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C21be4dd Bourgeois2 Runaway A6b909eb Bour3 Bour4 Bour5 Bour6 Bour7
'rak'rüm (noun);
the back room of an art gallery
where artists and art lovers hang
Bourgeoisjpg
End of Softness, Louise BourgeoisLouise Bourgeois, End of Softness,
1967, bronze (gold patina), 7 x 20 3/8 x 15 1/4 in
Rejection, Louise BourgeoisLouise Bourgeois, Rejection,
2001, Fabric, lead, steel
© Courtesy of the Artist & Cheim & Read, NY
The Runaway, Louise BourgeoisLouise Bourgeois, The Runaway,
1998, Glass, steel, mirrors and pink marble, 84 x 79 x 54"
© Courtesy of private collection (New York)
, Louise BourgeoisLouise Bourgeois
Untitled, Louise BourgeoisLouise Bourgeois, Untitled,
2001, Fabric, steel
© Courtesy of the Artist & Cheim & Read, NY
Untitled, Louise BourgeoisLouise Bourgeois, Untitled,
2001, Blue & purple fabric, steel
© Courtesy of the Artist & Cheim & Read, NY
Seven in a Bed, Louise BourgeoisLouise Bourgeois, Seven in a Bed,
2001, Mixed-media
© Courtesy of the Artist & Cheim & Read, NY
J\'Y SUIS, J\'Y RESTE, Louise BourgeoisLouise Bourgeois, J'Y SUIS, J'Y RESTE,
1990, Marble
© Courtesy of the Artist & Cheim and Read, NY
THE CURVED HOUSE, Louise BourgeoisLouise Bourgeois, THE CURVED HOUSE,
1990, Marble
© Courtesy of the Artist & Cheim & Read, NY
Spider, Louise BourgeoisLouise Bourgeois, Spider, 1996, Steel
© Courtesy the Artist & Hauser & Wirth, London
The Couple, Louise BourgeoisLouise Bourgeois, The Couple,
2002, Aluminum
© Courtesy the Artist & Hauser & Wirth, London
My Left Hand, Louise BourgeoisLouise Bourgeois, My Left Hand,
2004, Mixed-media, paper
© Courtesy the Artist & Hauser & Wirth, London
The Blind Leading the Blind, Louise BourgeoisLouise Bourgeois, The Blind Leading the Blind,
1947-1949
© Hirshhorn Museum and Sculpture Garden
Bed #2, Louise BourgeoisLouise Bourgeois, Bed #2,
1997 , Aquatint, drypoint, engraving , 25 x 31 1/8 inches
© Collection of Jordan D. Schnitzer
The Nest, Louise BourgeoisLouise Bourgeois, The Nest, 1994, steel
© Louise Bourgeois
Home for Runaway Girls, tote bag, Louise BourgeoisLouise Bourgeois,
Home for Runaway Girls, tote bag,
2007, ink on canvas, 25" x 14"
© Lloyd Hryciw
Self-Portrait, Louise BourgeoisLouise Bourgeois, Self-Portrait,
2009, drypoint, archival dyes, ink and embroidery on cloth, 312 x 230 CM
