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"content": "<div class=\"text\">\n<p>\n<i>Pool #6</i> 1968, printed 1997 is a colour photograph taken by the American artist Ed Ruscha. It depicts an outdoor swimming pool which takes up most of the image. Five pale lap-lines run vertically across the length of the pool, with the outer lines appearing to converge diagonally towards a vanishing point. The poolside is visible at the top of the image, featuring grass, trees, signage and seating. The tops of the trees and the building that surrounds the pool are reflected in the still blue water despite being cut out of the scene by the photograph’s upper edge. The shadows of a palm tree and a diving board are also cast over the water from the right, but the objects themselves are not present in the image.</p>\n<p>This photograph was originally part of Ruscha’s photobook <i>Nine Swimming Pools and a Broken Glass</i> 1968. To create this series Ruscha took nine photographs of privately owned and municipal swimming pools while travelling around Las Vegas and his native Los Angeles. He concluded the suite with one image of a shattered drinking glass. <i>Pool #6</i> was captured using a lightweight and portable 2¼-inch format Yashica camera, as was typical of the artist’s practice at this time, lending itself well to his interest in photographing outdoors. This book was Ruscha’s first self-published series in which he experimented with colour film; for many of his other series during this decade, such as <i>Every Building on the Sunset Strip</i> 1966, he used black and white film. <i>Pool #6 </i>now exists within a separate print portfolio titled <i>Pool Series </i>1997, which consists of large-format reprints of his swimming pool images. All of these are in the ARTIST ROOMS collection (see Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-pool-1-al00274\" title=\"View the details of this artwork\"><span>AL00274</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-pool-9-al00281\" title=\"View the details of this artwork\"><span>AL00281</span></a> and <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-pool-8-al00226\" title=\"View the details of this artwork\"><span>AL00226</span></a>).</p>\n<p>The<i> Pool Series</i> is architectural in focus and so underscores Ruscha’s sustained interest in the built environment of Southern California during the 1960s and 1970s. In a departure from his frequent focus on subjects surrounding Los Angeles’s emergent car culture, such as gasoline stations (see, for example, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-enco-conway-texas-from-five-views-from-the-panhandle-series-al00242\" title=\"View the details of this artwork\"><span>AL00242</span></a>) and parking lots (see, for example, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-good-year-tires-6610-laurel-canyon-north-hollywood-al00252\" title=\"View the details of this artwork\"><span>AL00252</span></a>), the swimming pools in this series appear as a motif of leisure. Now seen as one of the city’s most clichéd symbols, the backyard pool has become synonymous with the increasingly prosperous, active and social lifestyles that developed on the American West Coast after the Second World War. However, as art historian Alexandra Schwartz has written, ‘these pools were often located at various cheap Las Vegas motels, not glamourous Beverly Hills estates’ (Schwartz 2010, p.160). Despite the technicolour aestheticisation of <i>Pool #6</i>, the grass that surrounds the inviting azure water is sun-bleached and unkempt, and the scene is empty of subjects.</p>\n<p>\n<i>Nine Swimming Pools and a Broken Glass</i>, despite containing only ten photographs, is sixty-four pages long. The images are distributed irregularly throughout the book and are often separated by blank pages, which perhaps echoes the vacancy of the pools themselves. Ruscha claimed that he printed the series in this way because it was the cheapest way to do so in colour. However, the artist has also noted that the blank pages ‘gave body to the book’ (quoted in Rowell 2006, p.30). This sentiment was echoed in another interview with critic A.D. Coleman, where Ruscha claimed: ‘I’m not interested that much with the medium … I want the end product; that’s what I’m really interested in’ (quoted in A.D. Coleman, ‘I’m Not Really A Photographer’, <i>New York Times</i>, 10 September 1972, p.35). The subject of <i>Pool #6</i>, and in turn the other images in the suite, appears less important to Ruscha than the physicality and objecthood of his photobooks. This has led art historian Margaret Iversen to contextualise these works within a legacy of conceptual art practice originating from the work of French artist Marcel Duchamp. Ruscha’s interest in the tactile and material nature of his books reflects Duchamp’s focus on the object-as-art, as seen in his ‘readymades’, such as <i>Fountain</i> 1917, replica 1964 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/duchamp-fountain-t07573\" title=\"View the details of this artwork\"><span>T07573</span></a>). The book format also allows Ruscha’s photographs to be ‘circulated without the support of the framing gallery system’, echoing Duchamp’s frequent rejection of institutional valuation (Iversen 2010, p.13).</p>\n<p>\n<b>Further reading</b>\n<br/>Margrit Rowell, <i>Ed Ruscha: Photographer</i>, exhibition catalogue, Whitney Museum of American Art, New York 2006, reproduced p.112.<br/>Margaret Iversen, ‘Auto-maticity: Ruscha and Performative Photography’, in Diarmuid Costello and Margaret Iversen (eds.), <i>Photography After Conceptual Art</i>, London 2010.<br/>Alexandra Schwartz, <i>Ed Ruscha’s Los Angeles</i>, Cambridge, Massachusetts 2010.</p>\n<p>Aaron Shaw<br/>University of Edinburgh<br/>January 2016</p>\n<p>\n<i>The University of Edinburgh is a research Partner of ARTIST ROOMS.</i>\n</p>\n</div>\n",
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In contrast to the water in the foreground, the far side of the pool is relatively still.</p>\n<p>\n<i>Pool #9</i> was taken in 1968 and formed part of Ed Ruscha’s book <i>Nine Swimming Pools and a Broken Glass</i>, which, as the title indicates, includes nine photographs of swimming pools (see Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-pool-1-al00274\" title=\"View the details of this artwork\"><span>AL00274</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-pool-2-al00275\" title=\"View the details of this artwork\"><span>AL00275</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-pool-3-al00276\" title=\"View the details of this artwork\"><span>AL00276</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-pool-4-al00277\" title=\"View the details of this artwork\"><span>AL00277</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-pool-5-al00278\" title=\"View the details of this artwork\"><span>AL00278</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-pool-6-al00279\" title=\"View the details of this artwork\"><span>AL00279</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-pool-7-al00280\" title=\"View the details of this artwork\"><span>AL00280</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-pool-8-al00226\" title=\"View the details of this artwork\"><span>AL00226</span></a>) and one of a broken glass tumbler. All the pools are located at low-budget Las Vegas motels. In 1997 the nine photographs of swimming pools were each reprinted in editions of thirty. <i>Pool #9</i> is one such colour print.</p>\n<p>\n<i>Nine Swimming Pools and a Broken Glass</i> continues Ruscha’s project of documenting the Los Angeles landscape. Yet it departs from his previous photographic publications (such as <i>Twentysix Gasoline Stations</i> 1963 and <i>Some Los Angeles Apartments</i> 1965) in that the images are printed in colour and that, individually and collectively, the ten photographs, with the broken glass at the end, hint at some kind of narrative. In this respect the photographs not only record aspects of the urban landscape but also engender emotional reactions. As the art historian Mary Richards has stated, the image of the broken glass ‘leaves a feeling of rupture after the pools – glass being the last thing you would want to find under your feet when going for a swim’ (Richards 2008, p.39).