Louise Bourgeois: Her Love of the Spider

The eminently provocative and intriguing work of Louise Bourgeois spanned two centuries. Her work; largely sculptural, often spoke to her love of the fabric/textile world. French born; she came from a family of individuals that made art and tapestries their business. The very essence of her being was tied to the creative activity of restoring and the selling of antique tapestries. It is no accident that she also connected to nature’s most prolific weaver; the spider. Her affinity for the spider was expressed over and over within her body of works. This abundantly evident throughout her life as she tireless worked through the decades. She would even acquire the nick-name “Spider-Woman.”    

The Spider is an ode to my mother. She was my best friend. Like a spider, my mother was a weaver. My family was in the business of tapestry restoration, and my mother was in charge of the workshop. Like spiders, my mother was very clever. Spiders are friendly presences that eat mosquitoes. We know that mosquitoes spread diseases and are therefore unwanted. So, spiders are helpful and protective, just like my mother.

                                                                                                       Louise Bourgeois

Louise Bourgeois’ father too affected her throughout her life emotionally and creatively in that he was harsh, overly critical and had multiple affairs with women. Bourgeois’ nanny was included in the number of his continuing infidelities. Louise was greatly affected and really never forgave her father. She would go on in life and replaced any misgivings with education, work and a desire for self-exanimation and curiosity. These models would encouragement and inform her for her life’s entirety. 

Once I was beset by anxiety but I pushed the fear away by studying the sky, determining when the moon would come out and where the sun would appear in the morning.

                                                                                                                  

                                                                                                        Louise Bourgeois

After marrying and moving to New York City she would continue as both teacher and student at the university level and even in public schools, Bourgeois was a force. Her salons at her home in Chelsea (Manhattan) would take on the name “Sunday, Bloody Sunday” because of her scathing and brutally honest critics that often expressed her dry, biting wit.  Friend and associate to many of her famous peers including Dekooning, Pollack and Ferdinand Léger (who informed her early on that she was a sculptor; not a painter.) She would be late acquiring wide success possibly due to gender. Her work could be construed as feminist and even surreal but she rejected all labels as she worked to express her emotions, memories and muses.

“My work deals with problems that are pre-gender...for example, jealousy is not male or female."

                                                                                                                            

                                                                                                          Louise Bourgeois

It was MoMA that would be the first museum to give Louise Bourgeois a retrospective in 1982. Other retrospectives would follow world-wide including Saint Petersburg’s Hermitage and London’s Tate Modern. Washington DC’s foremost museum of modern art The Hirshhorn would exhibit a Bourgeois retrospective in 2009. I was able to attend it several times and enjoyed passing her huge “Crouching Spider” at the museum’s entrance. The Hirshhorn retrospective was extremely inclusive boasting 120 pieces and showcased her every style and medium; plaster, bronze, marble, wood, resin, latex and found objects. Bourgeois was talented, intelligent, caring, thoughtful and beautiful in every aspect of her being. Her art is her testament to life.

It is not so much where my motivation comes from but rather how it manages to survive.

                                                                                                                       

                                                                                                            Louise Bourgeois

Picasso Sculpture @ MoMA

When the “New” Whitney opened earlier this year in Lower Manhattan (NYC) it became the most talked about museum among the many celebrated museums in the city. It was dimming the luster in particular of one of the New York greats; MoMA. I had wondered what the folks at MoMA would do to return the talk and the buzz as the leader in Modern and Contemporary Art. “Picasso Sculpture” featuring 100 pieces opens there Monday. It seems to be their response to the Whitney and promises to be a Block Buster.

The exhibition will feature many of the 20^th Century master’s best efforts. Picasso is noted as quite possibly the most innovative and prolific genius of all time. His sculpture attests extravagantly to his fame and ability. Picasso’s choices of materials range from bronze to plaster to cardboard. Found objects and assemblage rate highly among his sculptural works. The hand and mind of Picasso, always exciting, always exuberant on full display here should charm and delight every eye to behold each brilliant object.  The man is as strong a sculptural presence as any of his sculptor contemporaries, including Moore, Brancusi, Calder and Duchamp.

We are edging further into the 21^st century and there are no shortages of new artists on the contemporary scene. At every level Picasso continues to rank highly. There is a definitive, ageless quality to his works. I am including an extensive portfolio of the Picasso Sculptures and yes; I hope to visit them and MoMA soon.

Niki de Saint Phalle

It was on a bright, beautiful, balmy Saturday morning down town in the North Carolina City of Charlotte that my daughter; Gail and I chanced upon something incredible and very interesting. We were just outside the newly opened Bechtler Museum of Modern and Contemporary Art.  A large (fifty three foot) flat- bed trailer truck was being unloading by workers and museum staff members. They were in the process of installing a mammoth sculpture. As my daughter and I witnessed the piece was being stacked to a magnificent height right there in the museum’s plaza. The structure was an extravagant, mosaic-like work with a reflective silver surface. What was becoming a fantastic creature of gigantic scale (granted slowly and methodically) was the Niki de Saint Phalle original; “Firebird.” Just how fortunate were my daughter and I to be privy to this amazing and fantastical event?

