Riot Material

Art. Word. Thought.

  • Home
  • Riot Material Magazine
    • About Riot Material
    • Entering The Mind
    • Contact
    • Masthead
    • Categories >
      • Art
      • Artist
      • Books
      • Cinema Disordinaire
      • Film
      • Interview
      • Jazz
      • Riot Sounds
      • Thought
      • More   >
        • Architecture
        • Image
        • Records
        • The Line
        • The New Word
        • That Evening Sun
        • The Natural World
        • Video
  • Art
    • Art Reviews
  • Books
    • Book Reviews
  • Film
    • Film Reviews
  • Records
    • Jazz Reviews
    • All Reviews
  • Riot Sounds
  • Cinema Disordinaire
    • Riot Cinema

Louise Bourgeois: The Red Sky

February 25, 2018 By Emily Nimptsch Leave a Comment

at Hauser & Wirth, Los Angeles (Through May 20, 2018) 
Reviewed by Emily Nimptsch 

“My childhood has never lost its magic, it has never lost its mystery, and it has never lost its drama.” ㅡLouise Bourgeois, 1998

Produced in the last three years of her life, the effervescent bubble and flower doodles, rudimentary abstract patterns, and scrawled, Cy Twombly-like swirls currently lining the walls of Hauser & Wirth, Los Angeles, in Louise Bourgeois: Red Sky may seem like this renowned French-American painter, sculptor, and printmaker’s innocent, joy-filled ruminations on childhood, however, a closer look reveals a world of anguish and anxiety.

Louise Bourgeois, The Red Sky (detail). 2009. Watercolor, ink, gouache, pencil, colored pencil and etching on paper, 11 panels. © The Easton Foundation/VAGA, NY. Courtesy Hauser & Wirth Photo: Ben Shiff.

These quietly heartbreaking images are likely alluding to her troubled upbringing. Bourgeois was devastated by her overbearing father’s decade-long affair with her English tutor. She famously used art-making as a form of catharsis in dealing with her animosity and insecurity surrounding this distressing chapter in her life.

The viewer can clearly see her childhood bitterness and grief in her choice to use of elementary school media, including watercolors, penmanship practice paper, and colored pencils. This selection is especially ominous and hair-raising considering it is paired with splotchy, blurred, oozing, and scraped brushstrokes, all in crimson red. As if written in blood, these eleven gut-wrenching panels speak of a childhood marred by a catastrophic loss of innocence.

The color red is ubiquitous in the opening room of this exhibition. It immediately puts the viewer on-edge as they begin to contemplate the artist’s complex emotional connection to this hue. She believed red to be a window into the realm of pain, violence, depression, and the internal body. While many children of this age are full of curiosity and wonderment as they learn about the world around them and why the sky is a serene shade of blue, Bourgeois painting the sky red illustrates the manifestation of her inner trauma into the physical world of nature and paint. Additionally, this could also be a reference to the ancient adage, “Red sky at night, sailors’ delight. Red sky in the morning, sailors take warning.” As this blood-tinted firmament plagued her youth, the dawn of the artist’s life, we witness Bourgeois’s storm-like ferocity embedded in the paint here.

Louise Bourgeois, The Red Sky (detail). 2009. Watercolor, ink, gouache, pencil, colored pencil and etching on paper, 11 panels. © The Easton Foundation/VAGA, NY. Courtesy Hauser & Wirth. Photo: Ben Shiff.

Just as the viewer begins to catch their breath from the emotional tidal wave experienced in the spacious initial gallery space, they are lead into a second, much smaller alcove, filled with large-scale wide tapestry-like etchings complete with microscopic corporeal imagery and haiku-like messages scribbled in pencil.

Tapestries meant a great deal to the artist as her family owned a tapestry restoration workshop as well as a gallery that mainly sold this antique drapery. As a young girl, Bourgeois would wash some of these hangings in the river. They would have to be wrung out to dry. While doing so, she would imagine twisting the neck of her father’s mistress.