</p>\n<p>Even when considered in isolation, <i>Pool #9</i> bears a sense of unease: the ripples in the water suggest that someone has just jumped into the pool from the diving board, yet, strangely, nobody can be seen. Indeed, the way in which the image has been cropped, so as to eliminate contextual details, heightens a sense of the uncanny. However, the photographs chosen for <i>Nine Swimming Pools and a Broken Glass</i> are not entirely ominous; there is a lightness and a brightness to them as well. As the art historian Alexandra Schwartz has stated, ‘these low-rent resorts speak to the notion that fantasies of sun and surf are available to everyone, from motel patrons paddling around in those run-down but beautifully blue swimming pools, to multimillionaire movie stars who have the real thing in their backyards’ (Schwartz 2010, p.162). Ultimately, however, Schwartz came to the conclusion that the photographs convey ‘an ambivalence about the Southern Californian lifestyle’ (Schwartz 2010, p.162). There is cool detachment at play; the photographs neither glorify nor denounce California’s easy living.</p>\n<p>\n<b>Further reading</b>\n<br/>Sylvia Wolf, <i>Ed Ruscha and Photography</i>, New York 2004.<br/>Mary Richards, <i>Ed Ruscha</i>, London 2008.<br/>Alexandra Schwartz, <i>Ed Ruscha’s Los Angeles</i>, Cambridge, Massachusetts 2010.</p>\n<p>Thomas Flanagan<br/>The University of Edinburgh<br/>November 2014</p>\n<p>\n<i>The University of Edinburgh is a research partner of ARTIST ROOMS.</i>\n</p>\n</div>\n",
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"content": "<div class=\"text\">\n<p>\n<i>Whiskey A-Go-Go (Sunset Strip Portfolio) </i>1966, printed 1995 is a black and white photograph by the American artist Ed Ruscha. The image depicts the famous Los Angeles nightclub Whiskey A-Go-Go, which occupied a corner of the intersection between Sunset Boulevard and North Clark Street. This building, with its façade detailed with windows and posters, takes up much of the image. A small stretch of sky, a distant building, a portion of the road, and the rear of a car are visible to the right and towards the bottom of the frame. Black and white scratches interrupt the image in irregular vertical strips. They contrast with the otherwise horizontal format of the photograph and offer it a grid-like quality.</p>\n<p>This photograph was originally taken for Ruscha’s self-published photobook <i>Every Building on the Sunset Strip</i> 1966. To create the content of this book Ruscha mounted two motorised cameras on to the back of a pick-up truck and drove it down a mile and a half stretch of Sunset Boulevard, photographing both sides of the road as he passed. He then created photomontages from the negatives produced, resulting in two continuous views of the buildings on each side of the road. The book is presented in a concertina format that is seven and a half metres in length. <i>Whiskey A-Go-Go </i>now forms part of a separate suite of photographs entitled <i>Sunset Strip Portfolio</i> 1995, which is made up of nine large-format reprints of specific sections of the original book. Before reprinting these photographs in 1995, Ruscha scored the surface of his negatives with razor blades and sandpaper, which resulted in the rows of scratches that cover this image. Every photograph from the <i>Sunset Strip Portfolio</i> is in the ARTIST ROOMS collection (see Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-greenblatts-deli-sunset-strip-portfolio-al00286\" title=\"View the details of this artwork\"><span>AL00286</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-gazzarris-supper-club-sunset-strip-portfolio-al00291\" title=\"View the details of this artwork\"><span>AL00291</span></a>).</p>\n<p>After photographing Sunset Boulevard for his book Ruscha claimed that: ‘All I was after was that storefront plane. It’s like a Western town in that way. A storefront plane of a Western town is just paper, and everything behind it is just nothing.’ (Quoted in Prince 2011, p.26.) This quote highlights Ruscha’s preoccupation with the banal aesthetic qualities of Los Angeles’s architecture and the empty stereotypes that they have come to signify. These concerns can be detected in much of his photography of the 1960s and 1970s, which often make reference to California’s emergent automobile and leisure cultures through familiar architectural subjects such as parking lots (see, for example, <i>State Board of Equalization, 14601 Sherman Way, Van Nuys </i>1967, printed 1999,<i> </i>Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-state-board-of-equalization-14601-sherman-way-van-nuys-al00262\" title=\"View the details of this artwork\"><span>AL00262</span></a>) and swimming pools (see, for example, <i>Pool #5 </i>1968, printed 1997, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-pool-5-al00278\" title=\"View the details of this artwork\"><span>AL00278</span></a>). In a diversion from this concern with the everyday, <i>Sunset Strip Portfolio</i> pays specific attention to famous locales in Los Angeles. By damaging the negative and subjecting the image to visual alteration, Ruscha highlights the capacity of significance, whether of a particular building, a street or the city as a whole, to collapse over time.</p>\n<p>In the same year that Ruscha captured this image of Whiskey A-Go-Go, the pop band The Miracles recorded their famous song ‘Going to a Go-Go’, which would later be covered by The Rolling Stones. This song pays tribute to the legendary status of the nightclub, which rose to prominence during the 1960s. At this time the venue was instrumental to the growth of Los Angeles’s music scene, and acted as a launch pad for many famous bands such as The Doors and Van Halen. As art historian Mary Richards has argued, the esteemed place that Ruscha’s subjects hold within a range of cultural circles (in this case, rock ’n’ roll music) contextualises <i>Sunset Strip Portfolio </i>within the growth of subcultures on the American West Coast after the Second World War (Richards 2008, p.95). Additionally, the marks that Ruscha scored into the surface of his negatives imbue the scene with a sense of disorder and violence. This aesthetic disruption references the same surrealistic danger found in Ruscha’s photobook <i>Nine Swimming Pools and a Broken Glass</i> 1968, as well as his polluted landscapes such as <i>DEC. 30th</i> 2005 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-dec-30th-ar00065\" title=\"View the details of this artwork\"><span>AR00065</span></a>).</p>\n<p>\n<b>Further reading</b>\n<br/>Mary Richards, <i>Ed Ruscha</i>, London 2008, p.95.<br/>Martin Gayford, ‘Ed Ruscha: An Interview’, <i>Daily Telegraph</i>, September 2009, <a href=\"http://www.telegraph.co.uk/culture/art/art-features/6224022/Ed-Ruscha-interview.html\">http://www.telegraph.co.uk/culture/art/art-features/6224022/Ed-Ruscha-interview.html</a>, accessed 26 January 2016.<br/>Richard Prince, ‘A Long Drive’ in Michael Auping (ed.), <i>Ed Ruscha: Road Tested</i>, exhibition catalogue, Modern Art Museum of Fort Worth, Texas 2011.</p>\n<p>Aaron Shaw<br/>University of Edinburgh<br/>January 2016</p>\n<p>\n<i>The University of Edinburgh is a research partner of ARTIST ROOMS</i>.</p>\n</div>\n",
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<br />Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011<br /><span class="credit-tag-line">On long term loan</span> | 1988 | CLEARED | 4 | unconfirmed: 508 × 406 mm | long loan | ARTIST ROOMS
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<br />Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011<br /><span class="credit-tag-line">On long term loan</span> | 1988 | CLEARED | 4 | unconfirmed: 508 × 406 mm | long loan | ARTIST ROOMS
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<br />Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011<br /><span class="credit-tag-line">On long term loan</span> | 1988 | CLEARED | 4 | unconfirmed: 508 × 406 mm | long loan | ARTIST ROOMS
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011 | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
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Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011 | AL00310 | {
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<br />Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011<br /><span class="credit-tag-line">On long term loan</span> | 1988 | CLEARED | 4 | unconfirmed: 508 × 406 mm | long loan | ARTIST ROOMS
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011 | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
