Louise Bourgeois: Spiral by Cheim Read

Louise Bourgeois

Louise Bourgeois Spiral

Cheim & Read

Spiral

Louise Bourgeois

Spir a l

Louise Bourgeois

Spira l

Cheim & Read

The spiral is an attempt at controlling the chaos. It has two directions. Where do you place yourself, at the periphery or at the vortex? Beginning at the outside is the fear of losing control; the winding in is a tightening, a retreating, a compacting to the point of disappearance. Beginning at the center is affirmation, the move outward is a representation of giving, and giving up control; of trust, positive energy, of life itself. Spiralsâ&#x20AC;&#x201C;which way to turnâ&#x20AC;&#x201C;represent the fragility in an open space. Fear makes the world go round.

Untitled 1947 ink and charcoal on paper 8 x 5 in 20.3 x 12.7 cm 8

Spiral Woman 1951â&#x20AC;&#x201C;52 painted wood and stainless steel 50 x 12 x 12 in 127 x 30.5 x 30.5 cm 12

[…] I am possessed by rage how does it feel – rage or anger is extensible it grows […] or it diminishes – it expands and it retracts, it advances and it retires like waves – it is oriented like a bolting horse but even in its raging race it can be directed driven like a car at 110 an hour it makes the possessed extremely receptive, I am hungry I am thirsty I consume I don’t get a cold when I am angry and I need space I pace up and down the whole house big distances covered all the windows are thrown opened all the lights are turned on – the writing on the page is large the drawings (double page of the journal) no expense is too large, the drawing starts with a jab and goes round and round larger and larger faster and faster like the children who swirl faster and faster –

Untitled 1951 ink on graph paper 11 x 8 Â˝ in 27.9 x 21.6 cm 15

Spiral/Summer 1960 plaster 14 x 21 in 35.6 x 53.3 cm 16

Labyrinthine Tower 1962 bronze 18 x 12 x 10 Â½ in 45.7 x 30.5 x 26.7 cm 18

Lair 1962 bronze, painted white 22 x 22 x 22 in 55.9 x 55.9 x 55.9 cm 20

Lair 1963 latex 9 ½ x 16 ¾ x 14 ⅜ in 24.1 x 42.5 x 36.5 cm 22

Rondeau for L 1963 plaster 11 x 11 x 10 Â˝ in 27.9 x 27.9 x 26.7 cm 24

Untitled 1968 ink on paper 14 x 11 in 35.6 x 27.9 cm 26

Resin Eight 1965 resin over hemp 2 x 7 x 2 Â˝ in 5.1 x 17.8 x 6.4 cm 28

Untitled 1969 pencil and crayon on paper 12 x 9 in 30.5 x 22.9 cm 30

In and Out 1970 gouache on paper 22 x 32 in 55.9 x 81.3 cm 32

The room turns with its little objects around me like planets around the central sun â&#x20AC;&#x201C; before I was conscious of the walls and I was constantly leaning against them and feeling their strength I feel a centrifugal force. [â&#x20AC;Ś] control of the space grip on be sure of it because you need it the center of gravity to change from the container toward the contained. the butterfly that flutters around the lamp and all of a sudden the lamp goes off, what is happening to it

Untitled c.1970 paint on board 47 x 59 in 119.4 x 149.9 cm 35

Untitled 1970 gouache and watercolor on paper 26 x 40 Âž in 66 x 103.5 cm 36

Nature Study #1 1985 bronze, dark polished patina 7 x 19 x 7 in 17.8 x 48.3 x 17.8 cm 38

March 25, 1986 loose sheet (ink on blue paper) 11 x 8 Â˝ in 27.9 x 21.6 cm

c. March 1986 loose sheet (ink on blue paper) 11 x 8 Â˝ in 27.9 x 21.6 cm

March 25, 1986 loose sheet (ink on blue paper) 11 x 8 Â˝ in 27.9 x 21.6 cm

Nature Study 1986 white marble 35 x 61 x 29 in 88.9 x 154.9 x 73.7 cm 46

seconds minutes hours days nights weeks months years decades centuries today, here + now the beating of the heart.