An atmosphere of suffocation feels palpable in this cramped space. Even the etchings themselves are somewhat crumpled, reflecting this tapestry twisting. There is nowhere to run from the fervent emotion surrounding the viewer. Despite this sense of fury, we do see the artist’s efforts to evolve and move past this pain. In a few of these panels, we see Bourgeois use white-out to try and censor her writings. Perhaps this could just be another nod to elementary school materials, but we do see her try to evolve in a multi-panel text emblazoned with the words, “I cannot help this need in the morning / This need to grow / It is stronger than hunger or thirst.” Here, the word “grow” also has bodily connotations as these statements are interlaced with childlike sketches and fingerpaint-esque renderings of chromosomes and cells, revealing her strength and vitality, even in the winter of life.

As these panels also resemble both 19th-century biological drawings and medieval illuminated manuscripts, Bourgeois taps into the power of both science and religion to illustrate her journey towards peace, clarity, and resolution. However, this path is never an easy one and the works reflect this with their gruesome, fractured, and vaguely sexual tone. This lack of resolution is realistic but unendingly poignant and frustrating.


Installation view, Louise Bourgeois. The Red Sky. Hauser & Wirth Los Angeles, 2018. © The Easton Foundation/VAGA, NY. Courtesy Hauser & Wirth. Photo: Mario de Lopez

This unsettled and uncertain conclusion to the exhibition features thematic echoes of one of Emily Dickinson’s most beloved poems, I heard a Fly buzz – when I died. Here the narrator speaks of making all the preparations necessary for her own death. She would like it to be a peaceful affair surrounded by friends and family. However, when the moment itself arrives, the narrator hears a stubborn fly buzzing about the room, utterly ruining the atmosphere. Bourgeois had to confront her own symbolic fly, this childhood pain, even at the end of her life.

With the interplay of sexuality, morality, mortality, and childhood seen in Louise Bourgeois: The Red Sky, these songs of innocence and experience, these tender yet fiery works on paper, aid the viewer in the age-old quest to find meaning and understanding in times of turmoil. Although they were constructed at the tail end of her 98 years on this planet, these vigorous and spirited etchings crackle with youthful energy and speak heart to heart across the divide.


Installation view, Louise Bourgeois. The Red Sky. Hauser & Wirth Los Angeles, 2018. © The Easton Foundation/VAGA, NY. Courtesy Hauser & Wirth. Photo: Mario de Lopez

[paypal_donation_button]

~

Emily Nimptsch is Los Angeles Art Critic for Riot Material magazine. Ms. Nimptsch is also a freelance arts and culture writer who has written for Flaunt, ArtSlant, Artillery, ArteFuse, and Time Out Los Angeles.

  • Click to share on Facebook (Opens in new window)
  • Click to share on LinkedIn (Opens in new window)
  • Click to share on Reddit (Opens in new window)
  • Click to email a link to a friend (Opens in new window)

Filed Under: Art, Artist, The Line

Leave a ReplyCancel reply

The Line

A poetic interpretation of Anselm Kiefer's Exodus, at Los Angeles Marciano Art Foundation, is at Riot Material.

On Wing With Word Through Anselm Kiefer’s Exodus

Gagosian at Marciano Art Foundation, Los Angeles (through 25 March 2023) by Rachel Reid Wilkie Los Angeles poet Rachel Reid Wilkie was given the task of walking into Anselm Kiefer’s Exodus — a literally monumental exhibition, in that each of these paintings are upwards of 30’ tall — and addressing the colossal artworks “cold,” as in […]

Detail of Henry Taylor, "Warning shots not required," 2011. At Riot Material magazine.