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Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011 | AL00311 | {
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"meta": {
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<br />Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011<br /><span class="credit-tag-line">On long term loan</span> | 1988 | CLEARED | 4 | unconfirmed: 508 × 406 mm | long loan | ARTIST ROOMS
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011 | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011 | [] | [
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Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011 | AL00312 | {
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"meta": {
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<br />Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011<br /><span class="credit-tag-line">On long term loan</span> | 1988 | CLEARED | 4 | unconfirmed: 508 × 406 mm | long loan | ARTIST ROOMS
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011 | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
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Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011 | AL00313 | {
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] | false | 1 | 1882 | paper print etching | [] | Climbing (from the book ‘Flipping, Kicking, Howling, Rolling, Sitting, Standing, Climbing, Telling’) | 1,988 | ARTIST ROOMS
<br />Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011<br /><span class="credit-tag-line">On long term loan</span> | 1988 | CLEARED | 4 | unconfirmed: 508 × 406 mm | long loan | ARTIST ROOMS
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011 | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011 | [] | [
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Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011 | AL00314 | {
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<br />Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011<br /><span class="credit-tag-line">On long term loan</span> | 1988 | CLEARED | 4 | unconfirmed: 508 × 406 mm | long loan | ARTIST ROOMS
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011 | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011 | [] | [
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Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011 | AL00315 | {
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] | <p><span>OK (Slate I)</span> is a lithograph with the word ‘OK’ at its centre. The letters are a peach-orange colour and the background is blue. The background takes a pure shade of blue in the region immediately above and below the letters, while the section behind the letters has a purple hue. There is also purple along the top and bottom edges of the piece. The letters, meanwhile, are a darker shade of peach at their centre than at their top and bottom. Small tendrils of the text’s peach-orange colour extend beyond the edge of the text and mingle with the blue of the background. This gives the letters a fuzzy-looking effect. The lithograph was made by Ruscha in 1990, but it is a technique he has used throughout his career. Lithography allows images and text to be printed quickly and can be used to produce dozens of identical images.</p> | false | 1 | 1882 | paper print lithograph | [
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],
"id": 10324,
"startDate": "2018-10-12",
"title": "Ideas Depot",
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] | OK (State I) | 1,990 | ARTIST ROOMS
<br />Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011<br /><span class="credit-tag-line">On long term loan</span> | 1990 | CLEARED | 4 | Image: 685 × 914 mm
Support: 823 × 1053 mm
Frame: 1073 × 843 mm
| long loan | ARTIST ROOMS
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011 | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011 | [
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"content": "<div class=\"text\">\n<p>\n<i>OK (Slate I)</i> is a lithograph with the word ‘OK’ at its centre. The letters are a peach-orange colour and the background is blue. The background takes a pure shade of blue in the region immediately above and below the letters, while the section behind the letters has a purple hue. There is also purple along the top and bottom edges of the piece. The letters, meanwhile, are a darker shade of peach at their centre than at their top and bottom. Small tendrils of the text’s peach-orange colour extend beyond the edge of the text and mingle with the blue of the background. This gives the letters a fuzzy-looking effect. The lithograph was made by Ruscha in 1990, but it is a technique he has used throughout his career. Lithography allows images and text to be printed quickly and can be used to produce dozens of identical images.</p>\n<p>The pictorial space in <i>OK (Slate I)</i> is abstract and non-perspectival. The blue and purple bands appear to radiate and merge with the hazy-edged text. There are no other objects in the frame against which the viewer might measure the size of the text. Ruscha has said of this kind of work, ‘The words have these abstract shapes, they live in a world of no size. You can make them any size, and what’s the real size? Nobody knows ...’ (quoted in Marshall 2010, p.106). Indeed the precise meaning of the text is also unfixed. It could allude to the abbreviated form of ‘okay’, a casual slang phrase that gestures to the stereotype of laidback Californian cool of the artist’s city of residence, Los Angeles. Alternatively, the letters might be indicative of Ruscha’s home state of Oklahoma, which can be referred to with the abbreviation ‘OK’.</p>\n<p>Ruscha had trained as a graphic artist at Chouinard Institute of Art (now California Institute of Arts) in the late 1950s and later worked as a layout artist for a Los Angeles advertising agency. Text-based work has been central to his artistic practice and is well-represented in the ARTIST ROOMS collection, including the early painting <i>HONK </i>1962 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-honk-ar00184\" title=\"View the details of this artwork\"><span>AR00184</span></a>) and the later works <i>Pay Nothing Until April</i> 2003 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-pay-nothing-until-april-ar00047\" title=\"View the details of this artwork\"><span>AR00047</span></a>) and <i>Daily Planet</i> 2003 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-daily-planet-ar00048\" title=\"View the details of this artwork\"><span>AR00048</span></a>). The dissolving serif letters in <i>OK (Slate I) </i>sit between the rough-edged, hand-painted type of <i>HONK</i> and the ‘no-style’ of Ruscha’s invented Boy Scout Utility Modern typeface in the paintings from 2003. Ruscha has commented that there is no grand reason behind the words he incorporates in his work, he is more interested in the sounds they make and the shapes they form. He has commented: ‘Words are pattern-like, and in their horizontality they answer my investigation into landscape. They are almost not words—they are objects that become words.’ (Quoted in Marshall 2003, p.106.)</p>\n<p>\n<b>Further reading</b>\n<br/>Alexandra Schwartz, <i>Ed Ruscha’s Los Angeles,</i> Cambridge, Massachusetts 2010.<br/>Richard D. Marshall, <i>Ed Ruscha</i>, London 2003.<br/>Mary Richards, <i>Ed Ruscha</i>, London 2008.</p>\n<p>Thomas Flanagan<br/>The University of Edinburgh<br/>November 2014</p>\n<p>\n<i>The University of Edinburgh is a research partner of ARTIST ROOMS.</i>\n</p>\n</div>\n",
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Mixografia technique on paper | [
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Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011 | AL00316 | {
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] | <p><span>US</span> is a mixographia print with stalks of grass and barley on a pale grey background, with a dark grey band across the lower edge. The title letters ‘U’ and ‘S’ occupy the centre of the frame but lean to the right. They are dark grey, in a thin serif typeface with a hazy outline. The outline takes a dark shade of grey when it is near to the body of the letter and becomes lighter as it extends away, as if radiating outward. The blur surrounding the letters does not merge with the background, instead the letters appear to occupy a foreground, which is further overlaid by the stalks of grass and barley that lean slightly from left to right. The work was made in 1996 using the mixographia technique, which allowed the artist to incorporate different materials into the printing process.</p> | false | 1 | 1882 | paper print mixografia technique | [