The Twist 1989 ink on paper 5 ¾ x 3 ⅜ in 14.6 x 8.6 cm 51

Sutures 1993 steel, thread, rubber, needle, and enamel pin 108 x 41 x 35 in 274.3 x 104.1 x 88.9 cm 52

Untitled 1998 red ink on paper 9 x 12 in 22.9 x 30.5 cm 54

the five senses. listen, look, talk, feel + taste down and down – total loneliness inward spiral tightens + tightens Control of “attack of anxiety” through understanding the genesis of it.

Untitled 1996 cloth, bronze, and steel 115 ½ x 43 x 35 in 293.4 x 109.2 x 88.9 cm 56

Behavior Is Transformed Into Art 1999 ink and pencil on paper 9 x 11 â&#x2026;? 22.9 x 29.5 cm 58

Untitled 2005 fabric 24 x 31 in 61 x 78.7 cm 60

Spirals 2005 suite of 12 oil-based woodcuts on Japanese handmade paper 14 x 16 â&#x2026;? in 35.6 x 42.2 cm (each)

There are a lot of spirals…but they are not automatic. The spiral is a vacuum…It represents something…the void, the anxiety void, the void of anxiety.

Spiral 2009 suite of 4 gouaches on paper 18 x 23 Â˝ in 45.7 x 59.7 cm (each) 65

Untitled 2004 aluminum 65 Â˝ x 42 x 25 in 166.4 x 106.7 x 63.5 cm 66

Untitled 2006 fabric with ink and fabric collage 22 â&#x2026;&#x203A; x 26 Âź in 56.2 x 66.7 cm 68

Self portrait I feel so fragile: the mouse behind the radiator and act like a dragon The search is on for the eternal (garanti in time) undestructable (the truth) [â&#x20AC;Ś] accurate in space and time the foundation in cement + boulder the welded the demountable and remountable the rocking for ever the spiral for ever the wheel foolproof operations â&#x20AC;&#x201C; nothing can go wrong.

Spiral 2009 gouache on paper 23 Â˝ x 18 in 59.7 x 45.7 cm

CHRONOLOGY 1911 Louise Joséphine Bourgeois is born in Paris on December 25. Her parents, Louis Isadore Bourgeois and Joséphine Valerie Fauriaux, run a tapestry gallery and restoration atelier, repairing and selling medieval and Renaissance tapestries. 1915–18 Bourgeois’s father is mobilized to fight in WWI. The Bourgeois family temporarily moves in with her maternal grandparents in Aubusson. When her father is wounded in 1916, Bourgeois and her mother travel to Chartres to visit him in the hospital. Toward the end of the war, Bourgeois’s mother contracts the Spanish flu; she never fully recovers. 1921 Bourgeois attends the prestigious Lycée Fénelon in Paris, where she is enrolled until 1927, and again in 1932. In the late 1920s, her education is frequently interrupted while she cares for her mother. 1922 Sadie Gordon Richmond is hired by Bourgeois’s father as an English governess for his children. She becomes his mistress and lives with the family periodically until 1932. 1932 Bourgeois’s mother Joséphine dies on September 14, in Antony. Bourgeois receives her baccalaureate in philosophy from Lycée Fénelon in October, and enters the Sorbonne in November, studying solid geometry and differential calculus. 1933 Depressed by her mother’s death, Bourgeois abandons mathematics and begins to study art. Over the next several years, she attends various schools and studies with several artists at ateliers in Montparnasse and Montmartre.

