Louise Bourgeois - Blue Days And Pink Days

Pandora T Asbaghi Jerry Gorovoy

Progetto Prada Arte, ISBN 9788887029048,
Pb, 320 pgs, 24 x 30cm
200 ills
Acqn. 6344
In Stock

This publication revolves around Louise Bourgeois's different bodies of works and was published in conjunction with one of the most extensive exhibitions of the artist's work at the spaces of Fondazione Prada in Milan. The pieces documented include 'Spider'(1996), whose meaning and function the artist identifies with the memory of her youth, and is intended as an ode to her mother. Also featured are 'Cell (Clothes)' (1996) and 'Spider' (1997), closed architectural structures of connected doors or woven iron fences. These works made by the artist, and combined with objects belonging to the artist, create territories full of psychological resonance. 'Untitled' (1996) is a series of sculptures made of clothes, some of which date back to when she was five years old. The garments, which form a diary of her life, hang from steel poles, combining some more figurative with more abstract forms. The 'Couples II e Single III' (1996), life sized figures made of cloth, continue Bourgeois's exploration of 'the one and the other'. Works such as 'In Respite' (1993) and 'Sutures' (1993), made of iron pole-structures, carrying big spools of thread, needles and rubber appendices, deal with memory and the continuous flow of time. According to Bourgeois's assistant, Jerry Gorovoy, "pink days" meant good days and happiness for the artist, and "blue days" meant bad days and depression. With a critical text by Paulo Herkenhoff, biographical and bibliographical notes by Pier Paolo Rinaldi and Pandora Tabatabai Asbaghi, graphic project by Pierluigi Cerri with Ginette Caron and Maurizio Zanuso.