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] | US | 1,995 | ARTIST ROOMS
<br />Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011<br /><span class="credit-tag-line">On long term loan</span> | 1995, printed and signed 1994 | CLEARED | 4 | unconfirmed: 594 × 819 mm
frame: 752 × 976 × 57 mm | long loan | ARTIST ROOMS
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011 | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011 | [
{
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"content": "<div class=\"text\">\n<p>\n<i>US</i> is a mixographia print with stalks of grass and barley on a pale grey background, with a dark grey band across the lower edge. The title letters ‘U’ and ‘S’ occupy the centre of the frame but lean to the right. They are dark grey, in a thin serif typeface with a hazy outline. The outline takes a dark shade of grey when it is near to the body of the letter and becomes lighter as it extends away, as if radiating outward. The blur surrounding the letters does not merge with the background, instead the letters appear to occupy a foreground, which is further overlaid by the stalks of grass and barley that lean slightly from left to right. The work was made in 1996 using the mixographia technique, which allowed the artist to incorporate different materials into the printing process.</p>\n<p>The text of <i>US</i> is ambiguous. The letters may be read as the acronym for the United States, or alternatively, simply as the pronoun ‘us’. In any case the sparse leaning stalks and muted colour palette give the print a forlorn quality, gesturing perhaps to a relationship that has gone to seed, or to a barren pastoral scene. The addition of the grass and barley into the frame transforms the otherwise abstract pictorial space into a landscape, suggesting that the dark grey band be read as a ground and the lighter expanse above as sky. In this way the work contrasts with much of Ruscha’s practice, in which rural settings function as backdrops for text. The artist’s use of the mixographia technique meant that natural materials could be introduced into the composition, creating a textured surface across which the thin lines of text and narrow stalks merge – quite unlike the flat, stylised alpine vistas in works like <i>Pay Nothing Until April</i> 2003 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-pay-nothing-until-april-ar00047\" title=\"View the details of this artwork\"><span>AR00047</span></a>) and <i>Daily Planet</i> 2003 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-daily-planet-ar00048\" title=\"View the details of this artwork\"><span>AR00048</span></a>).</p>\n<p>\n<i>US</i> also has a cinematic quality. The hazy monochromatic colour-scheme is suggestive of black and white cinematography and the distinction between the crisp foreground grasses and the fuzzy background letters is reminiscent of a camera’s focus. The work bears comparison to Ruscha’s painting <i>The Final End </i>1992 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-the-final-end-ar00596\" title=\"View the details of this artwork\"><span>AR00596</span></a>), that also appears overgrown with grasses and, with its text ‘The End’, references the final frames of a film. Ruscha has long had a fascination with cinema and its material properties. Several of his works include the word ‘Hollywood’ (for example, <i>HOLLYWOOD TANTRUM </i>1979, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-hollywood-tantrum-ar00059\" title=\"View the details of this artwork\"><span>AR00059</span></a> and <i>Dec. 30th </i>2005, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-dec-30th-ar00065\" title=\"View the details of this artwork\"><span>AR00065</span></a>), and many of his compositions are distinctly cinematic, often taking on the format of widescreen cinema, as in <i>The Final End</i>.</p>\n<p>\n<b>Further reading</b>\n<br/>Alexandra Schwartz, <i>Ed Ruscha’s Los Angeles, </i>Cambridge, Massachusetts 2010.<br/>Richard D. Marshall, <i>Ed Ruscha,</i> London 2003.<br/>Mary Richards, <i>Ed Ruscha,</i> London 2008.</p>\n<p>Thomas Flanagan<br/>The University of Edinburgh<br/>November 2014</p>\n<p>\n<i>The University of Edinburgh is a research partner of ARTIST ROOMS.</i>\n</p>\n</div>\n",
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] | <p><span>Play Dead; Real Time (this way, that way, the other way) </span>is a video installation with no sound by the artist Douglas Gordon. The work comprises two rear projection screens and one monitor. The screens are large, freestanding and placed perpendicular to one another in the otherwise empty and darkened gallery, while a monitor resting on the floor nearby plays similar footage. It was recorded at Gagosian Gallery in New York, where the artist arranged to have a four-year-old Indian elephant, Minnie, brought in from the Connecticut circus. In the gallery, a professional film crew recorded her as she carried out a series of tricks – ‘play dead’, ‘stand still’, ‘walk around’, ‘back up’, ‘get up’ and ‘beg’ – on the command of her off-screen trainer. The footage showing Minnie’s sequences of tricks is precisely edited, with each take fading to black. In the images projected onto the screens, the camera circles around Minnie, moving clockwise on one large screen, and counter-clockwise on the other. The footage on the monitor zooms in and out on her, with each new sequence commencing with a close-up of her eye.</p> | false | 1 | 2617 | installation video 2 projections 1 monitor colour | [
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],
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{
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}
],
"id": 11192,
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"title": "Animals in Art",
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] | Play Dead; Real Time (this way, that way, the other way) | 2,003 | ARTIST ROOMS
<br />Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2012<br /><span class="credit-tag-line">On long term loan</span> | 2003 | CLEARED | 3 | 19 minutes16 seconds
14 minutes 44 seconds
23 minutes 44 seconds
| long loan | ARTIST ROOMS
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2012 | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2012 | [
{
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"content": "<div class=\"text\">\n<p>\n<i>Play Dead; Real Time (this way, that way, the other way) </i>is a video installation with no sound by the artist Douglas Gordon. The work comprises two rear projection screens and one monitor. The screens are large, freestanding and placed perpendicular to one another in the otherwise empty and darkened gallery, while a monitor resting on the floor nearby plays similar footage. It was recorded at Gagosian Gallery in New York, where the artist arranged to have a four-year-old Indian elephant, Minnie, brought in from the Connecticut circus. In the gallery, a professional film crew recorded her as she carried out a series of tricks – ‘play dead’, ‘stand still’, ‘walk around’, ‘back up’, ‘get up’ and ‘beg’ – on the command of her off-screen trainer. The footage showing Minnie’s sequences of tricks is precisely edited, with each take fading to black. In the images projected onto the screens, the camera circles around Minnie, moving clockwise on one large screen, and counter-clockwise on the other. The footage on the monitor zooms in and out on her, with each new sequence commencing with a close-up of her eye.</p>\n<p>The work was prompted by Gordon’s desire to see an elephant lying down. ‘I woke up one morning with an idea’, he has recalled, ‘that I’ve never seen an elephant lying down … and the reason why … is because they don’t like to lie down.’ Therefore, ‘the premise of the film’, he goes on to explain, ‘was simple, that we would ask the animal to do something that she wasn’t used to doing and see how she behaved.’ (Douglas Gordon, ‘Douglas Gordon on Working with Elephants’, video, San Francisco Museum of Modern Art, San Francisco 2010, http://www.youtube.com/watch?v=vR07wSggs7k, accessed 24 January 2012.) As such the film documents Minnie as well as the conditions of her captivity, which force her to perform anthropomorphised actions without reference to elephant behavior in the wild. The artist has remarked that <i>Play Dead; Real Time (this way, that way, the other way)</i> sits somewhere between ‘a nature film and a medical documentary’, which allowed him to ‘get close enough or under the skin of the elephant [… to see] a sense or sensibility that doesn’t actually physically exist’. (Gordon 2010, accessed 24 January 2012.)</p>\n<p>The construction of a situation in which the elephant must perform for the camera, relates to other works by Gordon that depict animals. For instance,<i> Looking Down With His Black, Black, Ee</i> 2008 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/gordon-looking-down-with-his-black-black-ee-ar01178\" title=\"View the details of this artwork\"><span>AR01178</span></a>) depicts a flock of crows being chased around a darkened room with bright light, while <i>Film Noir (Fly) </i>1995 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/gordon-film-noir-fly-ar01180\" title=\"View the details of this artwork\"><span>AR01180</span></a>) shows a fly with wings stuck to the table, squirm and eventually die. To different extents all of these works take the mistreatment of animals under the human gaze as their subject, implicating the viewer as much as the artist in a sadistic act.</p>\n<p>Based in Glasgow and New York, Gordon works in various media including film, text, photographs, video and various types of installation. He has become best known for works made using existing film footage – both documentary and fictional – altering its pace, context or scale.</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Superhumanatural</i>, exhibition catalogue, National Gallery of Scotland, Edinburgh 2006.</p>\n<p>Carmen Juliá<br/>February 2012</p>\n</div>\n",
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Gouache on sandpaper | [
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] | 1,994 | <a href="https://www.tate.org.uk/art/artists/louise-bourgeois-2351" aria-label="More by Louise Bourgeois" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Louise Bourgeois</a> | Home Runaway Girls | null | [] | ARTIST ROOMS
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013 | AL00340 | {
"id": 5,
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} | 7008038 7002980 7002883 1000070 7007567 1002551 7007568 7012149 | Louise Bourgeois | 1,994 | [] | <p><span>Home for Runaway Girls </span>is comprised of black and white gouache paint on sandpaper, mounted in a frame. The oval-shaped sheet of sandpaper is painted black, with an inscription in capital letters painted on it and smudges of white paint. The inscription reads ‘HOME FOR RUN AWAY GIRLS: EMPTY HOUSES LES FILLE MÈRE D’ANTONY’. Most of the text runs down the centre of the sandpaper except the reference to the ‘Fille Mère d’Antony’ which curves up the right side of the elliptical shape. The black sandpaper sits on a white surface within the frame, giving the overall appearance of a rudimentary plaque.</p> | false | 1 | 2351 | paper unique gouache sandpaper | [
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"id": 8598,
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{
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"id": 12078,
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{
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{
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{
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] | Home for Runaway Girls | 1,994 | ARTIST ROOMS
<br />Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013<br /><span class="credit-tag-line">On long term loan</span> | 1994 | CLEARED | 5 | frame: 352 × 280 × 35 mm | long loan | ARTIST ROOMS
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013 | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013 | [
{
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"content": "<div class=\"text\">\n<p>\n<i>Home for Runaway Girls </i>is comprised of black and white gouache paint on sandpaper, mounted in a frame. The oval-shaped sheet of sandpaper is painted black, with an inscription in capital letters painted on it and smudges of white paint. The inscription reads ‘HOME FOR RUN AWAY GIRLS: EMPTY HOUSES LES FILLE MÈRE D’ANTONY’. Most of the text runs down the centre of the sandpaper except the reference to the ‘Fille Mère d’Antony’ which curves up the right side of the elliptical shape. The black sandpaper sits on a white surface within the frame, giving the overall appearance of a rudimentary plaque.</p>\n<p>This work references a home for young, unwed mothers in the town of Antony in Northern France where Bourgeois lived as a child. In French, ‘Fille Mère’ was the term for an unmarried mother who, in early twentieth-century Catholic France, could be cast out of her family home. The ‘EMPTY HOUSES’ offered to the ‘RUNAWAY GIRLS’ in Bourgeois’s work then, not only mimics an advertisement for available rooms, but also alludes to the future awaiting them. The girls are offered <i>houses</i> not <i>homes</i> – suggesting that they are devoid of both the comforts and constraints of domesticity and family. The rough surface of the sandpaper, marked by the gouache, is also suggestive of discomfort and unhappiness, as well as a degree of toughness and resilience.</p>\n<p>\n<i>Runaway Girls</i> could also be seen as a self-portrait of sorts, as Bourgeois once remarked: ‘I was in effect a runaway girl. I was a runaway girl who turned out alright.’ (Quoted in Gorovoy and Tilkin 1999, p.15.) In this statement, the artist refers to her decision to leave Paris for New York in 1938 after marrying the American art historian Robert Goldwater. Although Bourgeois was married when she ran away, her continuing identification with girlhood highlights her own resistance to domestic life. The character of the runaway girl appears in some of her early New York paintings, including <i>Runaway Girl </i>c.1938 (Cheim & Read, New York), which called particular attention to Bourgeois’s choice to leave her family and France behind. The freedom-seeking aspect of the runaway girl is evident in this passage from Bourgeois’s writing:</p>\n<p class=\"cttext\">\n</p><blockquote>The Runaway Girl who never grew up…<br/>I do not need a safety net,<br/>Breakfast, big lunch or afternoon snack<br/>I do not need any visitors, telephone<br/>Calls or small mash notes…<br/>I don’t need anything, I don’t confuse anything.<br/>I can wait, I am not afraid. I am grown up.<br/>Nothing is missing.<br/>(Askew and d’Offay 2013, p.42.)</blockquote>\n<p>Despite Bourgeois’s declaration of being ‘grown up’, the artist returned to themes and memories from her childhood throughout her artistic career. The home, motherhood and abandonment are also recurring motifs registering Bourgeois’s feelings of displacement, as both a French woman in America and a woman artist in an art world dominated by men. The poignant, bilingual inscription in <i>Home for Runaway Girls </i>is characteristic of her negotiation of place, belonging and memory.</p>\n<p>\n<b>Further reading</b>\n<br/>Jerry Gorovoy and Danielle Tilkin, ‘There Is No Place Like Home’, in <i>Louise Bourgeois: Memory and Architecture</i>, exhibition catalogue, Museo National Centro de Arte Reina Sofía, Madrid 1999.<br/>Francis Morris (ed.), <i>Louise Bourgeois</i>, exhibition catalogue, Tate Modern, London 2007, reproduced p.249.<br/>Lucy Askew and Anthony d’Offay, <i>Louise Bourgeois: A Woman Without Secrets</i>, exhibition catalogue, National Galleries of Scotland, Edinburgh 2013, p.42, reproduced p.43.</p>\n<p>Allan Madden<br/>The University of Edinburgh<br/>November 2014</p>\n<p>\n<i>The University of Edinburgh is a research partner of ARTIST ROOMS.</i>\n</p>\n</div>\n",
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Woven fabric, mounted on a stretcher | [
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] | 2,009 | <a href="https://www.tate.org.uk/art/artists/louise-bourgeois-2351" aria-label="More by Louise Bourgeois" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Louise Bourgeois</a> | I Am Afraid | null | [
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Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013 | AL00341 | {
