THE IK - The worst show on Earth

In the early 1970’s I was taken by a girlfriend to a night of entertainment at the Roundhouse in Chalk Farm.

The memory plays strange tricks and I hope that this somewhat belated review will be accurate after about thirty five years. The evening was remarkable and it sticks in the mind as the worst theatrical event I have seen (so far!)

I have tried to Google the show but unsurprisingly after all this time I can find very little about this theatrical event. The play was written by Colin Higgins and Denis Cannan, adapted from the book "The Mountain People" by Colin Turnbull. However, according to Richard Ginker it was this book which “tainted Turnbull's reputation as a respected anthropologist.”

In those days the Roundhouse was extremely Spartan. It is common knowledge that the Roundhouse had been a railway turntable where locomotives were turned round and sent back where they came from. Nothing much had changed except for a trestle table bar and some rows of uncomfortable seats which looked like they had been nicked from a failing church hall. I recall no heating.

So we took our bar of Bournville and sat uncomfortably. The simple programme explained that we were to see a theatrical piece reliving the demise of an African tribe of pigmies called The Ik. Advertisers such as the printers and the local taxi service wished the company a successful season. Then the house lights dimmed.

Four particularly tall and pale white people shuffled on to the stage and explained to one another that matters were dire – there was a drought and the tribe had no food and that they were all dying. They did not look like a convincing black African pigmy tribe but “heck this is acting.”

One by one the four people died in agony – a slow tormented death.

Each time one of the actors died the spotlight would be removed – but they could be seen creeping round the sparse scenery only to come back as another tribe member. On their return they would curse their lot and die all over again. From memory this went on for about two hours. With an interval for refreshments and more Bournville.

Politeness and the glamour of being out with a girlfriend encouraged me to stay until the very last death of the Ik tribe. I was unable to join in the traditional back slapping and bonhomie that goes along with the pretence of enjoyment.

http://www.dramaticpublishing.com/p695/The-Ik/product_info.html

http://www.news24.com/News24/Africa/Features/0,,2-11-37_1765177,00.html

http://www1.dragonet.es/users/markbcki/trnbll.htm

Shelf Life 5

Thinking about the objects on my shelves, I am struck by the memory of the spaces inbetween.  

The objects I see are the survivors from a long time.  They had specific places and contexts in earlier years, and some have had many different places and several different owners.  There are a few pieces specifically chosen for these shelves but the majority are from other times and places. Some are significant items with their own dignity and value and some are insignificant items that gain gravitas by being placed on the shelves such as this piece of broken glass with an extraordinary patina and irridesence, picked up at low tide in front of Tate Modern.  They all bring with them echos, and trigger memories of faces  and voices that have gone but float about like wisps of smoke.

Regret is not on the agenda.  I am here now, I can see where I have been and I am now on my way to somewhere else...

The things on my shelves will reflect that.

Shelf Life 4

The contents of the antique rosewood box is the true archive on the glass shelves.  I rarely open it, but did so today.  It contains 97 items ranging from the very tiny (some of my children's milk teeth) to certificates and registration documents, dried wedding flowers, my baby shoes, an empty Russian rifle cartridge and sundry precious personal letters, cards and children's first drawings.  They are all packed in like archaeological strata.  Excavating each layer brought memories and thoughts flooding back, but the overall thought was the importance of all the numbers and codes which describe each individual.  Passport number, driving licence, birth certificates, death certificates, National Insurance number, National Health Number, bank codes and numbers, it goes on and on.  

Lose those, and who are you?

Shelf Life 3

The archive?

I suppose all the objects on the six glass shelves could be collectively regarded as an archive- an autobiographical archive- as most periods of my life are represented there.  But the majority of it can only be read as such by me.  My children would have a different perspective based on their childhood memories, their knowledge of me and their own experiences and taste.  My friends would have another take on the display, and strangers, yet another view, and yet the objects remain the same.

The image is of a pebble picked up on a beach more than thirty five years ago.  It is barely one inch in height, it is a flint nodule and is worthless to everyone but me.

Shelf Life 2

This is the first item in self life- a black and white photogragh by Elliott Erwitt, 1983, entitled East Hampton, New York.  The image was used on a postcard sent by a friend who asks, tongue in cheek "I assume this is what it is like at art school".  It is a temporary resident on the third shelf, causes a lot of comment, but not for binning quite yet!

worst show

 

                                       Critique

 

There are two contenders to offer up for the coveted prize of worst show ever.

The first was a show of  a young man named Carlos Diaz and took place in Berlin some years ago and the second is the work of a contemporary London based artist and businessman named Azam.

Contender number one happened on the outskirts of Berlin in a scenic district called Spandau with the somewhat infamous past of being the post-war prison to Rudolf Hess and his cohorts. This was a group show but for our purpose, I will focus on only one of the participating artists. The work itself was poorly hung and would have been an embarrassment to an o level art student/photographer. It looked as though it was hung in absolute haste and with absolutely no thought to its impact on the other work in the show. The exhibition on a larger scale appeared to have been badly curated, if in fact, the work was considered as a whole. The artist hadn't even bothered to invest in proper frames and had instead drawn the frames onto the wall surrounding each print. To my horror, this artist decided this wasn't working so he decided (during the show) to take his work off the wall put it in the car and drive home all with the help of a large bottle of Jose Cuervo.

 

 

 

The second show is by a contemporary London artist/business man and while enthusiastic, was a poor excuse for painting. I can imagine this painter rising to fame and critical acceptance but this is said with the voice of a cynic. The work was a series of poorly executed pastiches drawing shamelessly and unapologetically from every major talent of the past century. While I can see the importance of drawing from one's antecedents I also feel, in this kind of contemporary representational painting it is crucial to have an element of originality unless one is working within the realm of appropriation, which this particular man was not. His uncontrolled and ill-considered stylistic changes he even called "periods" within his artistic life. Possibly these works were destined for the boardrooms of London and if this was the artists only desired destination for his offspring then I would have to say he was a success.  

 Azam's work has to be the prime example of what money and connection can buy. One of my old tutors was succinct in saying that money can buy many things but credibility is not one of them.