Bourgeois in the studio, 1960, with Life Flower

1936–38 Bourgeois takes courses at the École des BeauxArts, and art history classes at the École du Louvre, where she becomes a certified docent and works as a guide at the Musée du Louvre. She also studies under Fernand Léger, who remarks that Bourgeois’s sensibility leans toward the three-dimensional. 1938 Bourgeois opens her own art gallery in a section of her father’s tapestry gallery at 174 Boulevard SaintGermain. She sells prints and paintings by Matisse, Redon, and Bonnard, among others. It is here that she meets her future husband, the American art historian Robert Goldwater. They marry in Paris on September 12 and move to New York shortly after. 1939 Bourgeois enrolls at the Art Students League in New York, studying with Vaclav Vytlacil and Will Barnet. She begins making prints, paintings, and drawings. Bourgeois and Goldwater return to France for the summer. While there, they arrange for the adoption of a French orphan, Michel Olivier (b. 1936). 1940 Michel Olivier arrives in New York on May 21. Jean-Louis Thomas Bourgeois is born to Louise Bourgeois and Robert Goldwater on July 4. 1941 The family moves to an apartment at 142 East 18th Street, in a building known as “Stuyvesant’s Folly.” They also acquire a country house in Easton, Connecticut. Bourgeois starts making wood sculptures on the apartment building’s roof, and works in the summer at the country house. The couple ’s third son, Alain Matthew Clement Bourgeois, is born on November 12.

1945 Bourgeois has her first solo show, “Paintings by Louise Bourgeois,” at the Bertha Schaefer Gallery in New York. She begins exhibiting paintings in group shows with the Abstract Expressionists.

Bourgeois will maintain a studio until 1955.

Bourgeois is included in the group show “The Women” at Peggy Guggenheim’s Art of This Century Gallery in New York.

The family returns to New York in September. Suffering from profound depression, Bourgeois begins psychoanalysis. She will see her analyst, Dr. Henry Lowenfeld, intensely from 1952 to 1967, and then less frequently until his death in 1985.

1946 Bourgeois makes prints at Stanley William Hayter’s Atelier 17 in New York. There she completes a suite of nine engravings accompanied by parables entitled He Disappeared into Complete Silence (1947). 1947 For her second solo exhibition, Bourgeois exhibits seventeen paintings at Norlyst Gallery in New York. Her iconic Femme Maison image is used as the announcement. 1949 “Louise Bourgeois, Recent Work 1947–1949: Seventeen Standing Figures in Wood,” the artist’s first solo exhibition of sculpture, is presented at the Peridot Gallery in New York. 1950 In April, with several Abstract Expressionists, Bourgeois participates in a three-day forum, moderated by Alfred Barr, Richard Lippold, and Robert Motherwell at Studio 35. Bourgeois has a second exhibition, “Louise Bourgeois: Sculptures,” at the Peridot Gallery. Fifteen wood sculptures are shown, including Sleeping Figure (1950), which will be acquired in 1951 by Alfred Barr for the Museum of Modern Art in New York. Robert Goldwater receives a Fulbright Scholarship. In October, the family returns to France. They rent a house at 77 Rue Daguerre in Paris where

1951 Bourgeois’s father, Louis, passes away unexpectedly on April 9.

1953 Bourgeois has her third and final solo show at the Peridot Gallery, “Louise Bourgeois: Drawings for Sculpture and Sculpture.” In June, the Bourgeois family departs for Europe. They visit Bourges, Aubusson, Aix, the caves at Lascaux, and Italy. 1956 Bourgeois opens a bookshop, Erasmus Books and Prints, which she will run until December 1959. 1957 Bourgeois becomes an American citizen on March 11. 1960 Bourgeois starts experimenting with organic forms and less stable materials, such as plastic, latex, and rubber. 1962 Bourgeois and Goldwater move to West 20th Street in New York, where she will live until her death. 1964 In “Louise Bourgeois: Recent Sculpture,” her first solo show in eleven years, Bourgeois exhibits a new body of work in plaster and latex at the Stable Gallery in New York. The Rose Fried Gallery simultaneously presents a solo show of works on paper, “Recent Drawings by Louise Bourgeois.”

