Pub Date : 2022-01-02DOI: 10.1080/02666286.2021.1941681
L. Vuong
Abstract Through a focus on ‘Moi, Eugénie Grandet’, one of the last exhibitions Louise Bourgeois worked on before her death in 2010, this article explores the artist’s writings, both public and private, and her interactions with writers, to assess the potentially literary nature of her written and visual works. Arguing that Bourgeois’s dialogues with Honoré de Balzac’s novel Eugénie Grandet is a contemporary and feminist response to a longstanding tradition of pictorial appropriations of Balzac’s work—from Paul Cézanne’s ‘Frenhofer, c’est moi!’ to Pablo Picasso’s illustrations for the centenary edition of Balzac’s The Unknown Masterpiece—this article brings to light a literary intertext to Bourgeois’s visual works and contends that it is a crucial aspect of her œuvre. Reckoning with a growing critical interest in the artist’s archives and a rising number of edited volumes devoted to her writings, this article considers existing claims that identify Bourgeois as a writer and a poet. Aligning with Roland Barthes’s definition of the literary text as a ‘new cloth woven with old quotations’ and the figure of active reader developed in Barthes’s own dialogues with Balzac, this article contends that Bourgeois’s literariness is found in simultaneous writing, reading and visual practices and in the ambivalence—between dependency and resistance—towards the words they rely on. Ultimately, this exploration of Bourgeois’s words participates in a wider debate on the status of artists’ writings, first articulated in Linda Goddard’s 2012 special issue of this journal, where they are defined through their ‘heightened awareness of the inescapable tensions and crossovers between practice and discourse’ and the way they ‘bear the trace of this consciousness’.
路易丝·布尔乔亚(Louise Bourgeois)于2010年去世前的最后一次展览“我，尤格·格朗代”(Moi, eug nie Grandet)是本文的重点之一，本文探讨了这位艺术家的公开和私人作品，以及她与作家的互动，以评估她的书面和视觉作品的潜在文学性质。他们认为布尔乔亚与巴尔扎克的小说《尤格·格朗代》的对话是对巴尔扎克作品长期以来的绘画盗用传统的当代和女权主义回应——从保罗·格朗代的《Frenhofer, c ' est moi!到巴勃罗·毕加索为巴尔扎克的《未知的杰作》百周年版绘制的插图——这篇文章揭示了布尔乔亚视觉作品的文学互文，并认为这是她œuvre的一个重要方面。考虑到人们对这位艺术家的档案越来越感兴趣，以及越来越多的关于她作品的编辑卷，本文考虑了现有的关于布尔乔亚作家和诗人身份的说法。根据罗兰·巴特(Roland Barthes)对文学文本的定义，即“用旧语录编织的新布”，以及巴特与巴尔扎克对话中发展起来的积极读者形象，本文认为布尔乔亚的文学性存在于同时进行的写作、阅读和视觉实践中，存在于对他们所依赖的文字的依赖和抵抗之间的矛盾心理中。最终，对布尔乔亚话语的探索参与了关于艺术家作品地位的更广泛的辩论，这在琳达·戈达德(Linda Goddard) 2012年的本刊特刊中首次提出，他们通过“对实践与话语之间不可避免的紧张和交叉的高度意识”以及他们“承担这种意识的痕迹”的方式来定义。
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Pub Date : 2022-01-02DOI: 10.1080/02666286.2021.1941669
A. Evrard
Résumé L’ouverture des archives privées de Louise Bourgeois aux chercheurs a joué un grand rôle dans la découverte de l’influence de la psychanalyse sur son œuvre. Mais ses archives offrent des possibilités de découvertes en dehors du champ psychanalytique. En effet, dans les nombreux entretiens qu’elle accorde à partir des années 1980, Bourgeois racontera beaucoup d’anecdotes sur son enfance et sa vie en France. Ces déclarations sont devenues la source principale d’analyses et d’interprétations de ses œuvres. Mais, dans ses discours publics, Bourgeois est moins prolixe en ce qui concerne sa vie après son arrivée aux États-Unis en 1938 jusqu’à sa mort en mai 2010. En particulier lorsqu’on l’interroge sur ses œuvres sexuellement explicites ou sur ses liens avec le féminisme, elle devient très réticente. Une lecture approfondie de son journal intime, en particulier les carnets des années 1970, permet de combler ces lacunes. Dans son journal, Bourgeois inscrit méticuleusement son quotidien, ce qui nous permet de retracer ses activités à cette époque On y découvre notamment ses liens avec trois organisations féministes, Women in the Arts, Women’s Interart Center et Fight Censorship Group, liens qui n’avaient jusqu’ici jamais été documentés. Elle y évoque également ses œuvres, parfois accompagnées de croquis, d’adjectifs ou noms différents de ceux qu'on connaissait ne laissant aucun doute quant à la portée sexuelle et érotique de certaines pièces. Plus que remplir des blancs, les écrits de Bourgeois nous renseignent donc sur ces liens avec le mouvement féministe, mais également sur la manière dont l’artiste perçoit elle-même ses œuvres.
