Seven in bed by fosca salvi

Re: cento rifermenti x cento libri x cento mondi possibili Barbara ghella: b.ghella@fastwebnet.it A:sm fs centoxcentoxcento@ymail.com

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ARTINFO - Louise Bourgeois’s “Seven in Bed” (2001) at the Tate Modern Louise Bourgeois’s “Seven in Bed” (2001) at the Tate Modern. Courtesy The Tate Modern. www.artinfo.com/news/enlarged_image/25698/57634/ - 4k - Copia cache - Pagine simili CIRCA Art Magazine - Online review - Louise Bourgeois: Stitches in ... Louise Bourgeois, Seven in a Bed , 2001, fabric, stainless steel, glass and wood , 172.7 x 85 x 87.6 cm, Courtesy Cheim & Read, New York, Photo: Christopher ... www.recirca.com/reviews/louisebourgeois/index. shtml - 50k - Copia cache - Pagine simili Artists — Louise Bourgeois — Images and clips — Seven in Bed ... Louise Bourgeois IMAGES ... Seven in Bed, 2001. Fabric, stainless steel, glass and wood 172.7 x 85 x 87.6 cm / 68 x 33 1/2 x 34 1/2 in ... www.hauserwirth.com/artists/1/louise-bourgeois/images-clips/51/ - 6k - Copia cache - Pagine simili

ecco un contributo, anzi due seven in bed louise bourgeois 2001 Re: cento rifermenti x cento libri x cento mondi possibili Barbara Ghella <b.ghella@fastwebnet.it> A:Sm Fs <centoxcentoxcento@ymail.com>

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6 Aug 2004 ... Stitches in Time features 20 of Louise Bourgeois’s most recent creations ... Seven in a Bed, 2001, for example, seems to distil the artist’s ... www.absolutearts.com/artsnews/2004/08/06/322 61.html - 18k - Copia cache - Pagine simili Art: Louise Bourgeois, Tate Modern, London SE1 | Art and design ... 14 Oct 2007 ... Art: For 70 years, Louise Bourgeois has been spinning a web around ... Is Seven in a Bed (2001) about the comfort of the family unit or its ... www.guardian.co.uk/artanddesign/2007/oct/14/ art - 86k - Copia cache - Pagine simili Louise Bourgeois at MOCA, Los Angeles :: EDGE San Francisco 28 Nov 2008 ... Louise Bourgeois entered the Sorbonne to study mathematics in 1932 but ... “ Seven in Bed” Besides marble, Bourgeois enjoys sculpting in ... www.edgesanfrancisco.com/index.php?ch=enterta inment&sc=fine_arts&sc2=&sc3=exhibits&id=84001 - 61k - Copia cache - Pagine simili Artists Louise Bourgeois La Reparation, 2003 a portfolio of seven prints ... Louise Bourgeois Eight in Bed, 2000 lithograph 21 x 23 inches. Ed: 40, Eight in Bed ... www.barbarakrakowgallery.com/contentmgr/

showdetails.php/id/308 - 17k - Copia cache - Pagine simili Cheim & Read - Louise Bourgeois - Works Louise Bourgeois SEVEN IN A BED, 2001. Fabric, stainless steel, glass and wood 68 x 33 1/2 x 34 1/2 inches 172.7 x 85.1 x 87.6 centimeters ... www.cheimread.com/artists/louise-bourgeois/ ?view=selected&subgallery=2 - 15k - Copia cache - Pagine simili Major Louise Bourgeois Retrospective Opens At Tate Modern - 24 ... The longevity and diversity of Louise Bourgeoisâ&#x20AC;&#x2122; career is something to marvel at. ... seven fabric figures embracing. Louise Bourgeois, Seven in Bed 2001. ... www.24hourmuseum.org.uk/nwh_gfx_en/ ART51262.html - 43k - Copia cache - Pagine simili MoMA.org | The Collection | Louise Bourgeois. (American, born ... Louise Bourgeois. Plate 5 (Seven in a Bed), from Metamorfosis (published in book , twenty-second signature). 1997. Drypoint, plate: 11 7/16 x 11 7/16â&#x20AC;? (29 x ... https://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A710&page... id... - 36k - Copia cache - Pagine simili

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Louise Bourgeois From Wikipedia, the free encyclopedia