1966 Bourgeois’s work is shown with a younger generation of artists, including Eva Hesse and Bruce Nauman, in the exhibition “Eccentric Abstraction” at the Fischbach Gallery in New York, organized by Lucy Lippard. 1967 Bourgeois makes her first trip to Pietrasanta, Italy, to work in marble and bronze. She will return there regularly until 1972. 1970 Bourgeois is included in the exhibition “L’Art Vivant Aux Etats-Unis” at the Fondation Maeght in St. Paul de Vence, France. Bourgeois begins her involvement with the feminist movement, and will take part in several rallies, benefits, panels, and exhibitions over the next decade. 1973 Bourgeois’s husband Robert Goldwater dies on March 26. 1974 In a solo show at 112 Greene Street, “Louise Bourgeois: Sculpture 1970–1974,” Bourgeois shows several marble pieces, as well as the hanging Janus series in bronze (1968), Labyrinthine Tower (1962), and, for the first time, The Destruction of the Father (1974). 1977 Bourgeois receives an Honorary Doctorate of Fine Arts degree from Yale University. 1978 Bourgeois exhibits the installation Confrontation (1978) at the Hamilton Gallery of Contemporary Art in New York. Her performance, “A Banquet: A Fashion Show of Body Parts,” is staged inside the installation and features live models wearing latex costumes made by Bourgeois.

Xavier Fourcade Gallery, New York, presents “Louise Bourgeois: Triangles: New Sculpture and Drawings, 1978.” She will have two more solo shows with the gallery, in 1979 and 1980. The Berkeley Art Museum of the University of California mounts “Louise Bourgeois: Matrix / Berkeley 17.” 1980 Bourgeois acquires a studio in Brooklyn that allows her to work at a much larger scale. Bourgeois is included in “10 Abstract Sculptures: American and European 1940–1980” at the Max Hutchinson Gallery in New York, curated by Jerry Gorovoy. Later this year, Gorovoy curates “The Iconography of Louise Bourgeois,” also at Max Hutchinson. This show includes early prints, drawings, and paintings, as well as four Femme Maison (1945–47) paintings. After their initial meeting this year, and the subsequent friendship that developed, Gorovoy will become Bourgeois’s assistant, working closely with her until her death. 1981 The Renaissance Society at the University of Chicago organizes the exhibition “Louise Bourgeois: Femme Maison.” Bourgeois and Gorovoy return to Italy so that Bourgeois can produce new marble works. 1982 Bourgeois exhibits new marble and bronze works in her debut show at the Robert Miller Gallery, “Bourgeois Truth.” She will have six more solo exhibitions at the gallery over the next decade. “Louise Bourgeois: Retrospective” opens at the Museum of Modern Art in New York. It is the museum’s first full-scale sculpture retrospective by a

woman artist. The exhibition, curated by Deborah Wye, will travel to Houston, Chicago, and Akron, Ohio. 1983 Bourgeois is awarded the Officier de L’Ordre des Arts et des Lettres by the French Minister of Culture. She is also elected Member of the American Academy and the Institute of Arts and Letters in New York, and receives an honorary doctorate from the Massachusetts College of Art in Boston. She will continue to receive several honorary degrees and awards in the ensuing years. 1985 Galerie Maeght-Lelong in Paris presents “Louise Bourgeois: Retrospective 1947–1984,” Bourgeois’s first extensive solo show in Europe. Bourgeois has an exhibition at the Serpentine Gallery in London, curated by Stuart Morgan. 1988 The Museum Overholland in Amsterdam organizes an exhibition of drawings, “Louise Bourgeois: Works on Paper 1939–1988.”

1992 Bourgeois exhibits Precious Liquids (1992) at Documenta IX. The work is subsequently purchased by Dominique Bozo for the Centre Georges Pompidou in Paris. The Guggenheim Museum in New York inaugurates their new SoHo space with the exhibition “From Brancusi to Bourgeois: Aspects of the Guggenheim Collection.” Bourgeois’s works are paired with those by Joseph Beuys. Bourgeois presents “She Lost It,” an installation and performance piece at the Fabric Workshop in Philadelphia. 1993 Bourgeois represents the United States at the American Pavilion of the Venice Biennale. The installation includes a new series of Cells. Mayor David Dinkins of New York City presents Bourgeois with the Mayor’s Award for Art & Culture.