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Pub Date : 2022-01-02DOI: 10.1080/02666286.2021.1941678
Natasha Silver
Abstract Critics have become increasingly cognisant of the limitations of interpreting Louise Bourgeois’s artworks through the lens of autobiographical and psychoanalytic narratives, preferring a focus on their form. However, it would be a mistake to dismiss the function of these narratives in her œuvre altogether, for a study of the archival material reveals a different use of narrativity that is explicitly parodic. Demonstrating how Bourgeois’s diverse writings reframe confession as an aesthetic genre, this essay draws attention to the literary and cultural influences that shape her construction of girlhood trauma. The mechanism of parody is illustrated by Bourgeois’s photo essay ‘Child Abuse: A Project by Louise Bourgeois’ (1982), in which the artist identifies with the confusing world of childhood in the face of adult sexuality, whilst also deftly staging this identification and thus politicizing the narratives in play. Applying this focus on parody to a study of the archive writings brings their striking intertextuality to the fore. Notable references include Honoré de Balzac’s Eugénie Grandet (1833) and Françoise Sagan’s Bonjour Tristesse (1954), novels that each centre on the subject position of a daughter with whom Bourgeois self-reflexively identifies. By parodying these canonical stories of French literature, Bourgeois both inhabits the identity of victim and stands outside of it: ‘Little orphan Annie’, she mockingly describes herself. Bourgeois’s writings thereby indicate how the parodic mode may help to establish distance from a traumatic past by giving form to undetermined affect. Equally, the emerging archive attests to the centrality of writing in Bourgeois’s creative process, as a means of developing ideas that would become prime material for her art.
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Pub Date : 2022-01-02DOI: 10.1080/02666286.2021.1941666
Marie-Laure Bernadac
Résumé Cet essai offre une vue d’ensemble des archives de Louise Bourgeois et développe une typologie des différents documents qui s’y trouvent. Des journaux intimes, que l’artiste Louise Bourgeois commence à utiliser à l’âge de onze ans et qu’elle continue à écrire durant toute sa vie, aux écrits psychanalytiques des années 1952–1966 découverts au début des années 2000, aux papiers administratifs, photographies, documents sonores et (audio)visuels: la majeure partie des archives est ici listée, classée, décrite et commentée. Ce regard exhaustif est porté sur une ressource désormais incontournable pour les chercheurs et curateurs qui se penchent sur l’œuvre de Louise Bourgeois, mais aussi sur les mouvements artistiques et périodes historiques dont ses travaux et ses écrits sont à la fois témoins et acteurs. Cet essai propose également une réflexion personnelle sur la portée des écrits intimes sur l’œuvre de l’artiste, les enjeux à la fois biographiques et symboliques de l’attachement de Louise Bourgeois à l’écriture, et à la manie conservatrice qui l’accompagne. Deux axes se croisent ainsi dans cet essai: une première approche méthodique, qui propose pour la première fois d’indexer les archives de Louise Bourgeois et fait de cet essai une ressource documentaire et didactique. Un second axe amorce une réflexion nouvelle sur l’œuvre de Louise Bourgeois, définissant les archives comme à la fois un lieu de documentation, de création et de conservation: les archives comme mémoire, atelier et musée.
