An eight-legged sentinel now greets visitors on their way into the Hirshhorn Museum. Standing at nearly 25 feet tall, Louise Bourgeois’ large bronze and steel sculpture “Crouching Spider” inspires an eerie fascination in passersby. There is no need to be afraid, since the artist describes her spiders as iconic “guardians,” a “defense against evil.” Since its installation earlier this week, the work of art has become an instant attraction to visitors eager to be photographed with the Jurassic-sized arachnid.
“I don’t dream,” Louise Bourgeois once claimed. And although her images, ideas, and objects feel half-submerged in the unconscious, the artist describes her working method as more akin to operating “under a spell” than derived from any somnolent source. The Tate’s retrospective (the first in the UK since 1995), curated by Marie-Laure Bernadac, Frances Morris, and Jonas Storsve, brings together more than two hundred drawings, sculptures, installations, and fabric pieces from Bourgeois’s seven-decade-long career. The accompanying catalogue features the artist’s own multifaceted written work, as well as essays by Rosalind Krauss, Julia Kristeva, Linda Nochlin, and others. All you Bourgeois fans, pinch yourselves: This is no dream.
Through January 20 2008, via: Artforum
Louise Bourgeois’ famous sculpture of a giant spider, Maman 1999, will crawl out onto the north landscape outside Tate Modern on Wednesday, 3 October. The arrival of Maman, which stands more than nine metres high, heralds one of the few exhibitions ever mounted to span seven decades of work by a single artist.
Louise Bourgeois, featuring over 200 works, will open at Tate Modern on 10 October 2007 and will run until 20 January 2008.