1989 Bourgeois has her first European retrospective in Germany at Frankfurter Kunstverein, organized by Peter Weiermair. The show travels to Munich, Lyon, Barcelona, Bern, and Otterlo.

1994 “The Locus of Memory,” an expanded version of Bourgeois’s Venice Biennale installation, curated by Charlotta Kotik, opens at the Brooklyn Museum and features the artist’s first large scale Spider. The show travels to Washington D.C., Prague, Paris, Hamburg, and Montreal.

1990 Bourgeois’s son Michel passes away on April 27.

The Saint Louis Art Museum presents “Louise Bourgeois: The Personages,” curated by Jeremy Strick.

1991 Extending the scale of her work, Bourgeois shows the work Twosome (1991) in the exhibition “Dislocations” at the Museum of Modern Art in New York. She also exhibits her first six Cells, a series of room-sized sculptural installations, at the Carnegie International in Pittsburgh (Cell I– Cell VI).

Blumarts in New York installs two of Bourgeois’s Cells for “Louise Bourgeois: The Red Rooms.” Curated by Deborah Wye, “Louise Bourgeois: Print Retrospective” opens at the Museum of Modern Art in New York. The show travels to Paris, Gravelines (France), Oxford, and Maastricht. The first volume of Bourgeois’s print catalogue raisonné, edited by Wye and Carol Smith, is published to accompany the show.

1995 Marie-Laure Bernadac organizes “Louise Bourgeois: Pensées-plumes” at the Musée National d’Art Moderne, Centre Georges Pompidou in Paris, which travels to Helsinki. The MARCO in Monterrey, Mexico, mounts “Louise Bourgeois,” which travels to Seville and Mexico City. The National Gallery of Victoria in Melbourne, Australia, presents a separate Bourgeois exhibition, which will travel to Sydney. 1996 Larry Rinder organizes “Louise Bourgeois: Drawings” for the University Art Museum and Pacific Film Archive of the University of California at Berkeley. The show travels to The Drawing Center in New York. Bourgeois participates in “The Visible & the Invisible: Re-presenting the Body in Contemporary Art and Society,” organized by the Institute of International Visual Arts. She installs four life-size, stuffed fabric figures: Single I, Single II, Couple I, and Couple II, all 1996, in the bell tower of St. Pancras Church, London.

1998 The Musée d’Art Contemporain in Bordeaux mounts “Louise Bourgeois,” curated by Marie-Laure Bernadac. The show travels to Lisbon, Malmö, and London. Cheim & Read presents “Francis Bacon, Louise Bourgeois, Franz Xaver Messerschmidt: A Juxtaposition of the Three Artists,” an exhibition organized by Jean Clair. 1999 Bourgeois participates in the 48th Venice Biennale with five recent fabric works. She is awarded the Golden Lion for a living master of contemporary art. “Louise Bourgeois,” curated by Thomas Kellein, is installed at the Kunsthalle Bielefeld. Curated by Jerry Gorovoy and Danielle Tilkin, the Museo Nacional Centro de Arte / Reina Sofia in Madrid mounts the retrospective exhibition “Louise Bourgeois: Architecture and Memory.”

1997 The Prada Foundation in Milan exhibits “Louise Bourgeois: Blue Days and Pink Days,” organized by Pandora Tabatabai Asbaghi. The Yokohama Museum of Art in Japan mounts “Louise Bourgeois: Homesickness,” curated by Taro Amano.

2000 Bourgeois is commissioned for the inaugural installation at the Turbine Hall of the new Tate Gallery of Modern Art, London. She presents a thirty-foot steel and marble spider, Maman (1999), and three architectural towers newly conceived for the space: I Do, I Undo, and I Redo (all 1999–2000). These monumental steel sculptures incorporate large mirrors, spiral staircases, and platforms, along with smaller-scale fabric and marble sculptures.

Cheim & Read, New York, presents their first exhibition of Bourgeois’s work with “Louise Bourgeois: Spider.”