© Galerie Piece Unique
Hand, Louise BourgeoisLouise Bourgeois, Hand,
2001, Red fabric, wood, glass and steel, 12.5 x 21 x 14 in
© Courtesy of the artist, Leila Taghinia-Milani Heller Gallery, New York, and Cheim & Read, New York. Photo courtesy of Cheim & Read, New York
GIVE OR TAKE, Louise BourgeoisLouise Bourgeois, GIVE OR TAKE, 2002
© Courtesy Cheim & Read, New York. Photo: Christopher Burke
Self Portrait, Louise BourgeoisLouise Bourgeois, Self Portrait,
2009, 312x230cm
© Lousie Bourgeois/courtesy Galerie Pièce Unique
View in situ of Self Portrait, Louise BourgeoisLouise Bourgeois, View in situ of Self Portrait,
2009, drypoint, archival dyes, ink and embroidery on cloth, 312x230 cm
© Louise Bourgeois/courtesy Galerie Pièce Unique
, Louise BourgeoisLouise Bourgeois
© Courtesy of the artist and Kukje Gallery Space 2
I Am Still Growing!!! (#1), Louise BourgeoisLouise Bourgeois, I Am Still Growing!!! (#1),
2008, Etching, watercolor, gouache and pencil on paper, 150.5 x 99.1 cm
© Courtesy of the artist and Kukje Gallery Space 2
Le Coeur est là (Turning Inwards II), Louise BourgeoisLouise Bourgeois,
Le Coeur est là (Turning Inwards II), 2008
© Courtesy of the artist and Galerie Karsten Greve
ECHO I, Louise BourgeoisLouise Bourgeois, ECHO I,
2007, bronze painted white and steel , 76” x 17” x 14”, ed. 4/6
© Courtesy of the Artist and Gallery Paule Anglim
, Louise BourgeoisLouise Bourgeois
© Courtesy of Barbican Art Gallery
Untitled, Louise BourgeoisLouise Bourgeois, Untitled,
2005 , Fabric , 41.2 x 53.9 cm / 16 1/4 x 21 1/4 in
© Courtesy of Hauser & Wirth (Savile Row)
Guilty girl(The), Louise BourgeoisLouise Bourgeois, Guilty girl(The),
2000, litho.+vernis, 76.5x57cm 50ex
© Courtesy of Galerie Lelong - Paris
UNTITLED , Louise BourgeoisLouise Bourgeois, UNTITLED ,
2005, Fabric , 21 1/4 x 26 3/4 inches 54 x 67.9 centimeters
© Courtesy of the artist & Cheim & Read
Baby and Butterfly, Louise BourgeoisLouise Bourgeois, Baby and Butterfly,
2007 , Drypoint and engraving on vintage paper & collaged cloth, 12 x 9 1⁄2 inches; 30.5 x 24.1cm Edition of 15
© Courtesy Harlan & Weaver, New York
Installation View from the Personages series and Forêt (Night Garden), Louise BourgeoisLouise Bourgeois,
Installation View from the Personages series and Forêt (Night Garden)