Henry Taylor’s B Side: Where Mind Shapes Itself to Canvas

Henry Taylor: B Side at MOCA Grand, Los Angeles (through 30 April 2023) Reviewed by Eve Wood Ages ago when there were LP records and 45s, the B side of a popular single made allowances for experimentation and could be counted on as an alternative vision to the more mainstream and compulsory hit single. B […]

Songbook of a Bygone Dead: Bob Dylan’s The Philosophy of Modern Song

Reviewed by Dan Chiasson The Philosophy of Modern Song by Bob Dylan Simon & Schuster, 352pp., $28.93 NYR Bob Dylan’s new book, The Philosophy of Modern Song, is a kind of music-appreciation course open to auditors and members of the general public. It is best savored one chapter, one song, at a time, while listening to the […]

Smoking the Bible by Chris Abani

Words To Wrap Around A Dying Brother

Smoking the Bible Reviewed by Rhony Bhopla Smoking the Bible by Chris Abani Copper Canyon Press, 96pp., $15.99 HR Chris Abani’s autobiographical book of poems, Smoking the Bible, centers on the relationship of two brothers growing up in Nigeria with an Igbo father and an English mother. The poems, which incorporate the Igbo language along […]

Grant Wallace, “Through Evolution Comes Revelation.” at Riot Material magazine.

Communication Breakdown: Grant Wallace, His Heirs & the Legacy of a Forgotten Genius

Grant Wallace: Over the Psychic Radio at Ricco/Maresca Gallery, NYC (through 3 December 2022) By Michael Bonesteel Freelance writer and editor Deborah Coffin of Albany, California, was in graduate school at the University of California, Berkeley in 1997 when she first encountered street musician Brian Wallace at a party. “I had a friend who knew Brian,” […]

The Joshua Tree Talk

A Conversation on Dzogchen C von Hassett & Rachel Reid Wilkie at Joshua Tree Retreat Center 

Louise Bourgeois: What Is The Shape of This Problem?

at University of Southern California, Fisher Museum of Art. (through 3 December 3, 2022) Reviewed by Margaret Lazzari Louise Bourgeois is widely recognized for her sculptures and installations, but Louise Bourgeois: What is The Shape of This Problem is a wonderful opportunity to immerse yourself in her perhaps-lesser-known prints, fabric work and writings. This exhibit contains over […]

Moonage Daydream Conveys More Myth Than Man

Moonage Daydream Dir. Brett Morgan Reviewed by Nicholas Goldwin As one of the greatest shapeshifters in the expansive history of rock music, it seems only fitting that the documentary with David Bowie as its subject never seems content to express the trials, tribulations and artistic triumphs of Bowie in any one fixed way. This is […]

Carnación di Rocío Molina, at Riot Material Magazine.

On Binding: Notes from Venice

Bienalle Arte and Bienalle Danza, Venice 2022 By Allyn Aglaïa Chest bound, lips sealed, I walked through Venice alone, quiet, and: thought about narratives that bind us to erotic binds

Mohammad Barrangi's Guardians of Eden (Dreamscape #8), at Riot Material magazine.

Transcendence Beyond Erasure in Mohammad Barrangi’s Dreamscape

at Advocartsy, Los Angeles (thru 5 November 2022) Reviewed by Christopher Ian Lutz Fantasy requires a symbolic vehicle to transport a character from the real world into the imaginary realm, where the laws of reality are subverted or obscured to justify an otherwise absurd event. The artist might depict the vehicle as a real object […]

Soul Crash: Our Slow, Inexorable Release Into the Metaverse

by Sue Halpern The Metaverse: And How It Will Revolutionize Everything by Matthew Ball Liveright 352pp., $18.89 NYR In October 2021, when Mark Zuckerberg announced that Facebook would now be called Meta and its business interests would be pivoting to the metaverse, there was almost universal confusion: most observers had no idea what he was […]

green tara

Pointing the Staff at the Old Man

A wisdom transmission by Samaneri Jayasāra Excerpted from —  Advice from the Lotus Born  from the chapter “Pointing the Staff at the Old Man” Translated by Eric Pema Kunsang Rangjung Yeshe Publications, 184pp., $21.95 . .

Margaret Lazzari’s "Shimmer." From the exhibition "Breathing Space."

