I, on display in the Cullen Sculpture Garden at the Museum of Fine Arts, Houston. Unterrichtet wurde sie unter anderem von Fernand Léger. In ihren Kunstwerken wird sie oft durch eine Spinne symbolisiert, da sie Weberin war. Other honors included the Grand Prix National de Sculpture from the French government in 1991; the National Medal of Arts, presented by President Bill Clinton in 1997; the first lifetime achievement award from the International Sculpture Center in Washington D.C,; and election as a fellow of the American Academy of Arts and Sciences. Im Jahr 1938 ging sie nach New York, gemeinsam mit ihrem Mann Robert Goldwater, der dort einen Lehrauftrag als Kunsthistoriker annahm, während sie ihr Kunststudium an der Art Students League fortsetzte. The piece is a flesh-toned installation in a soft and womb-like room. Two years later, she mounted another solo show at Norlyst Gallery in New York. Abandonment for her is not only about losing her mother but her son as well. Curated by Deborah Wye, it was MoMA’s first retrospective devoted to a female artist. Im Jahr 2010 starb sie im hohen Alter von 98 Jahren in New York City. Bourgeois did not choose art as her vocation right away. It has been argued that this stems from her childhood memories and her father's affairs. Living with them for almost a decade, Sadie also became Louis’s mistress. Munro, Eleanor. [11] Sie schuf umschlossene Räume in den Dimensionen kleiner Zimmer zunächst aus wiederverwendeten Elementen, darunter Wandschirme oder Türen eines abgerissenen New Yorker Justizgebäudes. Spiders are friendly presences that eat mosquitoes. Cotter, Holland. Bourgeois' mother's family came from Aubusson, the French tapestry region, and both her parents owned an antique tapestry gallery at the time of her birth.
They had three sons (one adopted) and the marriage lasted until his death in 1973. In 1964, after a period of relative seclusion, she had her first solo show in eleven years at the Stable Gallery, New York. Originals: American Women Artists. In 1958, she and Robert Goldwater moved to the Chelsea section of Manhattan, where they remained to the end of their respective lives. In einer Version hängen die Skulpturen an einem Deckenhaken und verweisen so auf das Thema der Kastration. They are not threatening or protecting, but bring out the depths of anxiety within you. Weitere Informationen über Cookies finden Sie in unserer Datenschutzrichtlinie. The following ten years continued to bring Bourgeois acclaim. Das Werk war auch das erste von Bourgeois, das ihre Wut über die Untreue ihres Vaters explizit aufdeckte, was eine wesentliche Motivation für einen Großteil ihrer Arbeiten war. In 1990, Bourgeois decided to donate the complete archive of her printed work to The Museum of Modern Art. This was Bourgeous' way to find her center and stabilize her emotional unrest. [8], Bourgeois graduated from the Sorbonne in 1935.
Vom 5. American composer Rob Kapilow is writing a piece of music inspired by Louise Bourgeois' "Maman", the French artist's monumental sculpture of a spider.
Arch of Hysteria, 1993. Das Foto dieser Szene - geschossen von Robert Mapplethorpe - ist weltbekannt (oben abgebildet).
Die Tate Modern widmete 2007 in London der Künstlerin zeitgleich mit ihrem 95. In den frühen 1930er Jahren studierte sie Mathematik und Philosophie an der Sorbonne Université, wo sie ihre Dissertation über Blaise Pascal und Immanuel Kant schrieb. Despite the age gap between the two artists and differences in their work, the collaboration worked out gently and easily. "[20], In 1978 Bourgeois was commissioned by the General Services Administration to create Facets of the Sun, her first public sculpture. Louise Bourgeois verfügte über eine umfangreiche Bildung. Aufgewachsen ist sie in bürgerlichen Verhältnissen in Choisy-le Roi bei Paris, wo ihre Eltern eine Galerie für Textilien betrieben. Similar to other second-generation Surrealist artists like Frida Kahlo, she channeled her pain into the creative concepts of her art. Januar 2012 fand anlässlich ihres 100. In 1958, Bourgeois and her husband moved into a terraced house at West 20th Street, in Chelsea, Manhattan, where she lived and worked for the rest of her life. Early Life .
In 2001, she showed at the Hermitage Museum. After the unexpected death of her father in 1951, Bourgeois fell into a deep depression, which led to her psychoanalysis with Dr. Henry Lowenfeld.
In 2008, the Guggenheim Museum in New York and Centre Pompidou in Paris exhibited another retrospective.
Maman (1999) is a bronze, stainless steel, and marble sculpture by the artist Louise Bourgeois.The sculpture, which depicts a spider, is among the world's largest, measuring over 30 ft high and over 33 ft wide (927 x 891 x 1024 cm). 1940 gebar sie selbst den Sohn Jean-Louis und 1941 den Sohn Alain.[8]. Die Künstlerin vergleicht dieses Stück mit einem Tisch ihres Elternhauses, unter dem sie saß, um zu beobachten, wie sich die Beine ihrer Eltern durch den Raum bewegten. Ihre 9 Meter hohen Spinnen-Bronzefiguren, die „Maman“, sind zu finden in den öffentlichen Sammlungen:[20] Mori Art Museum, Roppongi, Tokio, Japan; Leeum, Samsung Museum of Modern Art, Seoul, Südkorea; Eremitage, Sankt Petersburg, Russland; Jardin des Tuileries, Paris, Frankreich; Tate Modern, London, Großbritannien; Guggenheim Museum, Bilbao, Spanien; Institute of Contemporary Art, Boston, USA; National Gallery of Canada, Ottawa, Canada; Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA; Museo Nacional de Bellas Artes, Palacio del Centro Asturiano, Havanna, Kuba; John and Mary Pappajohn Sculpture Park, Des Moines, USA; Kemper Museum of Contemporary Art, Kansas City, Missouri, USA.
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