The National Museum of Contemporary Art in Kyunggi-Do, Korea, exhibits the retrospective “Louise Bourgeois: The Space of Memory.”

The National Medal of Arts is presented to Bourgeois by President Clinton at the White House. Her son Jean-Louis Bourgeois accepts the award on her behalf.

2001 Curated by Julie Sylvester, the State Hermitage Museum in St. Petersburg mounts a Bourgeois retrospective, their first exhibition ever of a living American artist. It travels to Helsinki, Stockholm, Oslo, and Humlebæk, Denmark.

“Louise Bourgeois: New Work” opens at Cheim & Read, and features abstract and figurative sculptures made of fabric. 2002 The Krannert Art Museum of the University of Illinois organizes “Louise Bourgeois: The Early Work,” curated by Josef Helfenstein. The show will travel to Madison, Wisconsin, and Aspen, Colorado. The Kunsthaus Bregenz in Austria exhibits a retrospective exhibition of Bourgeois’s drawings, along with a selection of sculpture. The exhibition travels to Warsaw and Berlin-Brandenburg.

2006 Curated by Thomas Kellein, the Kunsthalle Bielefeld in Germany mounts an exhibition of sculptures, drawings, and prints focused on the family, “Louise Bourgeois: La Famille.” The Walters Art Museum in Baltimore installs Bourgeois’s work in dialogue with their own indepth collection in “Louise Bourgeois: Femme.”

2003 Curated by Lynne Cooke, Dia Center for the Arts inaugurates their new space in Beacon, New York, with an exhibition of plaster, latex, and bronze sculptures from the 1960s, along with The Destruction of the Father (1974) and the Cell sculpture Spider (1997).

2007 Tate Modern in London and the Centre Pompidou in Paris organize a full retrospective of Bourgeois’s work, curated by Francis Morris, Marie-Laure Bernadac, and Jonas Storsve. The retrospective will travel to New York, Los Angeles, and Washington D.C. through 2009.

The Whitney Museum of American Art in New York exhibits The Insomnia Drawings (1994–95), a group of 220 mixed media works on paper from the Daros Collection in Switzerland.

2008 Philip Larratt-Smith and Paul Nesbitt organize “Nature Study” for Inverleith House in the Royal Botanical Gardens in Edinburgh, Scotland. This two-part exhibition pairs Bourgeois’s series of red gouache drawings and three small sculptures with the botanical teaching diagrams of John Hutton Balfour (1808–1884).

The Sigmund Freud Museum in Vienna exhibits new fabric and marble pieces in “Louise Bourgeois: The Reticent Child.” Organized by Frances Morris, the Irish Museum of Modern Art in Dublin presents “Louise Bourgeois: Stitches in Time.” The exhibition travels to Edinburgh and Málaga, Spain. 2004 “Louise Bourgeois: The Reticent Child” opens at Cheim & Read. 2005 Curated by Philip Larratt-Smith, the Wilfredo Lam Center in Havana, Cuba, exhibits sculptures and

prints in “Louise Bourgeois: One and Others.” Two new hanging aluminum sculptures are included in the 51st International Art Exhibition, La Biennale di Venezia in Venice, Italy.

Cheim & Read exhibits “Louise Bourgeois: Echo,” featuring a new series of draped, stretched, and sewn garments cast in bronze. The French Legion of Honor medal is presented by President Sarkozy to Bourgeois at the artist ’s Chelsea home. 2008–09 The Museo Nazionale di Capodimonte in Naples exhibits sixty of Bourgeois’s works, spanning her career, juxtaposed with the paintings and objects

