"Artist's Proof I/X" lower right margin, pencil, artist's hand.
State Changes and Additions:
Changes from state II, in drypoint: initials “LB” added in lower right.
In the late 1980s, when publisher Peter Blum began the portfolio project “Anatomy” with Bourgeois, he sought the assistance of printer Judith Solodkin, of SOLO Impression, a longtime friend of the artist. Solodkin suggested Harlan & Weaver as intaglio printers and she served as supervisor for this project and a number of individual prints at that time. Among these prints were several spiral compositions, including this composition, as well as “To Hide,” “Ambition,” and “Tops,” all seen below in Related Works in the Catalogue.
Bourgeois got a ball of twine to demonstrate the concept of these spirals. "This is a way of going on... it is like a thread of thought... or a dance... you go here, you go there... you keep reaching out to others. It is wishful." As she followed the line, she said, "You can not hurt me... you can not stop me... you can not break my thread of thought. I make it into a pattern... it is a kind of grid... there is order.
"Then there is the safety pin... you can't go wrong with that! I like the idea of the safety pin... it is dangerous, but it also holds up my whole attire. Safety pins can keep things together... they can prevent catastrophe." (Quote cited in Wye, Deborah and Carol Smith. "The Prints of Louise Bourgeois." New York: The Museum of Modern Art, 1994, p. 164.)
Former Cat. No.:
W & S 96
MoMA Credit Line:
Gift of Peter Blum
MoMA Accession Number:
This Work in Other Collections:
The Baltimore Museum of Art, MD Cleveland Museum of Art, OH Davison Art Center, Wesleyan University, Middletown, CT The Museum of Fine Arts, Houston Rhode Island School of Design, Museum of Art, Providence, RI Spencer Museum of Art, The University of Kansas, Lawrence Staatliche Graphische Sammlung München in der Pinakothek der Moderne, Munich Staatsgalerie, Stuttgart Tate Modern, London
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