These works have been related back to the surrealist movement that began in the 1920s with artists such as René Magritte, where he juxtaposed two seemingly incongruous objects or situations in order to make a point. Maybe they are, she certainly knew Marcel Duchamp and André Breton, the leaders of the movement, very well. But I'm not so sure. I think her work is much more closely aligned to the Mexican artist Frida Kahlo, another woman who found out early what a letdown men can be. Both Bourgeois and Kahlo created warts-and-all autobiographical art, something that had never been done by women before. They exposed themselves to expose the truth, a daunting and dangerous thing to do, which requires immense courage. An approach to making art that can be seen most obviously today in the work of Tracey Emin, another person whose art, I suspect, will prove to be just as important in years to come.
Bourgeois’ Femme Maison paintings scream that women are put upon, jailed, abused and patronised. Up until seeing them I had thought I was a decent, caring husband – now I know I’m just like the rest, a chauvinistic bore. I rang my wife and mumbled some inadequate apology. She was a little taken aback, but not half as taken aback as I had been. Bourgeois made a note in her diary in 1980 that read: “The only access we have to our volcanic unconscious and to the profound motives for our actions and reactions is through shocks of our encounters with specific people.” I should coco, Louise. Game, set and match to you.
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