There are additional impressions of the compositions Bourgeois incorporated in "Do Not Abandon Me." She utilized the digital printing process to work with this imagery in varying sizes and formats for multiple projects in 2009 and 2010. These projects include the fabric collage "Eternity," the illustrated book "To Whom It May Concern," and unique fabric prints.
MoMA's Collection includes the master set of digital prints of Bourgeois's drawings for "Do Not Abandon Me," with the hand-drawn additions by Emin (MoMA Accession Number: 17.2012.1-16). This set is called "the middle step" by The Louise Bourgeois Studio, because it was then digitally printed to produce the editioned work. It is not illustrated in this catalogue because the digital printing process captured it in precise detail in the editioned set.
A trade edition of "Do Not Abandon Me" was published in a limited edition of 1,500 by Carolina Nitsch, New York. It accompanied the exhibition "Louise Bourgeois and Tracey Emin, Do Not Abandon Me 2009-10" held at the Carolina Nitsch Project Room, New York, from September 10 to October 23, 2010, and at Hauser & Wirth, London, from February 18 to March 22, 2011.
Carolina Nitsch, the publisher of this series, approached Bourgeois with the idea of a project in which Bourgeois would create images for a book in collaboration with a writer. Bourgeois suggested British artist Tracey Emin as a possible collaborator on a more general project. Bourgeois had met British artist Tracey Emin and she had enjoyed Emin's memoir "Strangeland."
Bourgeois began the series by drawing male and female forms in profile with crayon, colored pencil, gouache, and watercolor on paper. The fabric printing workshop Dyenamix digitally printed these drawings onto fabric.
Bourgeois sent the fabric digital prints to Emin in London. Emin, encouraged to take any approach, added ink drawings and handwritten texts to each composition. Emin used a transfer technique that results in some reversals of the text throughout the series. Emin then sent the compositions back to Bourgeois in New York, where Dyenamix editioned the final series of 16 digital prints on fabric from the collaboratively-conceived images.
Tracey Emin was born in London in 1963. She was shortlisted for Britain's Turner Prize in 1999, represented Britain at the 52nd Venice Biennale in 2007, and was the subject of a major retrospective exhibition at the Scottish National Gallery of Modern Art in 2008.
The prints in this series can be shown as a group or individually. There is no required sequence.
Bourgeois's initial drawing for this print is reproduced as the Source work in the Evolving Composition Diagram below. By comparing Bourgeois's drawing with the final composition, it is possible to distinguish the elements added by Tracey Emin.
Due to the nature of the mounting and framing of this work, the verso could not be examined. In this case, the impression number was provided by the Louise Bourgeois Studio.
THERE WAS NO ROOM FOR ME ANYMORE YOU SQ UEEZED ME OUT OF THAT PLACE LIKE I WAS NEVER WANTED NERVER ASKED LIKE I HAD JUST INVADED YOUR SOUL LIKE SOME DERANGED INTRUDER WELL I NEVER ASKED TO BE PART OF YOU NOW I KNOW HOW LIT TLE I WAS WANTED I WOULD HAPPILY HA VE JUST DIED AT BIRT I TRIED NOT TO BREATHE I WAS YELLOW AND SMALL BEING BORN INTO A NEW HELL MY OWN BIRTH STOPPED ME FR OM EVER GIVING BIRTH MY OWN INTERNAL FAERS AND KNOWING OF THE CATCHERS OF THE ETERNAL SOUL SAVED THE WINGS OF MANY ANGEL. I N OW KNOW I AM FREE. FREE TO LEAVE THIS WORLD WITH NO SENTIMENTAL TRA IL. NO BLOOD TO STOP MY SOUL FROM RETURNING BACK TO WERE IT REALLY BELONGS. A WORLD THA IS MADE UP OF A MILLION SUNS I iLL BECOME JUS A INY PART OF THAT LIGHT
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