44; plus 10 A.P., 6 P.P., 2 SOLO Press Impressions, 2 for Peter Blum, 1 B.A.T
"III/X" left lower margin, pencil, unknown hand.
The entire edition size was not listed on the publisher's colophon or in the cataloguing of this portfolio in Wye and Smith, "The Prints of Louise Bourgeois," 1994, p. 166. The full edition seen here was confirmed by Harlan & Weaver, New York.
The 10 A.P. impressions are numbered in Roman numerals. The 6 P.P. impressions are numbered in Arabic numerals, as is the single B.A.T. impression. The 2 SOLO Press Impressions are inscribed "SPI 1" and "SPI 2." The inscriptions and numbering on the 2 impressions for Peter Blum are unknown.
There are 3 known impressions of version 2, only state, outside the edition.
State Changes and Additions:
Changes from version 1: composition rendered on new plate at increased scale in drypoint.
In 1988 Peter Blum, as a representative of "Parkett" magazine, discussed doing a multiple with Bourgeois. He also explored with her the idea of doing a print project with Peter Blum Edition. When they began to do prints together in 1989, Blum worked with Judith Solodkin, of SOLO Impression, as supervisor of printing, since Solodkin already had a friendly relationship with Bourgeois. Since SOLO Impression did not focus on intaglio printing, Solodkin made arrangements with Harlan & Weaver. Occasionally, Bourgeois went to the SOLO Impression workshop to inspect proofs brought over from Harlan & Weaver. Initially, she had no particular project in mind and began working in drypoint directly on copper plates using a variety of images.
The title was selected after the theme of anatomy became evident in a number of images the artist created. The published portfolio has no table for plates; nor does it identify the plates by number or title. During preparations for the 1994 catalogue raisonné, however, Bourgeois arranged the plates in the order she preferred, with imagery proceeding generally from head to foot. She also assigned titles at that time.
"This is not a self-portrait... this is Jerry [Gorovoy, the artist's assistant]. This is 'toi,' all the others are 'moi.' You see the structure is a man's body because the hips are narrow. When I sit on the stoop I look for Jerry coming down the street. Finally I spot him by his special size and gait."
"Someone can be recognized by the way he moves... it is very personal... the assurance or the fear in his movements reveals the state he is in. It can be constricted or it can be free. My own desire for the unconstricted is proven by my interest in reptiles... snakes, maggots, worms, caterpillars. They are all completely free because there is no bone... they undulate." Indicating the area of the hips Bourgeois said, "We undulate the best we can in this part of the body... even with the bones!" (Quotes cited in Wye, Deborah and Carol Smith. "The Prints of Louise Bourgeois." New York: The Museum of Modern Art, 1994, p. 171)
The prints in this portfolio can be shown as a group or individually. There is no required sequence.
Former Cat. No.:
W & S 104.2
MoMA Credit Line:
Gift of the artist
MoMA Accession Number:
This Work in Other Collections:
Centro Cultural / Arte Contemporaneo, Mexico City Des Moines Art Center, Iowa The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, The New York Public Library The Museum of Fine Arts, Houston (published impression and 2 impressions outside the edition) Philadelphia Museum of Art Yale University Art Gallery, New Haven, CT
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