LOUISE BOURGEOIS: COMPLETE BOOKS & PRINTS

Themes:

Nature, Objects

Techniques:

Other

Description:

Photocopy, with blue crayon, red and black ink, and correction fluid additions

Dimensions:

sheet: 15 x 11" (38.1 x 27.9 cm)

Signature:

"LB" right lower sheet, red ink.

Inscription:

Verso: "Arbre Genealogique / Jean Louis published / author. / ask Jeffrey O'Greefe friend / who writes on Chelsea Hotel." lower right sheet, red ink, artist's hand.

Publisher:

unpublished

Edition:

1 known study

Impression:

Not numbered

Background:

According to Bourgeois’s assistant Jerry Gorovoy, topiary work interested Bourgeois because the cutting and healing of the plant makes the tree stronger. He also points out the portfolio's connection to Bourgeois’s sister, Henriette, who had a condition that caused stiffness in her leg. Bourgeois referred to this as, "in effect, a wooden leg."

The editioned state II of this composition was published as a benefit for the Whitney Museum of American Art, New York.

Artist’s Remarks:

Inscribed on the verso of related drawing, "Topiary," 1997: “Robert Hughes or John Russell / Vocabulary of the topiarist / Tree surgeon / The classical style is built on topiary / French garden, formality / Tivoli, the romantic 19th century English-garden / Care-giver – topiarist. = sculpture / The couple – cauterization / Flaming / TAR + shears / Antiseptic / Water=repellent / topiary AP. 97”

Inscription on the verso of related drawing, Topiary, 1998: "Topiary / I prop you up at the crotch with a crutch / You prop me up, l'aveugle et le Paralytique / Soutenir Souteneur"

Written on a loose sheet, c. 1990s:
“Topiary
The trainer, the teacher, the carver, the butcher
To reject (cut off) and be moral about it
That is the fun
To nurture and train to full potential (valuable, useful)
I am going to cut (reject) everything in sight because I did not get what I wanted
What
To be loved by 1, 2, 3, 4
c’est la peur […]”
(The Easton Foundation: LB-0050)

Curatorial Remarks:

The paper type sheet dimensions of this impression could not be documented because this impression is not in MoMA's Collection and could not be examined in person. The sheet dimensions were provided by the Louise Bourgeois Studio.

© The Easton Foundation/VAGA at ARS, NY