Louise Bourgeois - 3 Quarks Daily

by Sue Hubbard

“Beauty is the mystery of life, it is not just in the eye. It is in the mind. It is our positive response to life.” —Agnes Martin

010 Over the last few years Tate Modern has paid homage to a number of important women artists including, amongst others, Eva Hesse, Frida Kahlo, Louise Bourgeois, Yayoi Kusama, Marlene Dumas and Sonia Delaunay. That the psychodrama of Frida Kahlo and Louise Bourgeois, the theatre of Kusama and the eroticism of Marlene Dumas should have had wide public appeal is not surprising. All provide the means for the viewer to identify with the artist, to ‘feel her pain' and be drawn into her emotional maelstrom and visual world. But the current exhibition of work by Agnes Martin is an altogether more difficult affair. It makes demands on the spectator who, if willing to engage, will be rewarded by moments of Zen-like stillness and clarity.

To sit among Martin's white paintings, The Islands I-XII, 1979, is akin to being alone with Rothko's Seagram paintings. Though while Rothko is chthonic, the colours womb-like and elemental as he wrestles with the dark night of the soul, the subtle tonalities of Martin's pale paintings are, in contrast, Apollonian. She is Ariel to Rothko's Caliban. Full of light and air, her paintings quieten the busy mind, provide space, tranquillity and silence. Yet each of these silences is subtly varied, broken by differing accents and rhythms. The tonal shifts, the small variations and delineations of the sections of the canvas demand attention and mindfulness. These works offer not so much an experience of the sublime – that form of masculine awe and ecstasy – as a dilution into nothingness, an arrival at T. S. Eliot's “still point in a turning world.” Here we find stasis, where everything, as in meditation, has been stripped away, so that we are left with nothing more than the rhythm of the world, with what simply IS.

by Sue Hubbard

Until 10^th March 2013

12-11529_The Return of the Butterfly I remember seeing Judy’s Chicago’s The Dinner Party (1979) in a rundown Islington warehouse. It was 1985 and I had just arrived in London; a young single parent mother, newly divorced, and a fledgling art critic. The year before that the work had been shown at the Edinburgh Festival. The huge crates had crossed the Atlantic by boat, and then travelled by lorry to Felixstowe, to be carried up two flights of stairs in a 19^th century building without a lift. Arranged on a triangular banqueting table, each arm of which measured some 48 feet, there were a total of thirty-nine place settings commemorating women from history. Each setting was laid with a china-painted porcelain plate on which there was a raised central motif – vulvae and butterfly forms – created in a style appropriate to the woman being celebrated. There were also embroidered runners, gold chalices and utensils and the names of another 999 women inscribed in gold on the white tile floor below the table. Disparaged and misunderstood by many at the time I was bowled over by its ambition and emotional reach. I’d never seen a visual art work that spoke so directly about female experience. There was nothing ironic, nothing deliberately sensational about the work. This was a female aesthetic based on the lives of important women, and on the oppression and devaluation of the feminine that had been the norm for centuries and was still current in contemporary society. The art historian, Griselda Pollock, suggested that the piece created “a feminist space of encounter”, where new explorations and new ideas about femininity, modernity and modes of representation could be examined. Its daring helped to open the door for women’s self expression on both sides of the Atlantic and gave permission for women to become real contenders in the art game.

Tag: Louise Bourgeois

A Modern Mystic: Agnes Martin, Tate Britain, Until 11th October, 2015

Monday, February 4, 2013

Judy Chicago and Louise Bourgeois, Helen Chadwick, Tracey Emin: Ben Uri Gallery, London