His series entitled entanglement and emotion do nothing more than make me weep for their naivete. It would be simplistic and small-minded for me to criticise this man because of his financial good fortune and his brazen self-publishing but with all of these advantages, I would expect a more successful effort. I do have to acknowledge that I am criticising the man and his work with a mediocre understanding of contemporary and classical art history and a slightly left of centre political viewpoint but it seems he has no understanding of contemporary art   nor, it would appear, does he want any. He has the capital to finance his foray into the London art world having worked as a successful businessman for 20 years. The show consisted of maybe sixty reasonably large canvases and I found myself envying the fact that he could be so casual with the use of these expensive supports for work that was in fact still in the sketch stage and should have been, in my humble opinion, work done on paper before one committed to the canvas. Perhaps there is a large part of me that is criticising this work based on my envy of the ease with which he is able to disseminate this nonsense but there is also a part of me that is being critically objective. Recently, he has become artist in residence at county hall and I can only assume this would be after a massive injection of cash. There is an enormous bronze placed with conspicuous proximity to the Dali bronze on the Southbank by county hall and this just makes me want to cry.

While I am ever hopeful that people can actually see the wood for the trees, I cannot help harbouring a modicum of doubt for an objective and lucid public perspective.

My subjective and possibly naive opinion is that a work of art should speak for itself but in this case, it is the titles that speak volumes on this vapid oeuvre.

Anatomica: skull 1

Bitter enchantment 11

Blue savannah duplicity 1

Blue savannah duplicity 11

Bonded essence

Bonded essence 111

Bonded essence V11

Compositional turmoil 11

Compositional turmoil 1

Embodiment 11

Embodiment 1V

Emotion 1

Emotion 11

Emotion 111

Emotion 1V

Entanglement 1

Entanglement 11

Entanglement V11

Fabricated mural V

Visceral motion 111

Visceral motion 1V

Figurative inflection: inflexion

Assimilated prey 111

Concentric contortions 1V

Assimilated prey 11

Assimilated prey 1

Figurative overture: reflex arc

Eclectic grace blue 1V

Eclectic grace blue V

Eclectic grace blue V1

Eclectic grace blue 11

Concentric contortions V

Concentric contortions V1

Concentric contortions  V11

Formlative sedation: movement  (ibid)

Rebirth linear: outset

Rebirth variations 111

Icarus scream

Bonded essence 1V

Figurative axiom: regressive 111

Formulative seadtion: passive 1

Formulative seadtion: passive111

Formulative seadtion: passive1V

 And so these wondrous titles continue ad infinitum or until I saw through my jugular with the bluntest of bread knives.

 

 

 

 

 

 

 

 

 

 

 

UTOPIAS AND UNREALSISABLE PROJECTS

 

 

 

Utopias and unrealisable projects is a multimedia show, which has taken submissions of work from the general public. The idea of having an open exhibition was to encourage participants from every possible sphere including what is categorised as ‘outsider art’ without imposing the structural confines of the London art world on the contributing artists. Utopia as an ideal is completely individual and therefore subjective but by inviting any, and all work, we hope to show a more egalitarian vision of art without boundaries. As curators, we will allow each work to claim its own space within the gallery based on our visceral responses. The thinking behind this is that fear of realising a particular project or piece of work can ultimately become limiting. When the need to comply with a particular fashion or the production of a commodity becomes our driving force in the production of art, this work can become secondary and stilted.  We hope to involve those artists in London who would not normally think about submitting or calling their work art.  

 

 

Negative rview of Helen Chadwick Exhibition

Review for Critical practice


This is a review of Helen Chadwick’s work exhibited at the Barbican Gallery some five years ago.

The exhibition begins with Ego Geometria Sum, a very complex installation and sculptures made in plywood and photographs of the artist. She says that she is re-living a psychological journey from childhood to adulthood. However the majority of the photographs are of an adult Helen in which she appears to be oblivious to any meaning except her own narcissistic wish to attract The Gaze.

Chadwick claims to bring to attention issues of the feminine kind but indeed the very modelling of her own child like body is offensive to young and old women alike. This is a pressurised invitation for those looking up to her as a role model to immerse in all sorts of rituals in order to keep up to her dress size, therefore ending up with bulimia, anorexia and many other eating disorders. My question is whether Chadwick would have used her own body, had she been obese?

The theme continues in Mutability which is composed of several different pieces of works predominantly collages with the photographs s of he own body, as if suggesting a return to paradise. Again here we can see clearly her narcissistic trend.

She is also exploiting animal foetus, this is seen in her Chimpanzee Cameo and other plates. Chadwick keep on with the exploitation of animals in a series of sculptures made out of meat which she called Meat Abstracts. The sight of animal tongues, meat and poultry arranged in a grotesque way are an absolute obscenity and shows a great lack of respect for the public and the animals too.

Not worth the money! A butcher’s shop.


Laura

The Worst ****ing Show I've Ever Seen

Unabridged version

The worst ****ing show I’ve ever seen is Channel 4’s Come Dine With Me. Five ordinary members of the daytime TV watching public hold dinner parties for each other. A film crew records the process. Channel 4 apply a sarcastic voice over afterwards in the hope of distancing themselves from the shit that they end up with. The contestants compete against each other, scoring each other’s parties badly in the hope of winning the main prize at the end of the week. The whole purpose of sharing and breaking bread together is entirely dismissed by the lure of the £1000 prize and the producers’ need to make entertaining TV. Contestants are encouraged to criticize each other’s food and houses with pithy comments. Unfortunately, not ever having a particular flair for wit, these are generally along the lines of ‘Gosh, could you imagine having that ornament in your house? Hoo hoo hoo’. Not entertaining in themselves, the sole purpose of these remarks seem to be to place the contestants along a line of the class system. Demarcating the posh as not liking anything common, the common as not liking anything outrageous, and the nouveau riche as only liking their own white and black interior styling. The unspoken formula to win is traditionally British – be higher class and better bred.
The soul of my being is offended by the fact that food is still being used to uphold a centuries old feudal system. Of course, firmly committed to the class struggle I sky+ the 21/2 hour Sunday omnibus and watch it every week with relish, knowing that such a blatant display has got to defeat against itself eventually.

Edited Version:

The worst ****ing show I've ever seen is Channel 4's Come Dine With Me. It's shit.