© courtesy Cheim & Read Gallery, NY, and Hauser & Wirth Gallery,London.
The Fragile, Louise BourgeoisLouise Bourgeois, The Fragile, 2007
© Courtesy of the Artist and Marlborough Fine Art
What is the Shape of This Problem? (detail), Louise BourgeoisLouise Bourgeois,
What is the Shape of This Problem? (detail),
1999, lithography, text: letter press, series of nine images & nine text panels, 12 x 17" each, Edition of 25, 8AP
© Courtesy of Galerie Lelong
, Louise Bourgeois, George Grosz, Marina Abramovic, Daniel Spoerri, Otto MuellerLouise Bourgeois, George Grosz, Marina Abramovic, Daniel Spoerri, Otto Mueller,
Fall 2011
© Image courtesy of: Side by Side Gallery Akim Monet GmbH, Berlin
, Louise Bourgeois, Ernst Ludwig Kirchner, Auguste Rodin, Daniel Spoerri, Jonathan Borofsky, Otto MuellerLouise Bourgeois, Ernst Ludwig Kirchner, Auguste Rodin, Daniel Spoerri, Jonathan Borofsky, Otto Mueller,
Fall 2011
© Image courtesy of: Side by Side Gallery Akim Monet GmbH, Berlin
, Louise Bourgeois, Marina Abramovic, Jonathan BorofskyLouise Bourgeois, Marina Abramovic, Jonathan Borofsky,
Fall 2011
© Image courtesy of: Side by Side Gallery Akim Monet GmbH, Berlin
, Auguste Rodin, Louise BourgeoisAuguste Rodin, Louise Bourgeois, Fall 2011
© Image courtesy of: Side by Side Gallery Akim Monet GmbH, Berlin
, Louise Bourgeois, Marina Abramovic, Jonathan BorofskyLouise Bourgeois, Marina Abramovic, Jonathan Borofsky,
Fall 2011
© Image courtesy of: Side by Side Gallery Akim Monet GmbH, Berlin
, Louise Bourgeois, Ernst Ludwig Kirchner, Auguste Rodin, Daniel Spoerri, Jonathan Borofsky, Otto MuellerLouise Bourgeois, Ernst Ludwig Kirchner, Auguste Rodin, Daniel Spoerri, Jonathan Borofsky, Otto Mueller,
Fall 2011
© Image courtesy of: Side by Side Gallery Akim Monet GmbH, Berlin
, Auguste Rodin, Louise BourgeoisAuguste Rodin, Louise Bourgeois, Fall 2011
© Image courtesy of: Side by Side Gallery Akim Monet GmbH, Berlin
, Louise Bourgeois, George Grosz, Marina Abramovic, Daniel Spoerri, Otto MuellerLouise Bourgeois, George Grosz, Marina Abramovic, Daniel Spoerri, Otto Mueller,
Fall 2011
© Image courtesy of: Side by Side Gallery Akim Monet GmbH, Berlin
Maman, Louise BourgeoisLouise Bourgeois, Maman
© Courtesy of QMA Gallery (Katara)
CELL XXIV (PORTRAIT), Louise BourgeoisLouise Bourgeois, CELL XXIV (PORTRAIT),
2001, Steel, stainless steel, glass, wood and fabric , 177.8 x 106.7 x 106.7 cm.
© Courtesy Hauser & Wirth and Cheim & Read/ Photo: Christopher Burke/ © Louise Bourgeois Trust
, Louise BourgeoisLouise Bourgeois
© Courtesy of ShootArt.com & Louise Bourgeois
THE DANGEROUS OBSESSION , Louise BourgeoisLouise Bourgeois, THE DANGEROUS OBSESSION ,
2003, Fabric, glass, stainless steel and wood , 143.5 x 61 x 50.8 cm. Courtesy Hauser & Wirth and Cheim & Read. Photo: Christopher Burke
© Louise Bourgeois Trust
Louise Bourgeois, Marina Abramovic, Jonathan Borofsky,
THE HEARTLIGHT (working model),
circa 1990, Aluminum, cast resin, diode light, audio-electronics including digitally reproduced heartbeat of the artist. , Overall size 62.5 x 27 x 27 cm Red resin lamp 19 cm 4 black figurines 6.5 cm each
© Image courtesy of: Side by Side Gallery Akim Monet GmbH, Berlin
, Louise BourgeoisLouise Bourgeois
© Courtesy of Galleri Faurschou(Beijing)
Spider , Louise BourgeoisLouise Bourgeois, Spider ,
1997 , Steel, tapestry, wood, glass, fabric, rubber, silver, gold and bone, 449.6 x 665.5 x 518.2 cm
© Courtesy Cheim & Read and Hauser & Wirth
Installation view, Louise BourgeoisLouise Bourgeois, Installation view
© Louise Bourgeois
, Louise BourgeoisLouise Bourgeois
© Louise Bourgeois
Lair, Louise BourgeoisLouise Bourgeois, Lair, 1986-2000
© Courtesy of Galerie Karsten Greve
 CROUCHING SPIDER , Louise BourgeoisLouise Bourgeois, CROUCHING SPIDER , 2003
© Photo by Jonathan Leijonhufvud + Louise Bourgeois Trust
Cell (The Last Climb), Louise BourgeoisLouise Bourgeois, Cell (The Last Climb),
2008
© Courtesy of National Gallery of Canada, Ottawa
 EARS, Louise BourgeoisLouise Bourgeois, EARS
© Courtesy of The Walker Art Gallery
Couple II, Louise BourgeoisLouise Bourgeois, Couple II,
1996, Fabric, knee brace, glass and wood
© Courtesy of the ALBRIGHT-KNOX ART GALLERY
Born in Paris on December 25, 1911, Louise Bourgeois is a seminal figure in 20th Century art.  She has influenced many generations of artists and her exhibition career has spanned 60 years of art making.  Bourgeois's work has been described as body-art, monumental, contra-monumental, post-minimalist, radical, feminist, gender and sexually-oriented, deeply psychological, organic, anthropomorphic, ab...[more]


