6 on fabric; plus an edition of 25 on paper with 7 A.P., 5 P.P., 2 H.C., 1 B.A.T., 1 T.P.
There are 3 known variant impressions of state II, outside the two editions.
There are variations in the fabrics used in this edition, such as staining and discoloration, as is commonly found in the old fabrics Bourgeois chose to use as printing surfaces. Three varying examples are reproduced in the Evolving Composition Diagram below. The example seen here is the only impression in the fabric edition that is printed in red.
State Changes and Additions:
Changes from state I in drypoint: tree branches extended; hair extended; shoes shaded; hands further articulated; reinforced overall. Changes from state I by burnishing: hair below left ear removed; shape of left shoe altered.
According to Bourgeois’s assistant, Jerry Gorovoy, the subject of this composition came from a ritual instigated by the artist’s friend, Paulo Herkenhoff, a Brazilian curator and critic, in the late 1990s. In celebration of Easter, Herkenhoff, Gorovoy, and Bourgeois went into her backyard on Good Friday and each kissed the ground. After a few years, it was difficult for the artist to get down to the ground so they modified the ritual and began to embrace a tree instead.
The plate dimensions of this impression could not be documented because this work is not in MoMA's collection and could not be examined in person. The dimensions given are from another impression.
In July 2000, "Interview," also known as "Andy Warhol’s Interview," commissioned seven artists to create work to be reproduced in the October 2000 issue of the magazine. The resulting portfolio, “Stop and Smell the Roses,” is described in the issue as “a reminder that awareness of life’s incredibleness makes each day a better one.” Bourgeois contributed "Embracing the Tree" state II, variant 3 seen in the Evolving Composition Diagram below. Cecily Brown, Pat Steir, Enzo Cucchi, Yoshitomo Nara, and the collaborative duo Tim Noble and Sue Webster also contributed work to the portfolio.
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