Shelf Life

I think we all have spaces where we keep our special things and I would like to take you on a little journey amongst some of mine currently residing on six glass shelves in my sitting room. I have no window cills or mantlepiece, so this has become the repository of a hotch potch of stuff, old and new. The only common thread being that they have become a three dimensional biography of me. There have been some serious edits over the years, for many different reasons and are currently undergoing another review, this time through the eyes of an art student. What will remain at the end I wonder?

My first item is one of the most recent, a card from a friend. It is a black and white photograph neatly reversing the role of artist and model. It was sent to pull gentle fun at me in particular and art schools in general. It is a temporary resident on the third shelf, but not for binning quite yet.

PRIVATE VIEW

War Porn Series, As we forgive them, and no differently, 2008, Giclee Print

Preview 17 April 2008
18 April - 25 May 2008
Wednesday - Sunday 12.00 - 6.00

David Risley Gallery is proud to present the first solo exhibition by London born artist Charlie Woolley.

In this exhibition Woolley brings together a collection of images and objects with thematic connections. He asks the question 'what can be done with the images which we are confronted by everyday?' Sometimes this question is in response to simple desires: to chart the histories of the instruments and memorabilia of musicians ranging from bands such as Black Flag to convict blues musician Robert Pete Williams. At other times it is in response to the flickering screens of television sets. Here they are frozen into photographs, exposing moments of beauty and technological anomaly as colour explodes through the expanded pixels of black & white film stills. In other works the TV's surface sends brightly coloured images into swirls of moiré distorting and disturbing the image and one's vision.

This question also extends to images which do not confront us so obviously, but instead those that are partially hidden and must be sought out. A love letter is blown out of all proportion; the handwriting replaced by a typeface bereft of sentiment, and with the essential words replaced with a line hinting at what might have been said.

A series of landscapes depicting solitary buildings are blown-up low quality digital files found on an internet search engine, the buildings themselves have been removed exposing a second image underneath, which retains the shape of the thing that is no-longer there. These images are inspired by architectural palimpsests, a phenomenon so common in London, a city ever haunted by more and more ghosts.

I Built my House on Sand is an exhibition in which nothing is stable. The house was not built on sand through foolishness or by accident, but with the knowledge that we must always be prepared to let what we have go, and start again.

---

David Risley Gallery, 45 Vyner Street, London, E2 9DQ, UK
Telephone: +44 (0)208 980 2202 Email: info@davidrisleygallery.com
Opening times: Wednesday - Sunday 12.00pm - 6.00pm or by appointment.

The Monkey's Paw

The Monkey’s Paw



Nuria was back to her somehow forgotten habitat. She had been taken away and forced to forget the surroundings of her childhood in order to make room for education. Somehow things seemed to have happened at the same time. She had been entering her teens with a unique restlessness but sharp and inquisitive mind. She also had been overwhelmed by all sorts of lovely feelings capable of paralysing her with confusion.


Now she was back, there was no need for her to go away, if so she wished. At this moment her feelings were all rather mixed. She wasn’t quite sure of anything except that she was looking forward to the dawning of the day and was waiting anxiously to find out if the sun was still rising from the same place.


She remembered how she used to turn on her bed to face the window and see the orange-red coloured flames emerge (from what she thought to be the beginning and end of the world) and start to cover that half of the sky. Then the sunlight would start dispersing to bathe the top of the flamboyant trees, and as it rose towards west, the light would slipped through the slightly opened shutters creating rivers flowing fiercely as each light joined the next finally landing on the window sill, then bouncing like a ball creating all sorts of horrid monsters as it hit the floor.


Everything was well preserved despite the time. All she had to do was to dust the place and change the bed, yes she wanted to sleep in the same bed she once did, she was absolutely sure of this. There was something very unusual in the accumulated dust, something like a mixture of foot and hand prints. She felt tired and sat on the rocking chair. She sat down and felt as if she had sat on a cat or any other animal. She stood quickly looking around and wondered if some kind of animal had secretly got into the house. “ My imagination! ” she said to herself. But there was something not quite right as she sat on it again. The rocking chair felt warm as if someone had been sitting on it. A fear and feeling of invasion crept up her spine. She got up immediately and went to inspect the rooms expecting to see someone. She encountered only a serene silence which put her mind at ease.


“Ouch! That was close he thought. Never mind it is the same girl I knew, that’s luck! I have not had any fun for goodness know how long. Yes it was soon after she left that I was trapped behind the door. I don’t exactly know how I came to be on the chair, never mind, It is her… I can not quite see the mole on her neck so I will have to wait until she undresses to confirm. However the way she walks, the parting of her hair is still in the middle and she is even wearing the same socks she used to wear. I do need to see into her eyes but I won’t try yet in case she gets scared. They were very big and intense, she could see beyond anything and anyone, like an x ray machine, only more accurate. She was dangerously powerful, especially when set herself to look into the guts of those she did not trust. No wonder she had been taken away and accused of all those things. I can only think that it was the authorities own fear of exposure what was causing all that paranoia as the positions in the society felt threatened and needed to be protected therefore no nonsense was to be tolerated.”


Nuria jumped out of bed and went to look into the mirror, an old custom of hers. There was a strong current of wind that blew into her face disarranging her hair. She went to check the window wondering if she hat forgotten to close it the night before. “ It is tightly closed.” She opened the shutters completely and went back to the mirror. This time she saw a shadow but put it down to her eyes being tired from the sleep and blinked a few times squeezing the lids very tightly each time. She had a feeling of being observed, “I think I’d better go for a walk to clear my head” she told herself.


“She looks weird in those boots and rain jacket. I wish I could go with her like old times. She seems to have forgotten me completely and I still have not been able to look into her eyes to see if we are able to connect again. I am not quite sure how her life has been and what sort of problems she has had, so the least I can do is not bring her past too abruptly and cause disruption to her re-adaptation. Perhaps is her wish to remember her past that has brought her back. Or is it her clinging to the past? Oh, she is kissing that bottle, what’s inside, oops, I nearly got caught in the spray mmm, I like the smell.”


“The woods are not the same anymore! Only my friend, the big old tree is there, looking unhappy and subdued. Perhaps in fear that he will be next to be fallen and there will be no mercy when the time comes.”


