Bourgeois was an intensely autobiographical artist who poured her
demons into her work. Her art was, she believed in a very literal
way, her salvation.
In the new book, ominously but accurately entitled The Return of
the Repressed, curator and writer, Philip Larratt-Smith makes much
of Bourgeois' fear of abandonment and her complex love-hate
relationship with her father.--Sean O'Hagan "Another Magazine"
In the early months of 2010, a trove of loose-leaf paper was
discovered in Louise Bourgeois's Chelsea apartment. Marked with
pen, pencil, and typewriter ink, the pages featured a fluent blend
of French and English prose, punctuated by an occasional drawing.
The writings hailed largely from the years spanning 1952--when
Bourgeois was refining her brand of metaphoric abstraction in her
Personages, a series of precariously assembled totemic
structures--to 1964, when Bourgeois debuted her now-canonical
sculptural aesthetic of turgid, visceral forms rendered in emotive
arrays of latex, wax, and resin. This new, organic idiom followed
an 11-year hiatus from the art world, during which Bourgeois
underwent strenuous analysis at the hands of an émigré Freudian,
Henry Lowenfeld--a foreigner, like herself, expatriated from a
Europe ravaged by war.
Combined with a similar find of six years prior, this cache
amounted to over 1,000 pages of rich psychic self-documentation.
Here, Bourgeois had recorded her dreams, anxieties, and desires;
parsed her sessions with Lowenfeld ("L.," in her affectionate
abbreviation); and jotted ideas for new sculptures. Reproduced in
part and translated for the first time in a sleek volume edited by
Philip Larratt-Smith, Bourgeois's literary archivist, these
writings reveal Bourgeois as an artist whose profound engagement
with psychoanalysis was anchored in a sustained, often tortuous
praxis.--Courtney Fiske "The Brooklyn Rail"
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