I first visited Havana in November 2016, a few days after Fidel Castro died, and just under a year before Hurricane Irma hit Cuba in September 2017. Since then, much has changed, including the hand-painted signs that punctuate the journey from the airport to the city centre, which today do not celebrate the revolution so much as the 'Unidad y...
The exhibition Beyond Boundaries at Somerset House in London (12 March–2 April 2019) marked the historic contributions of the Central Academy of Fine Arts, Beijing (CAFA) and the Slade School of Fine Art, University College London, on the occasion of their 100th and 150th anniversaries, respectively. Spread across several rooms of Somerset House's...
The National 2019: New Australian Art features work by 70 contemporary Australia-based artists split across three venues: the Art Gallery of New South Wales (AGNSW), Carriageworks, and the Museum of Contemporary Art Australia (MCA) (29 March–21 July 2019), as curated by Isobel Parker Philip, curator of photographs at AGNSW; Daniel Mudie Cunningham,...
Cheim & Read is pleased to present Louise Bourgeois: Spiral, the gallery's ninth solo exhibition devoted to the artist's work. The show will explore the range of Bourgeois' spiral motifs as expressed in sculpture, painting, and drawing, from the early 1950s through 2010, the year of her death. It also will include a series of spiral word drawings made on blue paper in 1986. The exhibition, the final offering in the gallery's current Chelsea location, will open on 8 November, 2018, and run through 22 December 2018.
In materials as diverse as wood, steel, bronze, latex, marble, plaster, resin, hemp, lead, ink, pencil, crayon, woodcut, watercolour, and gouache, Bourgeois investigates every imaginable manifestation of the spiral, from graphic patterns to graphite whorls, wobbly orbits to chiseled vortices, twisted columns to coiling snakes, staircases, and pyramids. The cursive blue-paper word drawings, in English and French, complement the purely visual works by conveying the spirit of Bourgeois' poetry in extraordinary pictorial forms.
In a statement recorded in the book, Louise Bourgeois: Designing For Free Fall by Christine Meyer-Thoss (Zurich: Ammann Verlag, 1992), the artist has called the spiral 'an attempt at controlling the chaos. It has two directions. Where do you place yourself, at the periphery or at the vortex?' The spiral is simultaneously 'the fear of losing control' and the experience of 'giving up control; of trust, positive energy, of life itself.'
She has also stated, as quoted by Ann Coxon in Louise Bourgeois (London: Tate Publishing, 2010), 'The spiral is important to me. It is a twist. As a child, after washing tapestries in the river, I would turn and twist and wring them... Later I would dream of my father's mistress. I would do it in my dreams by wringing her neck. The spiral — I love the spiral — represents control and freedom.'
Louise Bourgeois was born in Paris in 1911 and lived in New York from 1938 until her death in 2010. She was named Officer of the Order of Arts and Letters by the French minister of culture in 1983. Other honours included the Grand Prix National de Sculpture from the French government in 1991; the National Medal of Arts, presented to her by President Bill Clinton in 1997; the first lifetime achievement award from the International Sculpture Center in Washington, DC; and election as a fellow of the American Academy of Arts and Sciences. In 1993 she was chosen to represent the United States at the Venice Biennale. Her work appears in the most important museum collections worldwide and has been the subject of several major traveling retrospectives organised by the Tate Modern, London; Centre Georges Pompidou, Paris; The Brooklyn Museum; and The Kunstverein, Frankfurt. In 2016, Cheim & Read presented Louise Bourgeois: Holograms, the first New York exhibition devoted exclusively to this little-known aspect of the artist's long, groundbreaking career.
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