“She seems to be thinking the same as me. It’s a beautiful day why there aren’t any butterflies? Yes, yes we used to chase the large sky blue ones under the rainbow, and lie down facing the clouds, counting every bird we saw. Yes…it’s the Coqui frog. I can hear the partner too. They are singing for the good rain to come back. They sound very melancholic saying that the bad rain has caused illness and many of their friends have died.”


Nuria finished the flower arrangement with the flowers she gather on her way home proud of herself at how creative she had become, this had been one of the things she has always enjoyed doing. Then she carefully carried the vase to the drawing-room, setting it on the table behind the door. Her eyes became fixed on a crack, right at the top of the doorframe. She could not quite make out if it was part of the frame or the wood was splitting. “How unusual, there is something pressed between the wood” she said climbing on a chair. Filled with curiosity she began to dig with her fingers first, then she fetched the pliers and pulled one nail, two nails until she had removed all of them. She saw that the thing between the wood was furry and was overcome with disgust. When she gained her breath back she pulled the thing with all her might.


Next Nuria found herself on the floor looking at a monkey’s paw dancing round her. She stretched herself and grabbed the vase with the flowers and threw it at it. The paw began to twist as if in pain and gradually evaporated. She looked towards her right and screamed,” Mojito, Mojito.” “Nuria, Nuria you have liberated me for ever and ever, can you see me really? No, no, you are not able to touch me. Not until your time comes.”


Laura A. Bello

“The Art of Light” Exhibition National Gallery - a critical review.

What breaks easily? What would be the most fragile medium in which to make works of Art? If you wanted your work of art to last for five hundred years would you choose glass? Probably not. But amazingly stained glass from the early renaissance survives. Actually it not only survives but it often looks fresher and even more modern than traditional painting and printmaking from the same period. Like the work current artists such as Michael Craig Martin or Julian Opie - even the oldest of stained glass is parcelled up with strong leaded outlines giving it a cartoon like appearance.

The title of the National Gallery’s exhibition is “The Art of Light.” Its subtitle is “German Renaissance Stained Glass.” So already we see that this is an exhibition limited to a very restricted area of this art form. The exhibition contains beautiful pieces and displays them extremely well despite the restrictions of the space (but more of this later.)

A major question however is why the curators have limited themselves to such a small geographical and historical source. Surely great glass also comes from France, Italy or Spain and while it is true that much of Britain’s stained glass was destroyed during the Reformation, some important examples remain. There are still, for example, 12th century windows at Canterbury Cathedral and York Minster.

From the acknowledgments provided there are only two sources for the exhibits – the Victoria and Albert Museum and Ely cathedral. Surprisingly, despite the show’s subtitle, nothing actually was sourced from Germany.

The works comprise panels of stained glass set beside art works made at a similar time. Some pieces provide a direct comparison or counterpoint- some are more perplexing. The placing of three woodcuts by Albrecht Dürer beside glassworks copied directly makes good sense.
On the other hand to place an anonymous Austrian painted panel in “Egg on silver fir” from 1410 beside an anonymous Austrian stained glass panel from c.1350 was surprising. The notes claim a similarity of appearance but the glass was made in strong bright colours with a bold and simple style while the panel had been painted in a soft wispy manner. The glass image is more angular and the panel more rounded. Both panels showed an angel with wings no other point of direct comparison was easily discernable.

Furthermore, it seems odd that the curators found it necessary to include so many oil paintings and prints for contextualisation and comparison. The neighbouring exhibition on “The Landscape Oil Sketch” contents itself with the display of just oil sketches. Nonetheless the Sunley Room displays some beautiful works including a stunning example of “Tobias & Sarah on their Wedding Night” c.1520 from the V&A. Clearly this is the jewel in the crown of the exhibition as it is shown in isolation in the central area. Here no comparison is made to painting of the same period.

The position of this piece brings me back to the layout of the show. The Sunley Room itself is actually a suite of three rooms and is often used by the National Gallery for smaller shows. These are a main gallery and a small cinema linked by a narrow room or wide corridor.
This layout is important because while the suite is in a prominent and central position within the National Gallery, the main view from the entrance is not of the exhibition itself but rather the exit towards Orange Street. This is not of course the fault of this particular exhibition but the pre-existing layout of the National Gallery itself. This problem has proved difficult for previous shows in this space.

Within the corridor are displays illustrating the “Making of Stained Glass” and the “Creating of a Stained Glass Panel.” These panels give a brief clue to the materials and techniques used for hundreds of years in the production of stained glass.

To conclude; The works are beautifully displayed and despite the fact that these pieces were clearly meant to be seen against natural light, they are lit in such a manner that one hardly notices the lighting. The exhibition does what it sets out to do; it limits itself to a very small and particular area of study in this form of art and shows some fine examples.

The Monkey’s Paw – a scary story for 8 year olds – retold by Andrew Pegram.

The Monkey’s Paw – Retold

I t was a dark and stormy night. The wind howled and twigs and leaves scuffled and rattled past the house. Mr and Mrs White sat in the parlour of their cosy home, in front of a blazing fire. Mr White played chess with his only son, Herbert. His wife sat in a rocking chair knitting and watching as they played.
“WHOOOOO, WHOOOO,” went the wind. All of a sudden there was a knock at the door. Rat- tat – tat. All three Whites sat up with a start.
“Who is that knocking at my big front door,” asked Old Mr White.
“I’ll go,” said Herbert, “and find out.” And off he went to answer the door.
On the doorstep stood a giant of a gentleman in a soldier’s uniform. “My name,” he said, “is Sergeant Major Morris. May I come in?”
Sergeant Major Morris was an old friend of Mr White. He walked out of the gloomy hallway and stepping in he shook hands with Mr White and Mrs White and with Herbert. Mrs White went to get him a nice cup of tea.