Miss de Saint Phalle came to the world’s notice first as a model for Vogue and Harpers in the late fifties. Her intelligence, beauty and sophistication radiated with undeniable elegance and style. Her artistic and creative skills would develop after a nervous break-down.

Painting was therapy and a way of coping with the troubles of her early life. Niki would take her pain, resilience, imagination along with every part of her being and use them in the creation of pieces that continue to resonate and thrill. The paintings evolved into mixed-medium expressions that would lead her into the “Shooting Paintings.” These paintings were literally created by Niki attaching polythene bags of paint to a designed surface and bursting them by firing a loaded shotgun. The making of the paintings would become performance pieces and through them Niki became the only female member of the elusive and respected “Nouveau Realists.”

The works that were most identified with Niki de Saint Phalle; her signatures, her alter egos, her “Nanas.” The sculptural statements of the “Nanas” were representations of robust colorful women; the “every-woman.”   As magnificent in their glory as they were playful in style and execution. Her crowning and most celebrated Nana was a work entitled: “Hon-en- Katedral.”  It was a large scale dwelling like work that visitors entered through what Gustav Courbet would have refer to as “The Origin of the World.” It was credited with a jump in Sweden’s birth rate the year it was exhibited. It seemed the work was enjoyed on a truly unpresented, inspirational level by the many.   

“Life … is never the way one imagis it. It surprises you, it amazes you, and it makes you laugh or cry when you don’t expect it” 

                                                       Niki de Saint Phalle

“The Tarot Garden” in Tuscany, the “Miles Davis” sculpture outside the Hotel Le Negresco in Nice and on a smaller scale (but no less monumental) her impressively unique Niki de Saint Phalle” perfume bottle were among the great and truly wonderful achievements of Niki’s vastly creative life. Her career and out-put continually expanded especially during her marriage to sculptor Jean Tinguely who she also collaborated with on multiple projects including film and video.  The personal price of Niki’s creativity was ultimately the highest. The polyester fibers in her favorite medium would cost her life. Her lungs were scare by breathing in the destructive, fine particles of the material.  Within her time and continuously through our own Niki de Saint Phalle towers and sustains. We are left with the brightness, the beauty, the spirit of adventure that was Niki de Saint Phalle.

Hearts of De Milo with Drawings Pinocchio / Jim Dine

Among the most prolific, distinguished and knowledgeable, plus one of the last of a breed of artist that is true to the hand and eye all are Jim Dine. He is one of the original artists to be exhibited under the moniker; “Pop.” Dine continues to work and explore the limitless realm of possibilities. Like his “Pop” peers he chose to and works largely from established cultural icons. Dine’s work includes the Venus De Milo, valentine hearts and the ubiquitously lively marionette Pinocchio. Other favorites among his subjects are every day bath-robes, common tools and further stepping outside of the “Pop” restraints; figurative studies. Paintings, sculpture, charcoals and prints exist within his mastery of mediums and forms. Dine is literally the “King of Hearts” in an ever increasing world of soulless and mindless artists / creators.    

Dine is included in collections across the globe; the British Museum (London), the Hirshhorn (Wash. DC), The Met (NYC), Centre Georges Pompidou (Paris) and both MoMA (NYC) and San Francisco MOMA.  He is much sought after by collectors world-wide and especially in Miami Beach. I learned this early last December at Art Miami where I was seeing an unusually large number of his works exhibited. I asked Susan Dishell an LA based gallerist in conversation about the abundance of Jim Dine works on view; this while admiring one of her Dine Hearts. Susan said “Dine’s use of color vibrancy and his painterly technique are a great fit with the character of the Miami collector.”  It made perfect sense as we stood before the painting she said was created especially for this most recent Art Miami fair.

                                                                                                 

Dine talks  Dine

I’m a longtime fan of Dine’s dating back a number of years and greatly admire his atmospheric, richly textured and the vaguely unfinished quality in his works. The Dine Pinocchio drawings are a hallmark of his many tools and skills. His illustrated edition of the classic Carlo Collodi tale is fabulous. Being true to his “Pop” roots the Dine works are a definite nod to the Walt Disney studios’ interpretation. While he reflects the Disney esthetic; he goes beyond the Disney cartoonist’s visions to a place of artistry, beauty and intrigue within his most effective efforts. 

The former teacher and heroic Jim Dine’s continuous outpouring of spirit and craft are things of truth and beauty. Dine is to be celebrated, revered and many times over admired. His ever expansive body of work enlivens and inspires ever increasingly as it exists and surely grows for our own fulfillment.