Untitled, plate 5 of 9, from the portfolio, Topiary: The Art of Improving Nature

Cat. No. 448/II

Untitled, plate 5 of 9, from the portfolio, Topiary: The Art of Improving Nature

State/Variant:
State II of III
Date:
1998
Themes
Body Parts, Figures
Techniques
Etching
Dimensions:
plate: 29 13/16 x 21 3/4" (75.7 x 55.3 cm); sheet: 39 1/8 x 27 1/2" (99.4 x 69.9 cm)
Signature:
"LB" lower right margin, pencil.
Publisher
unpublished
Printer
Harlan & Weaver
Edition:
1 known impression of state II
Edition Information:
Proof before the editioning of state III.
Impression:
Not numbered
Background:
According to Bourgeois’s assistant Jerry Gorovoy, topiary work interested Bourgeois because the cutting and healing of the plant makes the tree stronger. He also points out the portfolio's connection to Bourgeois’s sister, Henriette, who had a condition that caused stiffness in her leg. Bourgeois referred to this as, "in effect, a wooden leg."

The editioned state III of this composition was published as a benefit for the Whitney Museum of American Art, New York.
Curatorial Remarks:
The paper type and plate dimensions of this impression could not be documented because this impression is not in MoMA's Collection and could not be examined in person. The plate dimensions are from the published impression in MoMA's Collection. The sheet dimensions were provided by the Louise Bourgeois Studio.

The compositions for plates 5, 6, 7, and 8 of the “Topiary” portfolio are related and appear to have shared some of the same source drawings and photocopy studies. Known studies are illustrated below in the Evolving Composition Diagram, and as Related Works in the Catalogue, for each plate.
Descriptive Title:
Amputee
Description:
Etching
State Changes and Additions:
Matrices:
The progression of this composition, as seen in the Evolving Composition Diagram below, involved 2 plates.

Plate 1: line elements of composition; printed in black.

Plate 2: shading of arm and leg stumps; printed in pink.

State Changes:
Plate 1 printed alone.
Changes from state I by burnishing: composition refined overall.
Changes from state I by etching: composition strengthened overall.
Artist’s Remarks:
Written on a loose sheet, c. 1990s:
“Topiary
The trainer, the teacher, the carver, the butcher
To reject (cut off) and be moral about it
That is the fun
To nurture and train to full potential (valuable, useful)
I am going to cut (reject) everything in sight because I did not get what I wanted
What
To be loved by 1, 2, 3, 4
c’est la peur […]”
(The Easton Foundation: LB-0050)
© The Easton Foundation/VAGA at ARS, NY

Untitled, plate 5 of 9, from the portfolio, Topiary: The Art of Improving Nature

1998

Source

1997

Untitled

Source

1997

Untitled
Studies
Untitled (Study for Topiary: The Art of Improving Nature)
States
Untitled, plate 5 of 9, from the portfolio, Topiary: The Art of Improving Nature
Untitled, plate 5 of 9, from the portfolio, Topiary: The Art of Improving Nature
Untitled, plate 5 of 9, from the portfolio, Topiary: The Art of Improving Nature

Portfolio

1998

Topiary: The Art of Improving Nature

Related Works in the Catalogue

Untitled, plate 6 of 9, from the portfolio, Topiary: The Art of Improving Nature
Untitled, plate 7 of 9, from the portfolio, Topiary: The Art of Improving Nature
Untitled, plate 8 of 9, from the portfolio, Topiary: The Art of Improving Nature
Henriette
Topiary, plate 20 of 24, from the series, Self Portrait
Untitled (Study for Topiary: The Art of Improving Nature)
Untitled (Study for Topiary: The Art of Improving Nature)
Untitled (Study for Topiary: The Art of Improving Nature)

Related Works in Other Mediums

Topiary III
Topiary
Topiary
You Ask Me Too Much
Henriette