N ow the Sergeant Major had been in the army in India. He sat down and told them all about his life as a soldier. He and had seen many exciting things. They all sat round. First he told them about palaces and temples, beggars and Kings. Then he told them about high mountains and wide rivers and they learned more and more about a magical land full of wonders.
They heard about mangoes and bananas about coconuts and breadfruit. About tea plantations and palm trees – about deserts and jungles. “There are holy cows and elephants and crocodiles and everywhere you go there are lots and lots of monkeys.” said the Sergeant Major.
In their minds they could imagine these strange and wonderful Lands. Most of all they enjoyed hearing about the market places with their jugglers, snake charmers, magicians (or Fakirs) and a man who performed the Indian rope trick. Morris told them how the man had played a pipe and a rope had uncoiled and risen slowly until it stood straight up and then a little boy had climbed up the rope. Mrs White clapped her hands with glee.
“Well, dear old friend,” said Mr White. “if I remember rightly, the last time I saw you, you started to tell me a story about a monkey’s paw.”
The Sergeant Major turned pale and even though he was a very big man and a very brave man he seemed to shrink. “I really don’t want to talk about that.” he said. Surely he couldn’t be scared, thought Mrs White.
“Oh, Please, do tell us.” begged Herbert. And they all leaned in to listen even more carefully.
“It’s only a bit of magic,” said Morris.
“Do tell us,” said Mrs White.
So he did.
“You’ve heard of a lucky rabbit’s foot?” asked Morris. The Whites agreed that a rabbit’s paw was sometimes said to bring good luck. “But it isn’t very good luck for the rabbit!,” said Herbert.
The Sergeant Major reached into his pocket and brought out a tiny little hand. It looked just like your hand or mine – but very small and rather furry hand.
“This,” said Morris, “is a magical monkey’s paw. But unlike the rabbit’s foot this brings both good luck and bad.”
“Oh do PLEASE tell us about it?” asked Herbert.

A nd slowly Sergeant Major Morris told his tale. He told how the Monkey’s Paw had a magic spell put on it. It would grant three wishes to three owners but the Fakir who had cast the magic spell had warned the first owner. The warning was that he who plays with magic was plays with Fate.
Morris told them that the first owner had made three wishes but he was so unhappy that his third wish was TO DIE!!
“Well Sergeant Major, did you have your three wishes?” asked Old Mrs White.
“Yes,” said Sergeant Major Morris, “I did,” But by now he was shaking with fright and wouldn’t tell them any more.

B y now the fearless Sergeant Major Morris was so afraid that he said his goodbyes and rushed off into the night leaving the monkey’s paw in the candlelight in the middle of the table. As he went he was mumbling words of warning. Clearly he was in a big hurry to get away.
Old Mr White seized the little monkey’s paw from the table and said, “Now it’s our turn. Now the paw is ours!”
“Well,” asked Herbert. “Did you believe his story?” Both Mrs White and Mr White said they didn’t REALLY believe it. But curiously they were all deeply troubled by what their visitor had said.
“I still don’t believe it and I’m not scared.” said Mr White “and to prove it. I’m going to make a wish.”
He rubbed the little hand one, two, three times, and wished for two hundred pounds (which was a lot of money in those days.) The hand seemed to wriggle and wriggle in his hand.
BOOOOOM. There was a flash of lightning and a crash of thunder so loud that the whole house shook. As quickly as the storm had started the wind died away and all was quiet. They stood around in shock but nothing else happened. No money floated from the ceiling. They searched high and low but no matter how hard they looked, the Monkey’s Paw had not given them the money. “Pah!” said Mr White, “See! I told you so! F- A- K- E- R- S not Fakirs” and off they went to bed.

I n the morning Herbert kissed his mother and his father and went off to work at the timber mill in the normal way.
Later on that day after the terrible storm, there was another knock at the White’s front door, Rat- tat – tat. With Herbert at work this time Mr White said, “I’ll go,” and off he went to answer the door.
At the door stood an undertaker dressed from head to foot in black, with a tall round top hat in his hands.
“I have some terrible news,” said the undertaker. “There has been an awful accident at the wood mill.”
“Aaaargh!” Shrieked Mrs White while Mr White just stood and trembled.
The undertaker fiddled with his hat and struggled to tell them, “Your poor son was killed today in an accident.” He bowed his head and went on, “The Mill says they are not to blame but to show how sorry they are, they are giving you a payment of two hundred pounds.” Nervously he handed over an envelope full of money.
Of course the Whites were sad but they were also in shock. Oh, their poor dear Herbert.
With the undertaker gone, they could only think of the monkey’s paw and what had happened to their one and only son. Their wish had been granted but now they had lost Herbert for ever.
Mrs White in her tears suddenly had a thought, “We still have the monkey’s paw - I will wish him back to life.” Grabbing at the paw she stroked it one, two, three times, and she wished her wish. “I wish that our son should come back to us.”
By now it was dark and stormy again outside. “WHOOOOO, WHOOOO,” went the wind.

W ith a start, Poor Old Mr White immediately knew that his wife had made a terrible mistake – she should have said “I wish that our son should come back to us ALIVE.”
For now he knew that every wish came a dreadful stroke of fate. And as he thought about what his wife had done there came an eerie scraping and knocking at the door. Someone was trying to get in. And somehow he knew that this was their dear dead son Herbert.
“I’ll go,” said Mrs White. And off she went to answer the door.
But before she could answer it, with a quaking heart, Mr White rushed to pick up the monkey’s paw and stroking it one, two, three times, he made one last wish. His wish was made and having undone Mrs White’s wish the noise at their front door stopped.
He hugged his wife before throwing the monkey’s paw onto the fire. They both watched as it burst into a flash of twinkles, and then with a - POOOUF - it was gone.

The end

I Float In A Small Dark Space

I float in a small dark space tethered only by the umbilicus.
I am safe here and it is warm and comfortable.
I hear the regular thump, thump, thump of the maternal heart and that feels reassuring.
Apart from the regular beat, I hear gurgles and gulps from inside and snatches of speech and music from outside.
Sharp movements and loud sounds can startle me - sometimes I feel a mild discomfort but I feel better when I suck my thumb
I see no images but I do dream and I sense a dark red glow.
Of course I cannot know it but I am practicing – using my muscles to kick my legs or stretch my arms.
I bend my arms and legs.
I curl my fingers and toes – I’ve got fingernails and toenails.
I yawn and stretch. It’s tiring being a baby.
Ok so I don’t understand any of this yet and I won’t until I’m born.