Louise Bourgeois; born December 25, 1911) is an artist and sculptor. Her most famous works are possibly the spider structures, titled Maman, from the last dozen years. Early life Louise Bourgeois was born in Paris, France. Heparents repaired tapestries. At 12, she started helping them draw the missing segments of the tapestries. At 15 she studied mathematics at the Sorbonne. Her studies of geometry contributed to her early cubist drawings. Still searching, she began painting, studying at the École du Louvre and then the École des Beaux-Arts, and worked as an assistant to Fernand Léger. In 1938 she moved with her American husband, Robert Goldwater, to New York City to continue her studies at the Art Students League of New York, feeling that she would not have stayed an artist had she continued to live in Paris. She lives and works in New York City. Work She is best known for her ‘Cells’, ‘Spiders’ and

various drawings, books and sculptures. Her works are sometimes abstract and she speaks of them in symbolic terms with the main focus being “relationships” - considering an entity in relation to its surroundings. Louise Bourgeois finds inspiration for her works from her childhood: her adulterous father, who had an affair with her governess (who resided in the home), and her mother, who refused to acknowledge it. She claims that she has been the “striking-image” of her father since birth. Bourgeois conveys feelings of anger, betrayal and jealousy, but with playfulness. In her sculpture, she has worked in many different mediums, including rubber, wood, stone, metal, and appropriately for someone who came from a family of tapestry makers, fabric. Some of her pieces consisted of erotic and sexual images, with a motif of “cumuls” (she named the round figures such because they reminded her of cumulus clouds). Her most famous works are possibly the spider structures, titled Maman, from the last dozen years. Maman now stands outside Tate Modern in London. A similar sculpture was featured at an art exhibition in the Solomon R. Guggenheim Museum. Her earliest exhibition, in 1947, consisted of tunnel sculptures and wooden figures, including The Winged Figure (1948). Despite early success in that show, with one of the works being purchased for the Museum of Modern Art, Bourgeois was subsequently ignored by the art market during the fifties and sixties. It was in the seventies, after

the deaths of her husband and father, that she became a successful artist. In 1993 she represented the United States at the Venice Biennale. In 1999 she participated in the Melbourne International Biennial 1999. Also in 1999, Bourgeois was the first artist commissioned to fill the Turbine Hall at the Tate Modern. “Three large steel towers, about 30 feet (9.1 m) high, fill the east end of the Turbine Hall. Each tower supports a platform on which two chairs are surrounded by a series of large swivel mirrors. The mirrors with their reflective surfaces create an space for contemplation and reflection. Visitors are able to mount spiral staircases on the towers to experience the space of the platform and the Turbine Hall. Bourgeois imagines that the platforms will become the stage for significant conversations and human confrontations. Adjacent to the towers and straddling the bridge of the Turbine Hall is an 35 feet (11 m) high spider by Bourgeois, the largest she has made.” The installations were later dismantled, the spider sculpture (“Maman”) was relocated to Ottawa, where it stands outside the entrance to the National Gallery of Canada. All of Bourgeois’ sculptures incorporate a sense of vulnerability and fragility. Her works are often viewed to have a sense of sexuality to them, which she believed is a large part of both vulnerability and fragility.

http://www.guardian.co.uk/artanddesign/2007/ oct/14/art4 ‘My art is a form of restoration’ In a rare interview with one of the world’s greatest living artists, Rachel Cooke asks Louise Bourgeois to reflect on her extraordinary career. RC: You moved to New York early in your career. What effect did this have? LB: I was a ‘runaway girl’ from France who married an American and moved to New York City. I’m not sure I would have continued as an artist had I remained in Paris because of the family setup. In coming to New York, I was suddenly independent from them. I did feel the affects of being French. There was both isolation and stimulation. Homesickness was the theme of the early sculptures. RC: Do you think women artists have an easier time of it today, particularly in terms of the market? LB: To survive as an artist is difficult. The market is only one issue, and it follows its own logic. Even though what I do does enter the market, it doesn’t interest me. I am exclusively concerned with the formal qualities of my work. It is about the need and the right to self-expression. There are plenty of good artists that don’t have a market at all. In terms of the market, things

have improved for women, but there is still a big disparity. RC: The main focus of your work, according to some, is the relationship between an entity and its surroundings. But you have also been influenced by human relationships. Can you explain more about this aspect of your work? LB: My works are portraits of a relationship, and the most important one was my mother. Now, how these feelings for her are brought into my interaction with other people, and how these feelings for her feed into my work is both complex and mysterious. I’m still trying to understand the mechanism. RC: In the Fifties and Sixties, the art market ignored you a little. Was this frustrating? Was it connected to your sex? How and why did things change? LB: The Fifties were definitely macho and the Sixties less so. The fact that the market was not interested in my work because I was a woman was a blessing in disguise. It allowed me to work totally undisturbed. Don’t forget that there were plenty of women in a position of power in the art world: women were trustees of museums, the owners of galleries, and many were critics. Surely, the Women’s Movement affected the role of women in the art world. The art world is simply a microcosm of the larger world where men and

women compete. RC: Today, your most famous works might be your â&#x20AC;&#x2DC;spiderâ&#x20AC;&#x2122; structures. Is this pleasing? Can you talk a little about how they came about? LB: The spiders were an ode to my mother. She was a tapestry woman, and like a spider, was a weaver. She protected me and was my best friend. RC: Your parents worked with tapestry, and you initially studied mathematics. Some critics have traced both these influences in your work. How separate is the mathematician in you, from the artist, or are the two intimately connected? LB: My love of geometry is expressed by the formal aspect of my work. From the tapestries, I got this large sense of scale. I learned their stories, the use of symbolism and art history. The restoration of the tapestries functioned on a psychological level as well. By this I mean that things that have broken down or have been ripped apart can be joined and mended. My art is a form of restoration in terms of my feelings to myself and to others. RC: You work on a grand scale. Why? LB: I want to create my own architecture so that the relationships of my forms and objects are fixed. Sometimes I need the large scale so that

