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  • Louise Bourgeois Clutching 1962

    Louise Bourgeois Clutching 1962
    Plaster
    Courtesy Cheim & Read, Galerie Karsten Greve and Galerie Hauser & Wirth
    © Louise Bourgeois Photo: Rafael Lobato 

  • Louise Bourgeois The Lair 1962

    Louise Bourgeois The Lair 1962
    Plaster
     

    Courtesy Cheim & Read, Galerie Karsten Greve and Galerie Hauser & Wirth
    © Louise Bourgeois Photo: Christopher Burke

  • Louise Bourgeois End of Softness 1967

    Louise Bourgeois End of Softness 1967
    Bronze, gold patina 

    Courtesy Cheim & Read, Galerie Karsten Greve and Galerie Hauser & Wirth
    © Louise Bourgeois Photo: Christopher Burke

  • Louise Bourgeois Le Regard 1966

    Louise Bourgeois Le Regard 1966
    Latex and cloth
    Courtesy Cheim & Read, Galerie Karsten Greve and Galerie Hauser & Wirth
    © Louise Bourgeois Photo: Christopher Burke 

After a period of withdrawal from the art world, Louise Bourgeois revealed a new body of work in the mid-1960s. This linked her to a younger generation of artists, like Eva Hesse and Bruce Nauman, who were reacting against minimalism. In 1964 she exhibited (at the Stable Gallery in New York) a series of sculptures made from malleable materials such as plaster and latex. These were a distinct departure from her earlier, rigid, wooden structures. Bourgeois’s concern with the body and the home had now emerged in a number of new forms.

Other works, such as Labyrinthine Tower 1962, extend Bourgeois’s interest in the physical and metaphorical properties of the spiral. Here the geometry of her earlier spirals seems to melt away, producing new drooping, biomorphic or phallic forms. As Bourgeois said ‘The spiral is an attempt at controlling the chaos … It has two directions. Where do you place yourself, at the periphery or at the vortex?’.