Manifesto

Manifesto

· My art is me, I am my art.
· My art needs to be made.
· My art is for myself first and then for others.
· My art is an expression of who I am, where I live, what I see, what I collect, what I focus on.
· My art comes from my mind, my hand and my soul.
· I do not apologise for my art.
· Like me, my art is both simple and complex, easy and difficult, straightforward and obscure.
· My camera is a pencil, my photographs are pages from my notepad.
· I too am a camera, I look, I select, I compose, I focus, I frame, I shoot, I take, I record, I steal tiny moments in time and keep them for myself. By photographing them (as when drawing them, or painting or printing them) these moments become mine.
· I need my art - but my art needs me - I am its mother and its father.
· My camera, my pencil, my pen, my brush and my printmaking are all extensions of me. They are my tools but they are extensions of who I am. They are also explanations of who I am and what I want to say.
· The purpose of my art is to select.
· The purpose of my art is to isolate.
· The purpose of my art is to segregate.
· The purpose of my art is to illustrate
· My art is about details and elements.
· My art is systematic – it is often rule bound – but I make the rules.
· The purpose of my art is often to show the banal, the everyday, the humdrum - and just by showing it - to draw attention to its value, its validity and its overlooked beauty.
· The purpose of my art is to take meaning and give meaning.
· The purpose of my art may or may not be to explain itself.
· The purpose of my art is to import images and to export them.
· The purpose of my art is to show and to exhibit.
· The purpose of my art is to be seen.
· The purpose of my art is to provoke.
· The purpose of my work is to invite enquiry, examination, attention, criticism and possibly praise.

Words about my Practice/ 100:50:10:1

1. Accurate
2. Analytical
3. Architectural
4. Articulate
5. Attentive
6. Banal
7. Cautious
8. Complex
9. Comprehensible
10. Concerned
11. Confined
12. Confusing
13. Considered
14. Consistent
15. Constructed
16. Contrasted
17. Cool
18. Correct
19. Crisp
20. Defined
21. Definite
22. Deliberate
23. Descriptive
24. Detailed
25. Developed
26. Discreet
27. Dispassionate
28. Doorway
29. Drawn
30. Empty
31. Enabled
32. Entrance
33. Environmental
34. Ephemeral
35. Exact
36. Exacting
37. Examined
38. Exterior
39. Facade
40. Figurative
41. Fine
42. Finished
43. Flat
44. Focused
45. Framed
46. Grisaille
47. Honed
48. Humorous
49. Iconic
50. Illustrative
51. Improving
52. Inked
53. Insightful
54. Intelligent
55. Interior
56. Internalised
57. Intractable
58. Ironic
59. Judged
60. Landscape
61. Linear
62. Local
63. Monochrome
64. Neat
65. Normal
66. Objective
67. Observed
68. Obsessive
69. Ordinary
70. Outlined
71. Painted
72. Penned
73. Perfectionist
74. Personal
75. Perspective
76. Photographic
77. Polite
78. Precise
79. Printed
80. Private
81. Prosaic
82. Reactionary
83. Realistic
84. Referential
85. Refined
86. Repetitive
87. Representational
88. Representative
89. Self-aware
90. Still
91. Stubborn
92. Tidy
93. Timeless
94. Townscape
95. Transitional
96. True
97. Truthful
98. Unemotional
99. Urban
100. Virtuous

· Accurate
· Analytical
· Architectural
· Articulate
· Banal
· Comprehensible
· Concerned
· Considered
· Defined
· Deliberate
· Descriptive
· Detailed
· Dispassionate
· Environmental
· Exacting
· Figurative
· Fine
· Flat
· Focused
· Honed
· Illustrative
· Improving
· Inked
· Insightful
· Intelligent
· Internalised
· Ironic
· Linear
· Local
· Monochrome
· Observed
· Obsessive
· Outlined
· Penned
· Perfectionist
· Personal
· Precise
· Private
· Prosaic
· Realistic
· Referential
· Representational
· Stubborn
· Tidy
· Transitional
· Truthful
· Unemotional
· Urban

1. Accurate
2. Analytical
3. Architectural
4. Descriptive
5. Detailed
6. Obsessive
7. Precise
8. Realistic
9. Representational
10. Urban

· Obsessive

After Monkey’s paw

                     After Monkey’s paw

 

 

 

 

In a far off land, there once lived a smooth pebble. By pebble standards, his complexion was very pale as he was couldn’t bear to go out into the harsh sun and play with the other young pebbles. His life was very quiet and his internal solitude was exacerbated by his current existential cul de sac and his physical isolation which actually, was a consequence of illness rather than choice but luckily, he liked his own company so this isolation, for the most part, was a pleasure.

Sometimes, peter, this was his name, would sit at the mouth of his dark cave, bathed in a kind of cliched melancholia as he watched the other pebbles playing their carefree games in the sun. Peter wasn’t very close to his immediate family, and although they loved him dearly, they thought him a little odd. His mother had raised him alone so many of his unconscious gestures and characteristics were quite effeminate but this didn’t seem to concern him now that he was through his teenage years. He had assorted idiosyncrasies that were really quite comical to the viewer but to peter the pebble, sometimes, these broke his little stone heart. One of these characteristics was a nervous tick we like to dub tourettes and this would cause the little pebble the most embarrassing scenarios. Another of these traits was that he had an immensely profound empathy for other pebbles, rock, and stones, in fact, any type of stratified form. Peter was therefore particularly susceptible to the pain and sadness of others,regardless of race,sex, or personal differences.

Peter spent most of his days alone studying the steady stream of stone life and other absurd creatures that passed through his garden on their way to bask in the sun. He was frightened by some of these monsters but at the same time, he found them quite interesting and alluring. The pebble lived in one of the fabulous and bustling of pebble cities but the reality was that he found this city repugnant and he viewed it accordingly, with the jaded spectacles of one who sees the true nature of city life. It was rare in this city to find a rock that could exist and with a pebble without any cultural or religious implications and this caused the little pebble much sadness. Out of all creatures he expected more from his kind but as ever, he remained disappointed. The pebble thought, perhaps naively, it was as simple as allowing unconditional love for his fellow creatures but somehow, in reality, this seemed to be unattainable. Slate would not mix with granite, diamonds thought they were better than coal and after all, they were, at heart, exactly the same thing. He knew that his counterparts needed to feel this illusion of difference to one another. To create a semblance of individuality but he felt that the root of this behaviour was anachronistic and an unnecessary defence mechanism, after all, there were other ways to keep an individual identity that didn’t have such a negative impact on his society as a whole. On a more superficial level, feeling superior to one another was another governing but dividing factor of this behaviour and he despised this illusory fact with a passion. His patience was at an end with all of this nonsense. He was a simple and sensitive creature, and more than anything else in his world, he wanted his fellow creatures to love each other and make happy little cave paintings in the huge rock cathedrals.