RackRoom
Interview with Wendy Williams, Managing Director of Louise Bourgeois Studio

With the Louise Bourgeois exhibition up at MOCA in Los Angeles, I cannot think of anything else.  I heard that Louise's assistant, Jerry Gorovoy, was in town helping with the exhibition and I started wondering more and more about what occurs in Louise's studio.  Jerry was already back in New York by the time I could get ahold of anyone, but Wendy Williams, the manager of the Louise Bourgeois Studio was so kind as to answer some of my burning questions over email.

- Sasha Bergstrom-Katz


Sasha Bergstrom-Katz: As a young artist, I am extremely intrigued by Louise's Sunday salons. Do either of you attend? If so, can you tell me about it? Or share an anecdote?

Wendy Williams: Yes, I've attended a few Salons over the years. It's open to all artists, writers, musicians and poets. The only requirement is that participants bring a sample of their own work to share with the others.  Each Salon has its own character, depending on the participants.  Sometimes it's like group therapy. Other times, things become hostile, with the Salon ending in tears or with people storming out. At best, the Salon provides an environment for pure discussion. At worst, participants come with the hope that Louise will further their career. Because of this, many years ago, Louise wrote "The Rules of the Salon:"

What do you do for a living?

How do you eat and pay your rent?

You have to go to a shelter for the homeless, or you may have to go to the hospital.

I am not an employment agency, and I am not a publishing firm.

You are invading my privacy, and I am going to call the police.

To call yourself an artist is not an excuse.

Unsolicited material ends in the garbage pail outside.

Participants at Louise Bourgeois's Sunday Salon, 2001; Photo courtesy Pouran Esrafily


SBK: How does one get invited to these salons?


WW: The Salon is currently on hold. When it is being held, you have to make an appointment in advance with the Studio.

SBK: I am very curious to know how the studio looks. Is it clean? Messy? Filled with old and new work, or just new? Can you give me a brief description?

WW: In 1980, Louise acquired a large studio space in a poured concrete building in Brooklyn that was originally a garment factory. This space enabled her to make art at an unprecedented scale, such as her Cells and eventually the Spiders. She even incorporated some of the remaining contents (sewing machines, furniture, doors and shelving) into future pieces. You could always find both old and new work there. But when a large piece was completed, it was usually either taken apart or put into storage so as to make room for the next piece. Unfortunately, Louise had to move out in late 2005 when the buildings on her block were torn down in order to make room for a new sports center. Since then, her studio has exclusively been her Chelsea brownstone, with most works made on the table in the parlor.

Louise Bourgeois's Brooklyn Studio, 1995; Photo courtesy Peter Bellamy


SBK: How did you get involved in working in the studio?

WW: I worked at a gallery that represented Louise for almost 15 years.  She was always one of my favorite artists. When I left there, I began working with Louise, and I've been here now for about 12 years.

SBK: Can you describe your day to day tasks in the studio? How hands on are you?

WW: Louise starts her day by working on sculpture. She then has a lunch break, and generally draws in the afternoon. Jerry Gorovoy, who has been her assistant since the early 1980s, is constantly at Louise's side providing her with whatever she needs. My work involves inventorying the art and working with photographers, framers and restorers. Both Jerry and I are in communication with Louise's galleries about consignments, sales, exhibitions, etc. as well as with museums about upcoming shows and publications.

Louise Bourgeois, 10 AM IS WHEN YOU COME TO ME, 2006; Photo courtesy Adam Rzepka


SBK: I read a recent article about Louise's work in "Modern Painters" saying that she made a series of paintings of her hands along with her assistant's hands. Did those hands belong to either one of you? If so, what was that experience like? Do you work closely with her like that often?

WW: The 2006 hand colored suite of prints you are referring to is called 10 AM IS WHEN YOU COME TO ME. That's the time when Jerry arrives in the morning, and the piece shows his hands along with Louise's. Louise and Jerry's hands are also part of the bronze sculpture THE WELCOMING HANDS that is on permanent display in the Tuileries in Paris. Jerry was also the model for the bronze hanging sculpture from 1993 called ARCH OF HYSTERIA.

SBK: I know both of you were involved in this exhibition, and I believe Jerry was in Los Angeles working with the curators and installers at MOCA. Do you often get involved in the curatorial side of things?

WW: Generally speaking, Jerry and I collaborate with museums' curators to select the best checklist to fit their architectural setting. For the installation in Los Angeles, we did this with MoCA's curator Brooke Hodge, who was a pleasure to work with.

Louise Bourgeois, 2007; Photo courtesy Dimitris Yeros


SBK: I'm sure this is a complicated question, but what is your relationship with Louise? I assume working in her studio creates a very intimate relationship.

WW: It's a special and unique experience to know Louise and to be surrounded by her art. She works with very few people, and we've all been working together and with Louise for a long time.

SBK: Are either of you or Jerry working artists? If so, how does working in Louise's studio impact and influence your work? If not, what are your other interests?

WW: Neither Jerry nor I are practicing artists. Working with Louise is all encompassing, and a privilege.


ArtSlant would like to thank Wendy Williams for his assistance in making this interview possible.

--Sasha Bergstrom-Katz

(Image at top: Louise Bourgeois's Brooklyn Studio, 1982;  Photo courtesy Allan Finkelman)

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