of their own antique and prestigious permanent collection, “Louise Bourgeois for Capodimonte.” 2010 Louise Bourgeois dies on May 31. The Fondazione Vedova in Venice exhibits a retrospective installation, “Louise Bourgeois: The Fabric Drawings,” curated by Germano Celant. The exhibition travels to inaugurate Hauser & Wirth’s new Savile Row space in London and is shown at Cheim & Read in New York in 2011. Fifty-seven late red gouache on paper drawings, including several suites, are installed at the Nordic Watercolour Museum in Skärhamn, Sweden, along with a small selection of sculptures. The show travels to Copenhagen. 2011 The Steilneset Memorial in Vardö, Norway, is inaugurated. Designed by Bourgeois and the architect Peter Zumthor, the permanent installation commemorates the trial and execution of 91 people—mostly women—for witchcraft in the 17th century. It is Bourgeois’s last major work. Philip Larratt-Smith organizes an exhibition based on Bourgeois’s own writings, composed during more than thirty years of psychoanalysis, at the Fundación PROA in Buenos Aires. “Louise Bourgeois: The Return of the Repressed” travels as “Louise Bourgeois: The Return of the Forbidden Desire” to São Paulo and Rio de Janeiro. The National Gallery of Iceland in Reykjavik shows “Louise Bourgeois: Femme,” curated by Laura Bechter. The National Gallery of Canada in Ottawa mounts a fifteen-month-long show, “Louise Bourgeois: Homage.” The Fondation Beyeler in Riehen/Basel, Switzerland, presents an exhibition curated by Ulf Küster of Bourgeois’s works, including sculptures

from every decade of her career, juxtaposed with works by modern masters from the Beyeler Collection. 2012 The Qatar Museums Authority Gallery in Doha installs “Louise Bourgeois: Conscious and Unconscious,” the first survey in the Middle East of Bourgeois’s work, curated by Philip Larratt-Smith. The exhibition aims to contextualize Bourgeois’s monumental Spider sculpture Maman (1999), which was acquired by the museum and installed at Qatar’s National Convention Center the prior year. The Freud Museum in London presents “Louise Bourgeois: The Return of the Repressed.” 2013 The Scottish National Gallery of Modern Art in Edinburgh exhibits “ARTIST ROOMS: Louise Bourgeois, A Woman without Secrets,” on view through May 2014. The show will travel to Middlesbrough, England. 2014 Hauser & Wirth in Zürich, Switzerland, presents “L’Araignée et Les Tapisseries,” organized by Jerry Gorovoy. “Louise Bourgeois: Suspension” opens at Cheim & Read. 2015 Iris Müller-Westermann curates the exhibition “Louise Bourgeois: I Have Been to Hell and Back” for the Moderna Museet, Stockholm. The show will travel to Málaga, Spain. Julienne Lorz of the Haus der Kunst in Munich organizes a retrospective exhibition of Bourgeois’s Cell series, “Louise Bourgeois, Structures of Existence: The Cells.” The show will travel to Moscow, Bilbao, and Humlebæk, Denmark, through 2017.

2016 The Tate Modern in London presents “ARTIST ROOMS: Louise Bourgeois.” The exhibition coincides with the debut of the museum’s new galleries, and will be on view for a full year.

2018–19 Curated by Philip Larratt-Smith, “Louise Bourgeois: The Eternal Thread” opens at the Long Museum, in Shanghai, China, and will travel to the Song Art Museum in Beijing.

2017 “Louise Bourgeois–Human Nature: Doing, Undoing, Redoing” opens at the Kistefos-Museet, Jevnaker, Norway.

“Louise Bourgeois: Spiral” is presented at Cheim & Read, New York.

A selection of Bourgeois’s large-scale marble pieces are placed on long-term loan at the Massachusetts Museum of Contemporary Art, in North Adams, Massachusetts. Cheim & Read presents “Louise Bourgeois: Holograms.” 2017–18 “Louise Bourgeois: Spiders” opens at the San Francisco Museum of Modern Art. The Tel Aviv Museum of Art presents “Louise Bourgeois: Twosome,” the first museum exhibition of the artist’s work in Israel. Deborah Wye of the Museum of Modern Art in New York organizes “Louise Bourgeois: An Unfolding Portrait,” a comprehensive exhibition of the artist’s prints and multiples from throughout her career. The show is accompanied by the online catalogue raisonné of Bourgeois’s prints. 2018 “Louise Bourgeois: The Empty House” opens at the Schinkel Pavillon in Berlin. Glenstone in Potomac, Maryland, presents “Louise Bourgeois: To Unravel a Torment,” on view through January 2020. The exhibition includes Bourgeois’s landmark 1974 work, The Destruction of the Father.

