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Posts Tagged ‘Louise Bourgeois’

Jimmy Ernst, Untitled, 1976

April 15, 2013 | by

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Since 1964 The Paris Review has commissioned a series of prints and posters by major contemporary artists. Contributing artists have included Andy Warhol, Robert Rauschenberg, Helen Frankenthaler, Louise Bourgeois, Ed Ruscha, and William Bailey. Each print is published in an edition of sixty to two hundred, most of them signed and numbered by the artist. All have been made especially and exclusively for The Paris Review. Many are still available for purchase. Proceeds go to The Paris Review Foundation, established in 2000 to support The Paris Review.

 

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Louise Bourgeois, Untitled, 1994

January 8, 2013 | by

Since 1964 The Paris Review has commissioned a series of prints and posters by major contemporary artists. Contributing artists have included Andy Warhol, Robert Rauschenberg, Helen Frankenthaler, Louise Bourgeois, Ed Ruscha, and William Bailey. Each print is published in an edition of sixty to two hundred, most of them signed and numbered by the artist. All have been made especially and exclusively for The Paris Review. Many are still available for purchase. Proceeds go to The Paris Review Foundation, established in 2000 to support The Paris Review.

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April Gornick, Untitled, 1996

December 3, 2012 | by

Since 1964 The Paris Review has commissioned a series of prints and posters by major contemporary artists. Contributing artists have included Andy Warhol, Robert Rauschenberg, Helen Frankenthaler, Louise Bourgeois, Ed Ruscha, and William Bailey. Each print is published in an edition of sixty to two hundred, most of them signed and numbered by the artist. All have been made especially and exclusively for The Paris Review. Many are still available for purchase. Proceeds go to The Paris Review Foundation, established in 2000 to support The Paris Review.

 

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Louise Bourgeois (1911-2010)

June 1, 2010 | by

When Louise Bourgeois published “The View From the Bottom of the Well,” a seminarrative portfolio of prints, in The Paris Review (Fall 1996), she seemed already to be gazing up from the grave. Bourgeois, who died yesterday at ninety-eight, had been long enjoying a kind of afterlife as a celebrity sculptor, with work that made improbably explicit the themes that had animated her work from the nineteen fifties and nineteen sixties—the human body and its vulnerability, the threat of predation, sexuality both grotesque and ever-present.

That afterlife owed quite a lot to a 1982 photograph by Robert Mapplethorpe, which showed a grandmotherly Bourgeois fondling her phallic sculpture Fillette. And when she began in her seventies and eighties to receive major commissions and museum retrospectives, the acclaim seemed as much personal as aesthetic, the exhibitions inspired as much by her engaging biography and confessional personality as by the work itself, which could hardly be reduced to the story of childhood trauma. Longtime followers knew that Bourgeois was much more than Spiderwoman, and in the summer of 1984, at perhaps the peak of her fame, the Review published a small portfolio of her drawings from the fifties—as a kind of reminder, it seems, that though her work was often engrossingly personal it was also, at its best, arcane. Below, a slide show of her two portfolios from The Paris Review:

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Drawings from the 1950s, Summer 1984

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Drawings from the 1950s, Summer 1984

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Drawings from the 1950s, Summer 1984

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Drawings from the 1950s, Summer 1984

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Drawings from the 1950s, Summer 1984

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Drawings from the 1950s, Summer 1984

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Drawings from the 1950s, Summer 1984

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The View From the Bottom of the Well, Fall 1996

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The View From the Bottom of the Well, Fall 1996

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The View From the Bottom of the Well, Fall 1996

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The View From the Bottom of the Well, Fall 1996

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The View From the Bottom of the Well, Fall 1996

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The View From the Bottom of the Well, Fall 1996

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Drawings from the 1950s, Summer 1984

 

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