Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
Review of the Louise Bourgeois Exhibition at the Tate Modern in
January 2008
Laura A. Bello
Fine Art
12th February 2008
Tutors: Nico Oliveira
Charlie Woolley
I had been looking forwards to the drawings of La Bourgeois and immersed myself into a mood expecting the exhibition to be a kind of flowery fields and landscapes, apart from the spider which I had heard of before.
I arrived outside the Gallery and contemplated the spider in wonder as to what could have inspired Louise Bourgeois to do this piece of work. My thoughts went to the Black Widow Spider, their behaviour and the fear they instil on their predators. Was Bourgeois associating the spider with a frustration and anger of a woman after the partner’s premature ejaculation?
The name of this sculpture was Maman. Perhaps she was evoking the constantly overpowering, overprotective mother to whom separation is impossible and whose ‘care’ would result in successful castration of the genders. I felt sorry for Maman, it looked shy and vulnerable despite its ferocious appearance.
I entered the room undecided and a little bewildered as to where to look first. The exhibition was very big, very phallic and highly sexually charged.
My eyes rested on Blind Man’s Buff, a marble sculpture carved straight from the stone. It had a series of protruding lumps in the process of metamorphosis from breast to phalluses and vice verse.
Bourgeois’ phallic obsession continued as I moved to a white marble sculpture called Cumul l. It consisted of a nest suggesting a series of phalluses, some well protected by the prepuce and others totally peeled or exposed depriving them of any sort of sensitivity.
It is not surprising her intentions here as in the nineteenth century, ninety per cent of newly born boys were scarred and denied the pain felt as consequence of the circumcision. This practice continues, sometimes demanded by ill informed parents or influenced by sexophobic doctors converting their own fears into the medical myths that masturbation causes illness, when indeed benefits versus risks in a more or less balanced way.
This of course goes without mentioning female circumcision which is widely practiced to girls around the ages of six and seven and is always done behind tight closed doors.
I moved on to the sculptures of her personages. Tall poles resembling people kept in an inanimate position for centuries in order to prevent them from becoming free thinking individuals. Or as in religious indoctrination when the main requisite is absolute surrender to an all powerful and jealous god or otherwise go to hell for eternity.
I became fascinated with the exhibition and my realisation that Louise Bourgeois was dealing with various issues and not just one theme.
The mirrors were inviting the viewer to take a look at the self, and reflect. She was also concern with the balancing of the genders and the body and mind. This was depicted in her male and female Arch of Hysteria and in the perfect balancing of stuffed bodies as well as some of the wooden sculptures which were hermaphrodite and could easily be turned into either a male or a female.
I definitely feel inspired by her exhibition and her ability to create such wonderful pieces of work. All my respect goes to Louie Bourgeois.
Laura A. Bello
I
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