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} | 7008038 7002980 7002883 1000070 7007567 1002551 7007568 7012149 | Louise Bourgeois | 2,009 | [] | <p><span>I Am Afraid </span>is a fabric work by the French-born American artist Louise Bourgeois featuring lines of text woven into canvas. Short statements and individual words in upper case are woven in grey thread into the grey-beige fabric and are grouped into four stanzas. Both the first and the third stanza contain five lines of text; the second stanza contains three lines; and the fourth stanza contains two lines. The text reads:</p> | false | 1 | 2351 | relief woven fabric mounted stretcher | [
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] | I Am Afraid | 2,009 | ARTIST ROOMS
<br />Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013<br /><span class="credit-tag-line">On long term loan</span> | 2009 | CLEARED | 7 | support: 1105 × 1189 mm | long loan | ARTIST ROOMS
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013 | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013 | [
{
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"content": "<div class=\"text\">\n<p>\n<i>I Am Afraid </i>is a fabric work by the French-born American artist Louise Bourgeois featuring lines of text woven into canvas. Short statements and individual words in upper case are woven in grey thread into the grey-beige fabric and are grouped into four stanzas. Both the first and the third stanza contain five lines of text; the second stanza contains three lines; and the fourth stanza contains two lines. The text reads:</p>\n<p class=\"cttext\">\n</p><blockquote>I AM AFRAID OF SILENCE<br/>I AM AFRAID OF THE DARK<br/>I AM AFRAID TO FALL DOWN<br/>I AM AFRAID OF INSOMNIA<br/>I AM AFRAID OF EMPTINESS</blockquote>\n<p class=\"cttext\">\n</p><blockquote>IS SOMETHING MISSING?<br/>YES, SOMETHING IS MISSING AND ALWAYS WILL BE MISSING<br/>THE EXPERIENCE OF EMPTINESS</blockquote>\n<p class=\"cttext\">\n</p><blockquote>TO MISS<br/>WHAT ARE YOU MISSING?<br/>NOTHING<br/>I AM IMPERFECT BUT I AM LACKING NOTHING<br/>MAYBE SOMETHING IS MISSING BUT I DO NOT KNOW AND THEREFORE DO NOT SUFFER</blockquote>\n<p class=\"cttext\">\n</p><blockquote>EMPTY STOMACH EMPTY HOUSE EMPTY BOTTLE<br/>THE FALLING INTO A VACUUM SIGNALS THE ABANDONMENT OF THE MOTHER</blockquote>\n<p>The material is mounted on a stretcher. The artist’s initials (‘LB’) are woven at the bottom right corner of the work.</p>\n<p>Bourgeois made this work in 2005. She sourced the text from one of the many journals that she kept throughout her life. In these journals Bourgeois would keep notes relating to her work, her life and her mental state, and she would also write poems. The text featured in <i>I Am Afraid</i> has been taken from the artist’s archive of her poetic writing.</p>\n<p>In this work the artist displays her various fears, which relate to both the physical world and abstract concepts. Thus her fears of hunger and abandonment sit alongside those of the dark and of emptiness. Bourgeois has examined these concepts throughout her work, particularly in her series of ‘Cells’, such as <i>Cell XIV (Portrait) </i>2000 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bourgeois-cell-xiv-portrait-al00230\" title=\"View the details of this artwork\"><span>AL00230</span></a>) and <i>Cell (Eyes and Mirrors) </i>1989–93 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bourgeois-cell-eyes-and-mirrors-t06899\" title=\"View the details of this artwork\"><span>T06899</span></a>). The fears explored in her work often relate to emotionally traumatic events in the artist’s life and especially in her childhood. In <i>I Am Afraid</i>, Bourgeois traces a direct correlation between her self-confessed fears of the dark, silence and emptiness and a sense that something is missing. On the subject of Bourgeois’s use of painful experiences and personal fears in her work, curator Brooke Hodge has written:</p>\n<p class=\"cttext\">\n</p><blockquote>Bourgeois has often remarked that, in order to exorcise the painful memories of her past, it is necessary for her to reconstruct them in order to destroy them. The restorative power of the needle and the act of sewing have enabled her to confront her demons through the creation of work that incorporates handsewn fabric shapes and figures, clothing and embroidery … giving her work another layer of personal meaning.<br/>(Quoted in Morris 2007, p.266.)</blockquote>\n<p>Hodge therefore argues that in making her fears manifest in her stitched fabric works such as <i>I Am Afraid</i>, the artist is taking part in a process whereby she can deal with, and even ‘destroy’, her emotional pain and past traumas.</p>\n<p>In <i>I Am Afraid </i>the artist also makes direct reference to the vacuum left by the ‘abandonment of the mother’. The loss of her mother, who died following a long illness when the artist was aged twenty-two, is another theme that recurs frequently in Bourgeois’s work. Writing about her childhood, much of which she spent helping her mother repair tapestries, Bourgeois said, in a statement first published in 1992:</p>\n<p class=\"cttext\">\n</p><blockquote>My mother would sit out in the sun and repair a tapestry or a petit point. She really loved it. This sense of reparation is very deep within me. I break everything I touch because I am violent. I destroy my friendships, my love, my children. People would not generally suspect it, but the cruelty is there in the work … I break things because I am afraid.<br/>(Quoted in Morris 2007, p.242.)</blockquote>\n<p>Like Hodge, Bourgeois makes the connection between the opposing acts of reparation and destruction and ties both to her childhood and her mother. <i>I Am Afraid </i>draws together these opposing themes in its visual evocation of the tapestries that they worked on, while explicitly documenting the fears that drive her figurative destructive tendencies.</p>\n<p>\n<b>Further reading</b>\n<br/>Mignon Nixon, <i>Fantastic Reality: Louise Bourgeois and a Story of Modern Art</i>, London and Cambridge, Massachusetts 2005.<br/>Frances Morris (ed.), <i>Louise Bourgeois</i>,<i> </i>exhibition catalogue, Tate Modern, London 2007.<br/>Lucy Askew and Anthony d’Offay, <i>Louise Bourgeois: A Woman Without Secrets</i>, exhibition catalogue, National Galleries of Scotland, Edinburgh 2013, p.88, reproduced p.67.</p>\n<p>Allan Madden<br/>The University of Edinburgh<br/>January 2016</p>\n<p>\n<i>The University of Edinburgh is a research partner of ARTIST ROOMS.</i>\n</p>\n</div>\n",
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Bronze, silver nitrate patina | [
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Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013 | AL00343 | {
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} | 7008038 7002980 7002883 1000070 7007567 1002551 7007568 7012149 | Louise Bourgeois | 2,002 | [] | <p><span>Give or Take </span>is a bronze sculpture with a silver nitrate patina. It depicts an outstretched and closed hand, connected to form a single entity. The object appears to be two forearms fused together, one blending into the other, but is otherwise disembodied. The work was made by Louise Bourgeois in 2002 by casting the hands and forearms of her longtime assistant Jerry Gorovoy. Gorovoy was a frequent model for Bourgeois’s works, particularly those which feature hands. Another bronze sculpture, <span>The Welcoming Hands </span>1996 (Jardin des Tuileries, Paris) for instance, shows<span> </span>the artist’s hands clutching those of Gorovoy and in the series of drawings <span>10am is When You Come to Me </span>2006 (Tate AL00345) their hands reach out, meet and interact in a reflection on their friendship and working relationship. Bourgeois met Gorovoy in the late 1970s: he was her assistant, close friend and confidant for over thirty years.</p> | false | 1 | 2351 | sculpture bronze silver nitrate patina | [
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<br />Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013<br /><span class="credit-tag-line">On long term loan</span> | 2002 | CLEARED | 8 | object: 86 × 596 × 127 mm, 6 kg | long loan | ARTIST ROOMS
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013 | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013 | [