One day, which was the same as most other days, he sat in his cave making his little wall drawings when there was a knock at the cave door. He wasn’t expecting anyone and was feeling quite fragile so anxiety overtook him but he decided to answer anyway. On answering the door, his tick kicked in. “Cock” he blurted out. It seemed to be aggravated by stress and an over developed analytical thought process so each time he was in a new environment, or he was thinking too hard about any one thing, he would blurt out the ‘funniest’ of obscenities. This depended on one’s vantage point, as mostly, the delicate little pebble was mortified when these foul words streamed forth from his mouth. At the door was a large rock eyeing him strangely. The pebble assumed the rock would be selling something, as that is what most rocks tended to do. Like most other creatures made from natural stratification he cold sometimes be cavalier with his assumptions “Good morning, sir” said the rock. Somehow, the voice of the rock was familiar and comforting to peter but he could not place it. Peter was instantly intrigued by the familiarity the voice engendered in him and bade him enter. I have been given a task by the rock god to wander the earth until I can find a soul pure enough to pass on my burden. The pebble’s curiosity grew as the rock’s story unfolded but peter was thinking he was very strange and a little bit forward telling him all of this but he told the rock to continue with his tale.

Peter could not possibly know that the rock was lying. It was the devil that had cursed him to wander the earth with his burden but the naïve pebble had no inkling of this.

Sir, said the rock, “I have a chance for you to possess anything your heart desires. All you have to do is pay me a modicum of cash and answer me one question and this talisman, which can grant your hearts desires can be yours. My father gave it to me and it was given to him by his father and his father before him .I have no children so I am free to pass it on to a stranger and I have chosen you. I watched you at the mouth of your cave, bathed in what appeared to be self pity and felt you were deserving of such a gift.” Peter the pebble was elated. “So ask me the question,” said the peter impatiently. “What do you think is more likely to happen?” said the rock, “a rich man entering into the kingdom of heaven or a camel passing through the eye of a needle?”

The little pebble thought about this for a moment and then said, “I guess that would depend if we were talking literally or metaphorically but taking it as a metaphor and from a personal point of view, I would have to say it would be easier to pass the camel through the eye of the needle”. The rock appeared to be content with this answer and said, “Give me all the money in your little pocket, and this wondrous talisman shall be yours”. Peter emptied his pocket and handed over the princely sum of seven rupees.

The rock handed over the talisman and left without saying another word. Peter immediately rushed inside to begin abusing his new panacea for mortality’s negatives. His mind was racing and he was confusing himself with the ensuing torrents of internal dialogue and suggestions for improving the world and by default his life. What should he begin with first? He wondered if he could make the unrealistic and cliched wish for an end to poverty and world peace like a contestant in a beauty pageant. Perhaps, he thought, he could wish for the best sandwich in the world or for wealth and success or simply for an end to his fucking indecision and internal dialogue and of course an end to his tourettes.

More than anything else, he wanted an end to the existential quandary of loneliness that devoured him daily so he decided his first wish would be to fall in love. As soon as he voiced this wish, he had a sense that he had possibly made some dire oversight but this soon passed and he waited in earnest for his new love to appear. He went back inside his cave to rinse the day’s dirt from his face. As he leaned over his pool to wash, an intense feeling overwhelmed him. He saw the most beautiful pebble creature staring back at him. Peter had never been in love so he had no idea that this was the emotion he was now feeling. He had fallen in love with his own reflection. He decided he would accept this fact or it would cost him another wish and if truth were told, he was already a little narcissistic and this would simplify the whole relationship dilemma. Peter wanted to experience a connection with his fellow stones but he found this almost impossible. He was intolerant of what he saw as immoral or unnecessary behaviour from the other stone creatures and this made it very hard for him to accept others. He wanted to be able to embrace fashion on every level. From the way others made their drawings to the way they thought about what they made and how they behaved and yet his inability to conform kept him on the outside on every level. He often felt as if he existed within Dantesque circles. If he was honest, he quite liked some facets of being an outsider but it could get quite lonely.

He decided for his next wish he wanted arms long enough to embrace every culture, philosophy, and belief system. Suddenly, as when he gazed at is reflection, he was overcome by another foreign emotion, He succumbed to the feeling he had lost his identity and although this was only an illusion it felt incredibly real. Peter watched his arms in awe as they began to grow. They grew till there was very little room in the little cave and then headed straight out the entrance and kept on growing.

Immediately, he felt lost and really quite silly with such ridiculously long arms. There was only one wish left and the very thing that plagued his life the most overcame the little pebble. He realised his internal dialogue and his indecision were the only things he wished to change about his life and that in reality, although he was often debilitated by poverty and despair, he actually loved his life, and who he was. The obvious solution was to use his final wish to make everything as it was before the talisman was used so this is what peter the pebble did.

 

 

 

 

                      After Monkey’s paw

 

 

 

 

In a far off land, there once lived a smooth pebble. By pebble standards, his complexion was very pale as he was couldn’t bear to go out into the harsh sun and play with the other young pebbles. His life was very quiet and his internal solitude was exacerbated by his current existential cul de sac and his physical isolation which actually, was a consequence of illness rather than choice but luckily, he liked his own company so this isolation, for the most part, was a pleasure.

Sometimes, peter, this was his name, would sit at the mouth of his dark cave, bathed in a kind of cliched melancholia as he watched the other pebbles playing their carefree games in the sun. Peter wasn’t very close to his immediate family, and although they loved him dearly, they thought him a little odd. His mother had raised him alone so many of his unconscious gestures and characteristics were quite effeminate but this didn’t seem to concern him now that he was through his teenage years. He had assorted idiosyncrasies that were really quite comical to the viewer but to peter the pebble, sometimes, these broke his little stone heart. One of these characteristics was a nervous tick we like to dub tourettes and this would cause the little pebble the most embarrassing scenarios. Another of these traits was that he had an immensely profound empathy for other pebbles, rock, and stones, in fact, any type of stratified form. Peter was therefore particularly susceptible to the pain and sadness of others-regardless of race or sex, or personal differences.

