‘Louise Bourgeois: An Unfolding Portrait’
“On first impression,” writes David Salle about MoMA’s new Louise Bourgeois retrospective, “the books and other works on paper seen against the museum’s dove-gray or Venetian red walls are absorbing; they pull you in. But to call it a print show would be a little misleading. Bourgeois was forever altering her work, making additions and adjustments to printing proofs as they occurred to her in the moment, and the majority of the prints in the exhibition exist in several different states, or stages of development. They are often added to, painted, or drawn on—sometimes just a dot of color, other times reimagined completely. What we are really looking at are paintings on paper, which take as their starting point a printed image as a first layer.”
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