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"content": "<div class=\"text\">\n<p>\n<i>Give or Take </i>is a bronze sculpture with a silver nitrate patina. It depicts an outstretched and closed hand, connected to form a single entity. The object appears to be two forearms fused together, one blending into the other, but is otherwise disembodied. The work was made by Louise Bourgeois in 2002 by casting the hands and forearms of her longtime assistant Jerry Gorovoy. Gorovoy was a frequent model for Bourgeois’s works, particularly those which feature hands. Another bronze sculpture, <i>The Welcoming Hands </i>1996 (Jardin des Tuileries, Paris) for instance, shows<b> </b>the artist’s hands clutching those of Gorovoy and in the series of drawings <i>10am is When You Come to Me </i>2006 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bourgeois-10-am-is-when-you-come-to-me-al00345\" title=\"View the details of this artwork\"><span>AL00345</span></a>) their hands reach out, meet and interact in a reflection on their friendship and working relationship. Bourgeois met Gorovoy in the late 1970s: he was her assistant, close friend and confidant for over thirty years.</p>\n<p>As the title suggests, the hands in <i>Give or Take</i> visualise the physical acts of giving and taking. The outstretched hand appears to offer support, comfort and reassurance, as well as suggesting loneliness: while the closed hand appears to deny human contact suggesting withdrawal or contentment. Hands occur frequently in Bourgeois’s work, often as symbols of support and dependence, such as in <i>Nature Study </i>1986 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bourgeois-nature-study-al00228\" title=\"View the details of this artwork\"><span>AL00228</span></a>). <i>Give or Take, </i>however, presents a far more ambiguous view of human relationships. Rather than show the interaction between two bodies, this single limb uncannily represents two opposing gestures, perhaps referring to the experience of sustaining contradictory feelings and desires, a theme Bourgeois had explored before in her important sculpture <i>Janus Fleuri</i> from 1968 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bourgeois-janus-fleuri-al00347\" title=\"View the details of this artwork\"><span>AL00347</span></a>).</p>\n<p>Despite the singularity of the object, the ‘giving’ and ‘taking’ hands might also be seen as oppositional. That these hands could never embrace, seems to indicate that the apparently symbiotic actions of giving and taking are rarely reciprocal. This is echoed in the artist’s decision to title the work <i>Give or Take</i>, rather than follow the form of the commonplace phrase ‘give and take’. Whereas the latter suggests cooperation and mutual understanding, the work’s title proposes an ultimatum, between two irreconcilable positions.</p>\n<p>This work may also be seen to exemplify a ‘part-object’, a term used by psychoanalysts such as Melanie Klein to refer to parts of the body that attest to physical and emotional relationships between infants and adults. The art historian Mignon Nixon has written on the subject of the part-object and its influence on Bourgeois’s work: ‘Klein contends that the subject first relates to its environment as a field of objects (called part-objects) to be fused or fragmented, possessed or destroyed, by means of phantasies of introjection, projection and splitting that are themselves produced by the drives.’ (Nixon 2005, p.8.) Nixon argues that by fragmenting parts of the body, Bourgeois represents the complex array of emotional states that structure our identities and relationships.</p>\n<p>\n<b>Further reading</b>\n<br/>Mignon Nixon, <i>Fantastic Reality: Louise Bourgeois and a Story of Modern Art</i>, Cambridge, Massachusetts and London 2005.<br/>Francis Morris (ed.), <i>Louise Bourgeois</i>, exhibition catalogue, Tate Modern, London 2007, reproduced p.63.<br/>Lucy Askew and Anthony d’Offay, <i>Louise Bourgeois: A Woman Without Secrets</i>, exhibition catalogue, National Galleries of Scotland, Edinburgh 2013, pp.58, 85, reproduced p.59.</p>\n<p>Allan Madden<br/>The University of Edinburgh<br/>November 2014</p>\n<p>\n<i>The University of Edinburgh is a research partner of ARTIST ROOMS</i>\n</p>\n</div>\n",
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Fabric, hanging piece | [
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Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013 | AL00344 | {
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} | 7008038 7002980 7002883 1000070 7007567 1002551 7007568 7012149 | Louise Bourgeois | 1,996 | [] | <p>The couple represented here appear to merge into each other. As in many of Bourgeois’s works, male and female are combined in an ambiguous arrangement of body parts. For Bourgeois, hanging indicates a state of uncertainty. ‘Horizontality is a desire to give up, to sleep’, she said. ‘Verticality is an attempt to escape. Hanging and floating are states of ambivalence.’</p><p><em>Gallery label, October 2016</em></p> | false | 1 | 2351 | sculpture fabric hanging piece | [
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"id": 13961,
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"venueName": "Nasjonalmuseet (Oslo, Norway)",
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"id": 11532,
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"title": "Louise Bourgeois: Imaginary Conversations",
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] | Couple I | 1,996 | ARTIST ROOMS
<br />Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013<br /><span class="credit-tag-line">On long term loan</span> | 1996 | CLEARED | 8 | object: 2032 × 685 × 711 mm, 15 kg | long loan | ARTIST ROOMS
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013 | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013 | [
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"content": "<div class=\"text\">\n<p>\n<i>Couple I</i> is a hanging sculpture comprised of two stuffed textile pieces sewn together, depicting two headless, hanging figures in an embrace. Bourgeois used fabric, lace, socks, nylon tights and one of her own blouses to create the sculpture. One figure is made of fabric associated with more masculine clothing; blue pinstriped shirt and black flannel. The other figure has more feminine attributes including a lace collar and stuffed pair of black nylon tights. The arms and legs of the masculine figure are sewn together around a metal meat hook, which is used to hang the work on wire from the ceiling. The feminine figure sits in the looped torso, with nylon legs hanging down at either side and a single limb reaching around the torso of the other fabric body. <i>Couple I </i>formed part of an installation displayed in the bell tower of St Pancras Church in London for the exhibition ‘The Visible and the Invisible’ in 1996. Bourgeois made four figurative stuffed fabric sculptures for this piece: <i>Single I</i> 1996, <i>Single II </i>1996 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bourgeois-single-ii-al00229\" title=\"View the details of this artwork\"><span>AL00229</span></a>), <i>Couple I </i>1996 and <i>Couple II </i>1996. All of the sculptures were hung from the bell tower except <i>Couple II</i>, which was displayed nearby on the floor.</p>\n<p>In this work Bourgeois addresses the complex nature of relationships. The masculine and feminine figures of <i>Couple I </i>are locked in an embrace that could be read as both supportive and strained. The masculine figure both constricts and holds the feminine figure. Likewise, she encircles him with a caring arm whilst straddling and weighing down his hanging body. The curator Lucy Askew has argued that, ‘hanging from a meat hook, these archetypes lack the capacity to move or part and are bound in an embrace that suggests more anguish than pleasure.’ (Askew and d’Offay 2013, p.83.) Yet their proximity and dependency could also be indicative of an intense emotional attachment as well as the physical act of having sex. Indeed the suspension of <i>Couple I</i> suggests the destabilizing feeling of falling in love. On the notion of the hanging figure, a recurring conceit in Bourgeois’s practice, the artist has said: ‘Horizontality is a desire to give up, to sleep. Verticality is an attempt to escape. Hanging and floating are states of ambivalence.’ (Quoted in Askew and d’Offay 2013, p.48.)</p>\n<p>As the figures float in space, they almost form an infinity symbol suggestive of the inexorable cycle of a relationship. Yet the ‘timeless’ nature of the work – we are unsure of the age of the headless figures – might be read as the artist’s reflection on her own past relationships. This correlates with curator Marie-Laure Bernadac’s argument that Bourgeois’s intense focus on the nature of sexual relationships between men and women in her later career ‘can be seen to derive from the return of repressed memories.’ (Quoted in Morris 2007, p.90.)</p>\n<p>\n<b>Further reading</b>\n<br/>Mignon Nixon, <i>Fantastic Reality: Louise Bourgeois and a Story of Modern Art</i>, Cambridge, Massachusetts, and London 2005.<br/>Frances Morris (ed.), <i>Louise Bourgeois</i>, exhibition catalogue, Tate Modern, London 2007, pp.90–2, reproduced p.92.<br/>Lucy Askew and Anthony d’Offay, <i>Louise Bourgeois: A Woman Without Secrets</i>, exhibition catalogue, National Galleries of Scotland, Edinburgh 2013, p.83, reproduced pp.25, 47.</p>\n<p>Allan Madden<br/>The University of Edinburgh<br/>January 2015</p>\n<p>\n<i>The University of Edinburgh is a research partner of ARTIST ROOMS.</i>\n</p>\n</div>\n",