the person can literally move in relationship to the form. The difference between the real space and the psychological space interests me and I want to explore both. For example, the spiders, which are portraits of my mother, are large because she was a monument to me. I want to walk around and be underneath her and feel her protection. RC: How do you feel now about Robert Mapplethorpe’s famous photograph of you? LB: I am still fond of Robert Mapplethorpe’s portrait. People seem to like it very much because they thought Robert and I were both ‘naughty’. RC: Can you tell us a little of how you have worked over the years? Do you work only when inspiration strikes? LB: I only work when I feel the need to express something. I may not be sure of exactly what it is, but I know that something is cooking and when I am on the right track. The need is very strong. To express your emotions, you have to be very loose and receptive. The unconscious will come to you, if you have that gift that artists have. I only know if I’m inspired by the results. RC: A retrospective at the Tate. This isn’t the first, but how does it make you feel? Have you ended up making any reassessments of your career?

LB: When I see all the work that I have produced, I realised how consistent and persistent I have been. But I’m much more interested in what I’m working on now. Louise Bourgeois, featuring over 200 works, is at Tate Modern, London SE1, until 20 Jan 2008. A new monograph of her work, by Marie-Laure Bernadac, is published by Flammarion, £25

http://www.edgesanfrancisco.com/index. php?ch=entertainment&sc=fine_arts&sc2=&sc3 =exhibits&id=84001 “Seven in Bed” Besides marble, Bourgeois enjoys sculpting in esoteric media including, not surprisingly, woven textiles. “Seven in Bed” (2001) a small sculpture made from a rough red fabric has the bodies of seven people locked together in a bed. The feeling Bourgeois wishes to evoke is when the children climb into the parent’s bed on a Saturday morning. The largest of the cloth figures is of a man and woman, naked and locked in a sexual position. One of the legs for the woman is a wooden prosthesis. The couple is framed in a glass case and Bourgeois explains it is the feeling of Freud’s “primal scene,” when a child sees the parents having sex for the first time.

http://www.flickr.com/photos/tashyyyy/ 2464517941/ Study of “Seven in a bed” by Louise Bourgeois

http://arttattler.com/archivebourgeois.html Louise Bourgeois, Arch of Hysteria, 1993, Bronze, polished patina, hanging piece, Courtesy Cheim & Read, Galerie Karsten Greve, and Galerie Hauser & Wirth.

http://arttattler.com/archivebourgeois.html Louise Bourgeois, Untitled, 1996, Fabric, lace and thread, Courtesy Cheim & Read, Galerie Karsten Greve, and Galerie Hauser& Wirth, ÂŠ Louise Bourgeois Photo: Peter Bellamy.

http://arttattler.com/archivebourgeois.html Louse Bourgeois, Spider, 1996, Cast-bronze, Collection of Barbara Lee, Cambridge, Massachusetts.

http://arttattler.com/archivebourgeois.html Louise Bourgeois, Couple IV, 1997, Fabric, leather, stainless steel and plastic, 20 x 65 x 30 1/2”, Wood and glass Victorian vitrine: 72 x 82 x 43”, Courtesy Cheim & Read, Galerie Karsten Greve, and Hauser & Wirth, Photo: Christopher Burke, © Louise Bourgeois.

www.barbarakrakowgallery.com/contentmgr/ showdetails.php/id/308 - 17k - Copia cache - Pagine simili Cheim & Read - Louise Bourgeois - Works Louise Bourgeois SEVEN IN A BED, 2001. Fabric, stainless steel, glass and wood 68 x 33 1/2 x 34 1/2 inches 172.7 x 85.1 x 87.6 centimeters ... www.cheimread.com/artists/louise-bourgeois/ ?view=selected&subgallery=2 - 15k - Copia cache - Pagine simili Major Louise Bourgeois Retrospective Opens At Tate Modern - 24 ... The longevity and diversity of Louise Bourgeoisâ&#x20AC;&#x2122; career is something to marvel at. ... seven fabric figures embracing. Louise Bourgeois, Seven in Bed 2001. ... www.24hourmuseum.org.uk/nwh_gfx_en/ ART51262.html - 43k - Copia cache - Pagine simili MoMA.org | The Collection | Louise Bourgeois. (American, born ... Louise Bourgeois. Plate 5 (Seven in a Bed), from Metamorfosis (published in book , twenty-second signature). 1997. Drypoint, plate: 11 7/16 x 11 7/16â&#x20AC;? (29 x ... https://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A710&page... id... - 36k - Copia cache - Pagine simili