Margaret Lazzari’s Luminous Breathing Space

at George Billis Gallery, Los Angeles (through 8 October 2022) Reviewed by Nancy Kay Turner “Things are not what they seem: nor are they otherwise.” –Buddha Margaret Lazzari’s luminous solo exhibition of paintings, entitled Breathing Space, were painted during the pandemic, and the exhibition title is indeed significant. It’s defined as a respite, a hiatus, or an […]

From Phil Tippet's Mad God, reviewed at Riot Material magazine.

Nihilism Births Its Own Interminable Hell

Mad God Dir. Phil Tippett Reviewed by Nicholas Goldwin Technically astonishing and immersive to a fault, director Phil Tippett successfully demonstrates that thirty years of relentless dedication to your craft can lead to cinematic innovations even his old stomping grounds – the sets of Star Wars and Jurassic Park – have yet to catch up. […]

A Look Back on an Iconoclast: Art Critic Dave Hickey

by Jarrett Earnest Far From Respectable: Dave Hickey and His Art by Daniel Oppenheimer University of Texas Press, 141 pp., $24.95 The Invisible Dragon: Essays on Beauty, Revised and Expanded by Dave Hickey University of Chicago Press, 123 pp., $15.00 (paper) Air Guitar: Essays on Art and Democracy by Dave Hickey Art Issues Press, 215 […]

John Lurie’s The History of Bones

Reviewed by Cintra Wilson The History of Bones: A Memoir by John Lurie Random House, 435 pp., $28.00 NYRB It was 1989 when I saw John Lurie on TV in a late-night advertisement for the new Lounge Lizards album, Voice of Chunk, which was “not available in stores” and selling exclusively through an 800 number. Operators were standing […]

Marlene Dumas, "Losing (Her Meaning)," 1988. At Riot Material magazine.

Marlene Dumas’ Masks of Inborn Gods

open-end, at Palazzo Grassi, Venice (through 8 January 2023) Reviewed by Arabella Hutter von Arx Four relatively small artworks greet the visitor in the first room of the Marlene Dumas exhibit, open-end, at Palazzo Grassi. D-rection shows a young man contemplating his rather large and purple erection. A bluish white face and a brown face unite […]

Clarice Lispector

Baffling the Sphinx: The Enigmatic World of Clarice Lispector

Reviewed by John Biscello Água Viva by Clarice Lispector New Directions Publishing 88pp., $14.95 Too Much of Life: The Complete Crônicas by Clarice Lispector New Directions Publishing 864pp., $29.95 The word is my fourth dimension –Clarice Lispector And on the eighth and endless day, where the bottomless hallelujah meets Ouroboros, God created Clarice Lispector. Maybe. […]

Donna Ferrato "Diamond, Minneapolis, MN 1987." At Riot Material magazine

Donna Ferrato’s Magnificent Holy

at Daniel Cooney Fine Art, NYC (through July 29 2022) Reviewed by Phoebe Hoban The small scale of Donna Ferrato’s snapshot-like black-and-white photographs belies their personal and political power. Whether they document the medical sinks and shelves in a now-shuttered Texas abortion clinic, or hone in on the badly bruised face of a domestic violence […]

Darcilio Lima Unknown Lithograph, 1972. At Riot Material magazine.

Magia Protetora: The Art of Luciana Lupe Vasconcelos and Darcilio Lima

at the Buckland Museum of Witchcraft and Magick, Cleveland OH (through 30 September 2022) Curated by Stephen Romano Gallery Reviewed by Christopher Ian Lutz The extension of a lineage occurs not merely by the repetition of form, but by the intersection of conservation and revolution. Transformation is fundamental to preserving the essence of a given tradition’s rituals and […]

Eve Wood's A Cadence for Redemption, written in the fictive voice of Abraham Lincoln, is excerpted at Riot Material magazine.