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Pub Date : 2022-01-02DOI: 10.1080/02666286.2021.1941655
L. Vuong, J. Bates
Abstract This special issue on French-American artist Louise Bourgeois (1911–2010) brings together essays by curators and scholars who have spent time in her Archive, located next to the artist’s home in New York. This article presents the special issue and how it regroups contributions by authors who share the same object of study but who are rarely brought into dialogue with each other. They range from museum and gallery professionals to academics in art history and literary studies, who have written their contributions in French or in English. An interdisciplinary and bilingual space for established and new critical voices on Louise Bourgeois, this special issue is a scholarly état présent of the research undertaken at the Louise Bourgeois Archive. It brings to light interactions between word and image, literature and visual art in her work, and the importance of writing and words for Louise Bourgeois. This article also reflects on some of the risks faced by researchers in the Archive. It defines some of the tactics that such archival research requires, notably how distance, in order to assert an objective reading, can complement rather than cancel the seductive and feverish intimacy of archives and the interpretative gains they contain.
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Pub Date : 2022-01-02DOI: 10.1080/02666286.2021.1941665
L. Vuong, J. Bates
Abstract The Louise Bourgeois Archive (LBA) was established by The Easton Foundation, a charitable and non-profit organization put in place more than thirty years ago by the artist Louise Bourgeois. Since her death in 2010, the Foundation exists as two spaces that are simultaneously distinct and interlinked: one is the former artist’s home and studio and the other, housed in the building next door to Louise Bourgeois’s townhouse, is the LBA. A research centre aimed at academic and art-world scholars, it is directed by Maggie Wright, who is also leading ongoing efforts to catalogue Louise Bourgeois’s vast collection of personal documents, a monumental enterprise in both scale and ambition. Academic and curatorial research into a late artist’s work requires dialogue and collaboration with the artist’s estate. The way scholars and curators interact with an institution set up to protect and promote the work of an artist is central to guaranteeing independent research work. Yet, the nature of these relationships is rarely commented upon, and the role played by artists’ estates often remains out of sight. Wright has agreed to be interviewed as part of this issue devoted to Louise Bourgeois’s archival writings and documents. The interview was carried out by email exchanges between January and April 2019. Wright’s description of the LBA details this emerging archival corpus ripe for scholarly exploration. The interview also provides a clear and extensive overview of the predetermined functions and roles of the LBA, giving an insider’s view into the workings of an artist’s archives and some of the ambitions and challenges that have determined the focus of this particular archive.