Peter spent most of his days alone studying the steady stream of stone life and other absurd creatures that passed through his garden on their way to bask in the sun. He was frightened by some of these monsters but at the same time, he found them quite interesting and alluring. The pebble lived in one of the fabulous and bustling of pebble cities but the reality was that he found this city repugnant and he viewed it accordingly, with the jaded spectacles of one who sees the true nature of city life. It was rare in this city to find a rock that could exist and with a pebble without any cultural or religious implications and this caused the little pebble much sadness. Out of all creatures he expected more from his kind but as ever, he remained disappointed. The pebble thought, perhaps naively, it was as simple as allowing unconditional love for his fellow creatures but somehow, in reality, this seemed to be unattainable. Slate would not mix with granite, diamonds thought they were better than coal and after all, they were, at heart, exactly the same thing. He knew that his counterparts needed to feel this illusion of difference to one another. To create a semblance of individuality but he felt that the root of this behaviour was anachronistic and an unnecessary defence mechanism, after all, there were other ways to keep an individual identity that didn’t have such a negative impact on his society as a whole. On a more superficial level, feeling superior to one another was another governing but dividing factor of this behaviour and he despised this illusory fact with a passion. His patience was at an end with all of this nonsense. He was a simple and sensitive creature, and more than anything else in his world, he wanted his fellow creatures to love each other and make happy little cave paintings in the huge rock cathedrals.

One day, which was the same as most other days, he sat in his cave making his little wall drawings when there was a knock at the cave door. He wasn’t expecting anyone and was feeling quite fragile so anxiety overtook him but he decided to answer anyway. On answering the door, his tick kicked in. “Cock” he blurted out. It seemed to be aggravated by stress and an over developed analytical thought process so each time he was in a new environment, or he was thinking too hard about any one thing, he would blurt out the ‘funniest’ of obscenities. This depended on one’s vantage point, as mostly, the delicate little pebble was mortified when these foul words streamed forth from his mouth. At the door was a large rock eyeing him strangely. The pebble assumed the rock would be selling something, as that is what most rocks tended to do. Like most other creatures made from natural stratification he cold sometimes be cavalier with his assumptions “Good morning, sir” said the rock. Somehow, the voice of the rock was familiar and comforting to peter but he could not place it. Peter was instantly intrigued by the familiarity the voice engendered in him and bade him enter. I have been given a task by the rock god to wander the earth until I can find a soul pure enough to pass on my burden. The pebble’s curiosity grew as the rock’s story unfolded but peter was thinking he was very strange and a little bit forward telling him all of this but he told the rock to continue with his tale.

Peter could not possibly know that the rock was lying. It was the devil that had cursed him to wander the earth with his burden but the naïve pebble had no inkling of this.

Sir, said the rock, “I have a chance for you to possess anything your heart desires. All you have to do is pay me a modicum of cash and answer me one question and this talisman, which can grant your hearts desires can be yours. My father gave it to me and it was given to him by his father and his father before him .I have no children so I am free to pass it on to a stranger and I have chosen you. I watched you at the mouth of your cave, bathed in what appeared to be self pity and felt you were deserving of such a gift.” Peter the pebble was elated. “So ask me the question,” said the peter impatiently. “What do you think is more likely to happen?” said the rock, “a rich man entering into the kingdom of heaven or a camel passing through the eye of a needle?”

The little pebble thought about this for a moment and then said, “I guess that would depend if we were talking literally or metaphorically but taking it as a metaphor and from a personal point of view, I would have to say it would be easier to pass the camel through the eye of the needle”. The rock appeared to be content with this answer and said, “Give me all the money in your little pocket, and this wondrous talisman shall be yours”. Peter emptied his pocket and handed over the princely sum of seven rupees.

The rock handed over the talisman and left without saying another word. Peter immediately rushed inside to begin abusing his new panacea for mortality’s negatives. His mind was racing and he was confusing himself with the ensuing torrents of internal dialogue and suggestions for improving the world and by default his life. What should he begin with first? He wondered if he could make the unrealistic and cliched wish for an end to poverty and world peace like a contestant in a beauty pageant. Perhaps, he thought, he could wish for the best sandwich in the world or for wealth and success or simply for an end to his fucking indecision and internal dialogue and of course an end to his tourettes.

More than anything else, he wanted an end to the existential quandary of loneliness that devoured him daily so he decided his first wish would be to fall in love. As soon as he voiced this wish, he had a sense that he had possibly made some dire oversight but this soon passed and he waited in earnest for his new love to appear. He went back inside his cave to rinse the day’s dirt from his face. As he leaned over his pool to wash, an intense feeling overwhelmed him. He saw the most beautiful pebble creature staring back at him. Peter had never been in love so he had no idea that this was the emotion he was now feeling. He had fallen in love with his own reflection. He decided he would accept this fact or it would cost him another wish and if truth were told, he was already a little narcissistic and this would simplify the whole relationship dilemma. Peter wanted to experience a connection with his fellow stones but he found this almost impossible. He was intolerant of what he saw as immoral or unnecessary behaviour from the other stone creatures and this made it very hard for him to accept others. He wanted to be able to embrace fashion on every level. From the way others made their drawings to the way they thought about what they made and how they behaved and yet his inability to conform kept him on the outside on every level. He often felt as if he existed within Dantesque circles. If he was honest, he quite liked some facets of being an outsider but it could get quite lonely.

He decided for his next wish he wanted arms long enough to embrace every culture, philosophy, and belief system. Suddenly, as when he gazed at is reflection, he was overcome by another foreign emotion, He succumbed to the feeling he had lost his identity and although this was only an illusion it felt incredibly real. Peter watched his arms in awe as they began to grow. They grew till there was very little room in the little cave and then headed straight out the entrance and kept on growing.

Immediately, he felt lost and really quite silly with such ridiculously long arms. There was only one wish left and the very thing that plagued his life the most overcame the little pebble. He realised his internal dialogue and his indecision were the only things he wished to change about his life and that in reality, although he was often debilitated by poverty and despair, he actually loved his life, and who he was. The obvious solution was to use his final wish to make everything as it was before the talisman was used so this is what peter the pebble did.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Louise Bourgeois- Exhibition

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