The Wick List

Viewing Louise Bourgeois: The Woven Child

The Wick Culture - Louise Bourgeois
Spider, 1997
Steel, tapestry, wood, glass, fabric, rubber, silver, gold and bone
449.6 x 665.5 x 518.2 cm.
© The Easton Foundation/VAGA at ARS, NY and DACS, London 2021. Photo: Maximilian Geuter

Above Louise Bourgeois Spider, 1997 Steel, tapestry, wood, glass, fabric, rubber, silver, gold and bone 449.6 x 665.5 x 518.2 cm. © The Easton Foundation/VAGA at ARS, NY and DACS, London 2021. Photo: Maximilian Geuter

The Wick Culture - Louise Bourgeois
Conscious and Unconscious, 2008
Fabric, rubber, thread and stainless steel
175.3 x 94 x 47 cm.
© The Easton Foundation/VAGA at ARS, NY and DACS, London 2021. Photo: Christopher Burke

Above Louise Bourgeois Conscious and Unconscious, 2008 Fabric, rubber, thread and stainless steel 175.3 x 94 x 47 cm. © The Easton Foundation/VAGA at ARS, NY and DACS, London 2021. Photo: Christopher Burke

The Wick Culture - Louise Bourgeois
Couple IV, 1997
Fabric, leather, stainless steel and plastic
50.8 x 165.1 x 77.5 cm.
© The Easton Foundation/VAGA at ARS, NY and DACS, London 2021. Photo: Christopher Burke

Above Louise Bourgeois Couple IV, 1997 Fabric, leather, stainless steel and plastic 50.8 x 165.1 x 77.5 cm. © The Easton Foundation/VAGA at ARS, NY and DACS, London 2021. Photo: Christopher Burke

9 February – 15 May 2022
Hayward Gallery, London
https://www.southbankcentre.co.uk/whats-on/art-exhibitions/louise-bourgeois-woven-child

Opening in February is a major exhibition dedicated to the fabric works that Louise Bourgeois made during the last two decades of her career. In this final but brilliant chapter, Bourgeois re-examined many of her lifelong concerns such as sexuality, family relationships, repair and memory in new and provocative ways.

The exhibition features over 90 works, among them her celebrated installations and figurative sculptures as well as a wide selection of her fabric drawings, books, prints and collages. Notable highlights include her monumental Cell installations in which hanging configurations of old dresses, slips and nightwear directly reference her personal history. Also worthy of note is her imposing Spider installation (1997) and the related Cell piece, Lady in Waiting (2003), which incorporates fragments of antique tapestry.

Rich and compelling, these fabric works prompt us to ask questions that seem more urgent than ever. Add this to your spring agenda now.