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Pub Date : 2022-01-02DOI: 10.1080/02666286.2021.1941671
Ulf Küster
Abstract This essay focuses on a current project: to publish a selection of letters between the artist Louise Bourgeois and her husband, art historian Robert Goldwater. A detailed account is provided of an archival object of study, describing a corpus of letters in quantitative and material terms, as well as reporting on the various personal circumstances and historical events to which they refer. The essay also examines specific passages from letters by Bourgeois addressed to her husband, and from letters by Goldwater to Bourgeois. These letters, for the most part hitherto unpublished, offer an unprecedented glimpse into the inner workings of a marriage, which Louise Bourgeois, despite the self-constructed autobiographical nature of her work, kept mostly aside and private. Arguing that a publication of the Bourgeois–Goldwater correspondence enriches the scholarship on Louise Bourgeois and provides new research leads, this essay also instigates a subjective approach to the edition of Bourgeois’s and Goldwater’s letters as a work in progress, reflecting on the technical and ethical challenges it creates. The essay poses a wider interrogation of the possibilities and difficulties of archival research and the recasting of archival documents into published pieces of writing
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Pub Date : 2021-10-02DOI: 10.1080/02666286.2021.1892450
Sunny S. Yudkoff
Abstract This article explores the evolving manifestations of Yiddish in the work of contemporary artist Mel Bochner. A founding figure of American conceptual art, Bochner has continuously re-examined the unstable nature of language. Yet, as the following paper will argue, Bochner’s postvernacular invocation of Yiddish calls into crisis this central contention of his work. Beginning with an analysis of selected works from his post-2000 Thesaurus Paintings, I suggest that Yiddish first served Bochner as a tool to confirm the instability of language by highlighting the futility of the idea of the synonym. I then turn to the multi-site work The Joys of Yiddish, which was mounted in Chicago (2006) and Munich (2013), to demonstrate the shift that occurs in Bochner’s subsequent Yiddish-themed art. Analyzing The Joys of Yiddish, I show that Bochner deploys a vision of Yiddish that is based on a set of received assumptions and stereotypes promulgated in twentieth-century American popular culture. As will become clear, Bochner’s conception of Yiddish produces a surfeit of questions not about the language’s complexity or instability but about its superficiality and anticipated signification. Extending Bochner’s painterly assertion that “language is not transparent,” this article asks: What about Yiddish?
摘要本文探讨了意第绪语在当代艺术家梅尔·博奇纳作品中的演变表现。作为美国观念艺术的奠基人，博奇纳不断重新审视语言的不稳定性。然而，正如下面这篇文章将论证的那样，博奇纳对意第绪语的后方言调用，使他的作品的核心论点陷入了危机。通过对他2000年以后的《同义词典》绘画作品的分析，我认为意第绪语首先是作为一种工具，通过强调同义词概念的无用性来确认语言的不稳定性。然后，我转向在芝加哥(2006年)和慕尼黑(2013年)展出的多地点作品《意第绪语的乐趣》(the Joys of Yiddish)，以展示博奇纳随后的意第绪语主题艺术的转变。在分析《意第绪语的乐趣》时，我展示了博什纳对意第绪语的看法，这种看法是基于20世纪美国流行文化中传播的一系列公认的假设和刻板印象。Bochner对意第绪语的概念产生了过多的问题，不是关于语言的复杂性或不稳定性，而是关于它的肤浅和预期的意义。这篇文章延伸了博奇纳的绘画断言“语言是不透明的”，提出了这样的问题:意第绪语呢?
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Pub Date : 2021-10-02DOI: 10.1080/02666286.2021.1922854
Shirly Ben-Dor Evian
Abstract This article presents a cross-cultural, diachronic, and comparative analysis of the representational aspects of picture-writing through the use of hieroglyphs in ancient Egypt and their revival in early Renaissance Europe. The two phenomena will be discussed with a focus on the functionality of the sign within the non-textual sphere, highlighting such similarities as the glottographic nature of the word-signs and the subsequent unified visuality of text and image. It is suggested that the similarities are the by-product of picture-writing: when words are expressed with pictograms rather than with letters, the following step is to benefit from their dual function, as both text and image. The current use of pictograms in digital media—namely the emoji—is a process that already exhibits similar traits.
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Pub Date : 2021-10-02DOI: 10.1080/02666286.2021.1897771
Erika Mihálycsa
Abstract The essay attempts to draw a parallel between the ascetic, negative late modernist aesthetics of Samuel Beckett and Alberto Burri, tracing their post-humanist poetics and artistic practices of impoverishment, achievementlessness and their responses given to the crisis of humanist European culture and of a modernist ethos of mastery in the wake of WW2. It attempts to show how Burri’s works in the late 1940s–1950s converge with the articulation of Beckett’s visual aesthetics in his coeval essays on art, and how the artistic procedures of both move from prewar modernist models toward an embodied aesthetic of finitude, toward an ethical rupturing, scarring of frameworks and structures of mastery, by privileging a material imagination of indigence that is grounded in detritus, and finally, by creating forms of an art of melancholia that stage the ongoing disaster of contemporary history.
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