Louise Bourgeois, ‘Reparation (Two Sheets, Double Sided)’, 1991, Alpha 137 Gallery
Louise Bourgeois, ‘Reparation (Two Sheets, Double Sided)’, 1991, Alpha 137 Gallery
Louise Bourgeois, ‘Reparation (Two Sheets, Double Sided)’, 1991, Alpha 137 Gallery
Louise Bourgeois, ‘Reparation (Two Sheets, Double Sided)’, 1991, Alpha 137 Gallery
Louise Bourgeois, ‘Reparation (Two Sheets, Double Sided)’, 1991, Alpha 137 Gallery
Louise Bourgeois, ‘Reparation (Two Sheets, Double Sided)’, 1991, Alpha 137 Gallery
Louise Bourgeois, ‘Reparation (Two Sheets, Double Sided)’, 1991, Alpha 137 Gallery
Louise Bourgeois, ‘Reparation (Two Sheets, Double Sided)’, 1991, Alpha 137 Gallery
Louise Bourgeois, ‘Reparation (Two Sheets, Double Sided)’, 1991, Alpha 137 Gallery
Louise Bourgeois, ‘Reparation (Two Sheets, Double Sided)’, 1991, Alpha 137 Gallery
Louise Bourgeois, ‘Reparation (Two Sheets, Double Sided)’, 1991, Alpha 137 Gallery
Louise Bourgeois, ‘Reparation (Two Sheets, Double Sided)’, 1991, Alpha 137 Gallery

Note: Measurements apply to each sheet
"...A stitch in time. A patched and mended page in a book fuses theory with biography—the sculptor’s approach to assemblage as a reparative process and her origins as the child of tapestry-restorers..."
Assemblage of printed and hand-colored paper, hand torn and pierced with thread (image front and back)
Remark: This work was commissioned of Louise Bourgeois for the Special Edition for "Parkett" No. 27, 1991"
It is hand coloured and torn by hand and sewn with a thread
In excellent condition; held in the original Parkett periodical and protected by thin translucent paper; never removed.
This work is one of XX (twenty) roman numeraled Artist's Proofs, aside from the regular edition of 75.
This particular piece has superb provenance. It was purchased from a former assistant to the gallerist Robert Miller, who received this Artist's Proof as a gift from Robert Miller who represented Louise Bourgeois when she created this multiple for Parkett.

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Quote
“[Under] the psychic conditions of production in which Bourgeois works, the object is made for psychic use. For Bourgeois, cathexis is often coupled with self-representation, or more precisely, with a projection of the self onto the object which becomes its substitute.” Mignon Nixon Parkett No. 27, 1991

Signature: Hand signed and numbered AP IV on the recto (front)

Publisher: Made by Rebecca Lax, Solo Press, New York for Parkett Editions

Parkett, No. 27, 1991
Quote
“[Under] the psychic conditions of production in which Bourgeois works, the object is made for psychic use. For Bourgeois, cathexis is often coupled with self-representation, or more precisely, with a projection of the self onto the object which becomes its substitute.” Mignon Nixon Parkett No. 27, 1991

gifted by Robert Miller to a former assistant. Acquired directly from him in 2014.

About Louise Bourgeois

Beginning her artistic practice in her native Paris, Louise Bourgeois was originally associated with Surrealism due to her integration of fantastic elements into her prints and sculptures. Upon moving to New York in 1938, Bourgeois focused primarily on sculpture, crafting biomorphic forms that curator Lucy Lippard has described as enacting the physicality of the body as experienced from within. Bourgeois’s suggestive organ-like contours and early use of unconventional materials (like resin, latex, and cloth) allude to a tension between quintessentially male and female forms. This recurrent interrogation of the male/female dialectic aligns Bourgeois with the Feminist movement, but her work has also been examined through the lens of Abstract Expressionism, as she exhibited with artists such as Robert Motherwell, Jackson Pollock, and Mark Rothko.

French-American, 1911-2010, Paris, France, based in New York & Paris