Songs For Our Higher Selves

A Cadence for Redemption: Conversations With Abraham Lincoln by Eve Wood Del Sol Press, 46pp., $5.99 Employing the fictive voice of a former president, Eve Wood shifts the perspective on the happenings of our times – where all indicators point to the slow, inexorable collapse of the American Experiment – to the one man who […]

The Clear, Crisp Taste of Cronenberg

Crimes of the Future Reviewed by Anna Shechtman and D.A. Miller Neon NYRB A line from Crimes of the Future, David Cronenberg’s latest film, has been trailing it around with the campy insistence of an old-fashioned ad campaign: “Surgery is the new sex.” On receiving this information, a skeptical Saul Tenser, played by Viggo Mortensen, asks, “Does there have […]

Georganne Deen, How to prepare people for your weirdness (Painting for a gifted child) 2022

Conjuring a Divine Silence in Georganne Deen’s The Lyric Escape

at Rory Devine Fine Art, Los Angeles (through 6 August) Reviewed by Eve Wood Albert Camus once famously asked, “Should I kill myself, or have a cup of coffee?” One can only hope that this was a rhetorical question, yet however ironic, it is still a sentiment worth pondering, especially considering today’s current socio-political climate […]

Pesticides in our foods inevitably enter the body and will have the intended effect of killing the organism. Which is to say you are certain to become diseased and evenutally die from the longterm ingestion of industrial pesticides.

A Strictly Organic Diet is Good Enough to Save Your Life

A chapter excerpt from Entering the Mind, the new book from C von Hassett which speaks to an ageless way of resting the mind in meditation to both recognize and stabilize in its already Awakened state. Yet to do this successfully, we must first cleanse the body of its myriad mind-fogging toxins taken in through […]

Milton’s Quotidian Paradise, Lost

By Catherine Nicholson Katie Kadue: Domestic Georgic: Labors of Preservation from Rabelais to Milton Timothy M. Harrison: Coming To: Consciousness and Natality in Early Modern England Nicholas McDowell: Poet of Revolution: The Making of John Milton Joe Moshenska: Making Darkness Light: A Life of John Milton NYRB Of the many liberties John Milton took in writing Paradise Lost, his 1667 epic […]

Foucault in Warsaw and the Shapeless, Shaping Gaze of the Surveillance State

Reviewed by Marcel Radosław Garboś Foucault in Warsaw by Remigiusz Ryziński  translated by Sean Gasper Bye Open Letter Books, 220pp., $15.95 Harvard Review Since Poland’s state socialist system collapsed in 1989, the records of its police agencies and security services have gone to a government commission entrusted with the “prosecution of crimes against the Polish […]

Noah Davis, Untitled (2015)

The Haunt of One Yet Faintly Present: Noah Davis, Still at Home

Noah Davis, at the Underground Museum, Los Angeles Reviewed by Ricky Amadour Directly across from the entrance, an opening statement to Noah Davis, at the Underground Museum, reads “many of the paintings you are about to see were painted in this space.” Smudges, dribbles, and droplets on the floor embody the physical notion of Davis […]

Julian Schnabel, The Chimes of Freedom Flashing (detail), 2022

The Supremely Humanistic Hand of Julian Schnabel

For Esmé – With Love and Squalor, at Pace Gallery, Los Angeles (through 21 May 2022) Reviewed by Eve Wood How does one represent, let alone quantify hope, hate, grief, love, joy, tragedy, or anything, for that matter, which stands in opposition to something else? Throughout his illustrious career, Julian Schnabel has always been one to […]

Rose Wylie, "I Like To Be" (2020)

In Full Surrender to the Wylie Eye

Rose Wylie: Which One, at David Zwirner, NYC (through 12 June) Reviewed by David Salle Rose Wylie: Which One by Rose Wylie; with Barry Schwabsky, Judith Bernstein, and Hans Ulrich Obrist David Zwirner Books, 196pp., $75.00 NYRB Rose Wylie, who is now eighty-seven, has been painting in the same rural studio in Kent, England, since […]

The Artful Construction of The ‘I’

by Merve Emre NYR The essay form…bears some responsibility for the fact that bad essays tell stories about people instead of elucidating the matter at hand. —Theodor Adorno The personal essay is a genre that is difficult to define but easy to denounce. The offending element is rarely the essay as a form, but its […]

RIOT MATERIAL
art. word. thought.