Louise Bourgeois’s art, writings, and archival material are © The Easton Foundation/VAGA at ARS, NY Translations for loose sheet archival documents by Richard Sieburth and Françoise Gramet. Page 7; both quotes: Louise Bourgeois, “Self-Expression is Sacred and Fatal: Statements,” in Meyer-Thoss, Christiane. Louise Bourgeois: Designing For Free Fall (Zurich: Ammann Verlag, 1992), p. 179. Page 14: Louise Bourgeois, October 28, 1958. Loose sheet (excerpt): 10 ¼ x 8 in (26 x 20.3 cm); LB-0266. Page 34: Louise Bourgeois, September 16, 1957. Loose sheet (excerpt): 11 x 8 ½ in (27.9 x 21.6 cm); LB-0140. Page 50: Inscription on Louise Bourgeois, The Beating of the Heart, 2006. Watercolor and pencil on embossed paper, 30 x 21 in (76.2 x 53.3 cm). Page 56: Louise Bourgeois, December 23, 1986. Diary entry. Page 64: Louise Bourgeois, quoted in Wye, Deborah. Louise Bourgeois (New York: Museum of Modern Art, 1982), p. 51. Page 70: Inscription (verso) on Louise Bourgeois, Self Portrait, 1990. Ink, charcoal, and gouache on paper, 16 x 12 in (40.6 x 20.5 cm). Front endpapers: (left) Louise Bourgeois, c. March 1986. Loose sheet (ink on blue paper): 11 x 8 ½ in (27.9 x 21.6 cm); LB-0510. (right) Louise Bourgeois, c. March 1986. Loose sheet (ink on blue paper): 11 x 8 ½ in (27.9 x 21.6 cm); LB-0508. Back endpapers: (left) Louise Bourgeois, c. March 1986. Loose sheet (ink on blue paper): 11 x 8 ½ in (27.9 x 21.6 cm); LB-0502. (right) Louise Bourgeois, c. March 1986. Loose sheet (ink on blue paper): 11 x 8 ½ in (27.9 x 21.6 cm); LB-0117. All 1986 loose sheet documents (ink on blue paper) are collection Louise Bourgeois Archive, The Easton Foundation: pages 40–41: LB-0112; LB0113, pages 42–43: LB-0510; LB-0117, pages 44–45: LB-0502; LB-0118. Photo credits: Frontispiece: Louise Bourgeois in 1978, photo: Carollee Pelos. Peter Bellamy: page 53. Christopher Burke: pages 9, 13, 15, 19, 21, 23, 25, 29, 35, 39, 47, 49, 51, 55, 59, 61, 62, 63, 65, 67, 69, 71, and back cover. Allan Finkelman: pages 11, 57. Zindman Fremont: page 31, and front cover. Eeva Inkeri: pages 27, 33, 37. Peter Moore: page 17. Page 72 Life Flower Portrait: Photographer unknown. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical—including photocopying, recording or by any information storage or retrieval system—without prior permission in writing from the publisher.

Louise Bourgeois Spir a l Published on the occasion of the Cheim & Read exhibition Louise Bourgeois: Spiral November 8–December 22, 2018

We extend our sincere thanks to Jerry Gorovoy Louise Bourgeois Trust: Richard Bruce, Kendal Grady, Beth Higgins, Cait Kelly, and Johee Kim The Easton Foundation: Maggie Wright and Mira Brunner

Design John Cheim Editor Ellen Robinson Printed in 2018 by Grafiche Damiani – Faenza Group, Italy Published by Damiani srl www.damianieditore.com ISBN 978–88–6208–644–8

Louise Bourgeois

Louise Bourgeois Spiral

Cheim & Read

Spiral