About the Work
This work is an excellent example of Bourgeois’s printing practice at the end of her life. In her series “Anatomy,” Bourgeois isolated features of the human body and examined them at close range. The eyes in our print, which come in different shapes and sizes, warily watch the viewer, observing the world with the same caution and precision as their creator.
Printmaking was an important part of Bourgeois’ practice beginning in the 1940s, when she worked at William Stanley Hayter's intaglio workshop, Atelier 1. From 1994-95, the Museum of Modern Art in New York mounted an exhibition entitled The Prints of Louise Bourgeois, for which they published a comprehensive catalog. This work was made soon after the show closed.
About the Artist
Louise Bourgeois was a French-born painter, sculptor, and printmaker who first exhibited her work at the Brooklyn Museum Print Exhibition in 1939. Although Bourgeois was very close to the Abstract Expressionists, with whom she frequently socialized and worked, her work was never abstract. Instead, her strange forms, which depict things such as spiders, architectural forms such as houses and cages, and the human body, explored themes of loneliness, conflict, frustration, vulnerability, sexual desire, and love.
Originally creating sculptures out of wood, marble, and bronze, Bourgeois began using non-traditional media such as latex and plaster in the 1960s, in some cases lifting the works off the ground to hang from the ceiling. By the 1970s, it became clear that her work, often sexually explicit and emotionally daring, had pioneered a new movement of postmodern and feminist art. By the end of the 20th century, she was known as one of the most important female artists of her generation.
On the occasion of her death, in 2010, The New York Times summed up her œuvre by saying that it "shared a set of repeated themes, centered on the human body and its need for nurture and protection in a frightening world."
Bourgeois’s work has been exhibited at almost every major museum in the world, as well as a number of well-known galleries including Cheim & Read in New York, Galerie Lelong in Paris, and Hauser & Wirth in London. In 1993, she represented the United States at the Venice Biennale. She was the subject of numerous retrospectives; the last comprehensive survey of her work, Louise Bourgeois: Retrospective, premiered in 2007 at the Tate Modern, and subsequently traveled to the Centre Georges Pompidou, Paris, France (2008); the Guggenheim Museum, New York (2008); Museum of Contemporary Art, Los Angeles (2008-2009); and the Hirshhorn Museum & Sculpture Garden, Washington, D.C. (2009). She is one of the most prominent female artists to live and work in the 20th and 21st centuries, and her work continues to be shown around the world.
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