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"content": "<div class=\"text\">\n<p>The couple represented here appear to merge into each other. As in many of Bourgeois’s works, male and female are combined in an ambiguous arrangement of body parts. For Bourgeois, hanging indicates a state of uncertainty. ‘Horizontality is a desire to give up, to sleep’, she said. ‘Verticality is an attempt to escape. Hanging and floating are states of ambivalence.’</p>\n</div>\n",
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20 etchings with watercolour, pencil and gouache on paper | [
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] | 2,006 | <a href="https://www.tate.org.uk/art/artists/louise-bourgeois-2351" aria-label="More by Louise Bourgeois" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Louise Bourgeois</a> | 10 am is When You Come to Me | null | [] | ARTIST ROOMS
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013 | AL00345 | {
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} | 7008038 7002980 7002883 1000070 7007567 1002551 7007568 7012149 | Louise Bourgeois | 2,006 | [] | <p>These prints show drawings of Bourgeois’s hands and those of Jerry Gorovoy, her assistant for over thirty years. The title refers to the daily time of Gorovoy’s arrival at Bourgeois’s studio or house. She was particularly fascinated by the physical contrast between her small hands and the large hands of Jerry Gorovoy.</p><p><em>Gallery label, October 2016</em></p> | false | 1 | 2351 | paper print 20 etchings watercolour pencil gouache | [
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"id": 8598,
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"title": "ARTIST ROOMS Louise Bourgeois",
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{
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{
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{
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{
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"title": "Louise Bourgeois",
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] | 10 am is When You Come to Me | 2,006 | ARTIST ROOMS
<br />Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013<br /><span class="credit-tag-line">On long term loan</span> | 2006 | CLEARED | 4 | image, each: 380 × 910 mm
frame, each: 478 × 1006 × 40 mm | long loan | ARTIST ROOMS
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013 | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013 | [
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"content": "<div class=\"text\">\n<p>\n<i>10 am is When You Come to Me</i> is a multipart work, consisting of twenty hand-painted sheets of musical score paper depicting the hands of the artist and those of her assistant Jerry Gorovoy. The artist’s hands are discerned by her wedding ring. Bourgeois’s and Gorovoy’s hands, painted in various shades of red and pink or outlined in black, adopt a number of poses. Sometimes only Bourgeois or Gorovoy’s hands are represented, at others they reach across toward each other or meet. The etching in the top left corner depicts a clock, with hands set at 10 am. The hands of the clock are composed of a nude male and female figure, with the nude male in the place of the minute hand and the nude female in the place of the hour hand. Across the image of the clock the title of the work, ‘10AM is when you come to me’, is written in red paint. Each sheet is framed individually and hung in a grid with five rows of four frames each. Bourgeois produced this work in 2006. The artist made ten unique versions, including a larger-scale one featuring forty sheets.</p>\n<p>Gorovoy was a frequent model for other works by Bourgeois that feature hands. For instance the sculpture <i>The Welcoming Hands </i>1996 (Jardin des Tuileries, Paris), which depicts the artist’s hands clutching Gorovoy’s in bronze. Bourgeois met Gorovoy in the late 1970s; he was her assistant, close friend and confidant for over thirty years. She remarked of him: ‘When you are at the bottom of the well, you look around and say, who is going to get me out? In this case it is Jerry who comes and he presents a rope, and I hook myself on the rope and he pulls me out.’ (Quoted in Morris 2007, p.150.) The depiction of hands and arms reaching across the expanses of paper in this work parallels Bourgeois’s description of being pulled out of a well, suggesting that Gorovoy’s presence remedied the artist’s feeling of isolation. The title of the work, <i>10 am is When You Come to Me</i>, is a reference to the time of the morning when Gorovoy would arrive at Bourgeois’s studio or home to begin their working day together and thus reflects the reliability and familiarity of their daily routine. Indeed because the work was made by drawing around their hands, it could also be seen as a direct record or index of their shared time in the studio. Yet while it is possible to read a personal narrative into this work, the interplay of the two sets of hands also reflects the nature of close friendships in general. This theme appears differently in other works by Bourgeois that use the motif of the hand to symbolise dependency and support, such <i>Nature Study </i>1986 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bourgeois-nature-study-al00228\" title=\"View the details of this artwork\"><span>AL00228</span></a>).</p>\n<p>The artist’s use of red in <i>10 am is When You Come to Me</i> is characteristic of her work on paper. Bourgeois said: ‘Red is an affirmation at any cost – regardless of the dangers in fighting – of contradiction, of aggression. It’s symbolic of the intensity of the emotions involved.’ (Quoted in Askew and d’Offay 2013, p.85.) The colour red here might symbolise the emotional intensity and passion present in this intimate friendship as well as the warmth, both literal and figurative, of two bodies interacting. The sequence of different poses in this work also demonstrates the quotidian quality of Bourgeois and Gorovoy’s relationship. The distinct composition of each sheet alludes to moments of disconnection as well as connection, perhaps suggesting another reading of the work as a map of their working relationship and the varied successes of artist and assistant to realise a work. Indeed the process of making is highlighted in the splatters and impressions of paint marking the paper.</p>\n<p>The use of musical score paper further emphasises the rhythm of Bourgeois and Gorovoy’s relationship, although the absence of notes suggests the unscripted openness of their interaction. When the full extent of the grid is visible, the staves become almost imperceptible and the multiple gestures read more like choreography. In this way the work elevates the habitual gestures of touching, reaching and holding into a dance.</p>\n<p>\n<b>Further reading</b>\n<br/>Paul Gardner, <i>Louise Bourgeois: Universe Series on Women Artists</i>, New York 1994.<br/>Francis Morris (ed.), <i>Louise Bourgeois</i>, exhibition catalogue, Tate Modern, London 2007, reproduced (larger version) p.151.<br/>Lucy Askew and Anthony d’Offay, <i>Louise Bourgeois: A Woman Without Secrets</i>, exhibition catalogue, National Galleries of Scotland, Edinburgh 2013, p.85, reproduced pp.19, 22–3, 60–1.</p>\n<p>Allan Madden<br/>The University of Edinburgh<br/>November 2014</p>\n<p>\n<i>The University of Edinburgh is a research partner of ARTIST ROOMS.</i>\n</p>\n</div>\n",
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