In 1982 Louise Bourgeois released a pamphlet titled “Child abuse” confronting her past. This essay will focus on this pamphlet, the impact it had on understanding the artist’s work, and why she chose to publish it at this time following years of silence. The Artist whose career lasted for more than half a century decided to reveal the meaning of her artwork at the pinnacle of her career. The pamphlet clarified questions which had been left unanswered for a long period of time. “Everything I do was inspired by my early life” wrote Bourgeois, prior to what was her most prestigious exhibition to date in the Museum of Modern Art New York - MoMA in 1982. This claim supported her entire body of work dating forty years back, Bourgeois had previously
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Marble, clay, wood, cloth and so forth, but for her these are not overly significant. “It has nothing to do with the craft.The materials are not the subject of the artist. The subject is the emotions and the ideas”. (the spider the mistress and the tangerine ) Her work varies in effect, some are large and intimidating, bashful and rebellious, others timid and sensitive, elegant and dignified. “ What interests me is what I want to say and I will battle with any material to express accurately what I want to say.” ( p,26-honni) Her art can take many forms which collaborate under one meaning. Louise began making cells in 1986, four years after the pamphlet had been published. They, as she described them, were to “ provide a space where there may be a chance of bridging ones own existence and life itself” - p.27 secret of the cell. The cells were essentially replicas of her state of mind and body, Bourgeois implies this in her pamphlet, they in her own words “ deal with fear. Fear is pain. Often it is not perceived as pain because it is always disguising itself. ( Chrone Rainer -p.81). Her cells physical presences alone possess mysterious and haunting qualities. Up until 1982 Bourgeois managed to attract public attention with what was a lack of description, she gave her works full responsibility to speak for themselves. Other works include: The Deconstruction of the Father (1974) , Fillette (1968), The Confrontation (1978) Clutching (1962) Knife Couple ( 1949), all of these were created prior to the revelation of ‘Child Abuse’ in 1982, however their names all suggested what the pamphlet essentially revealed. Perhaps this was the artists way of communicating her past at a time where she was not prepared to unleash the complete truth. All of these pieces were mysterious in their qualities and meanings, Bourgeois like them had something to hide. Such works were homages to her father, to her
Marble, clay, wood, cloth and so forth, but for her these are not overly significant. “It has nothing to do with the craft.The materials are not the subject of the artist. The subject is the emotions and the ideas”. (the spider the mistress and the tangerine ) Her work varies in effect, some are large and intimidating, bashful and rebellious, others timid and sensitive, elegant and dignified. “ What interests me is what I want to say and I will battle with any material to express accurately what I want to say.” ( p,26-honni) Her art can take many forms which collaborate under one meaning. Louise began making cells in 1986, four years after the pamphlet had been published. They, as she described them, were to “ provide a space where there may be a chance of bridging ones own existence and life itself” - p.27 secret of the cell. The cells were essentially replicas of her state of mind and body, Bourgeois implies this in her pamphlet, they in her own words “ deal with fear. Fear is pain. Often it is not perceived as pain because it is always disguising itself. ( Chrone Rainer -p.81). Her cells physical presences alone possess mysterious and haunting qualities. Up until 1982 Bourgeois managed to attract public attention with what was a lack of description, she gave her works full responsibility to speak for themselves. Other works include: The Deconstruction of the Father (1974) , Fillette (1968), The Confrontation (1978) Clutching (1962) Knife Couple ( 1949), all of these were created prior to the revelation of ‘Child Abuse’ in 1982, however their names all suggested what the pamphlet essentially revealed. Perhaps this was the artists way of communicating her past at a time where she was not prepared to unleash the complete truth. All of these pieces were mysterious in their qualities and meanings, Bourgeois like them had something to hide. Such works were homages to her father, to her