Overview
When someone spots a giant spider, they take notice, even when it's simply a tall metal piece of art. Seeing one of Louise Bourgeois' towering arachnids is indeed a stunning experience; however, so is watching people clock her lofty works. Her Maman sculptures demand attention. They're the type of public art that audiences just want to sit around, soak in and commune with. They're photo favourites, too, of course — and one is coming to Australia.
This will be the first time that Maman has displayed Down Under, with the world-famous work heading to Sydney as part of Sydney International Art Series returns for 2023–24. As previously announced, Bourgeois is one of three hero talents scoring a blockbuster exhibition during event, alongside Wassily Kandinsky and Tacita Dean. And, the nine-metre-high, ten-metre-wide sculpture that she's best known for will be catching Aussie art lovers in its web.
Louise Bourgeois' Maman, located outside the National Gallery of Canada. Radagast via Wikimedia Commons.
That said, there won't be any physical strings of silk — but Maman is that entrancing. The sculpture hails back to 1999, and boasts its name because it's a tribute to Bourgeois' mother. The artist described her mum as "deliberate, clever, patient, soothing... and [as] useful as a spider".
If you're keen to see Maman on home soil, it'll sit on the forecourt of the Art Gallery of New South Wales' South Building from Saturday, November 25, 2023–Sunday, April 28, 2024 during Louise Bourgeois: Has the Day Invaded the Night, or Has the Night Invaded the Day?'s run.
And if it sounds familiar, that's because you might've seen permanent installations of the bronze, steel and marble work outside the Mori Art Museum in Tokyo — or at the Tate Modern in the UK, National Gallery of Canada in Ottawa, Guggenheim Museum Bilbao in Spain, Crystal Bridges Museum of American Art in Bentonville in Arkansas or the Qatar National Convention Center in Doha.
Louise Bourgeois 'Clouds and Caverns' 1982–89, metal, wood, 274.3 x 553.7 x 182.9 cm, Collection The Easton Foundation, New York, courtesy Kunstmuseum Den Haag © The Easton Foundation, photo: Christopher Burke.
"We are proud that the subject of our first major solo exhibition in our new SANAA-designed North Building, almost one year since opening, is the great Louise Bourgeois. We are honoured to introduce this deeply influential artist to new generations, and to have the opportunity to share the strange beauty and emotional power of her art with Sydney,' said Art Gallery of New South Wales director Michael Brand.
"The scale of this exhibition, which is one of the most extensive ever dedicated to an international woman artist in Australia, demonstrates our commitment to revealing the depth and complexity of the artistic careers we explore and our commitment to celebrating the work of women artists in our collection and exhibitions."
"We are proud to bring Maman, the largest spider sculpture ever made by Bourgeois, to Sydney for the very first time, and to be showcasing the extraordinary breadth of the artist's practice, which includes fabric sculpture, works on paper, bronzes, works from her series of Cells, mechanised sculpture, and more."
Louise Bourgeois 'Twosome' 1991, steel, paint, electric light, 190.5 x 193 x 1244.6 cm, Collection The Easton Foundation, New York © The Easton Foundation, photo: Elad Sarig.
A collaboration with The Easton Foundation in New York, Louise Bourgeois: Has the Day Invaded the Night, or Has the Night Invaded the Day? will showcase more than 150 works. It's the largest survey of Bourgeois' work ever displayed in Australia — and, as Brand mentioned, one of the most comprehensive ever devoted to a female artist in the country.
The Bourgeois exhibition will display 13 years after the Paris-born artist passed away in New York in 2010, and after she stamped her imprint upon the art of the 20th century. Visitors to will see her Personage sculptures from the 1940s, textile works of the 1990s and 2000s, and plenty in-between, with the showcase playing up the duelling themes and ideas in her work by taking over AGNSW's major exhibition gallery and 'the Tank'.
Other highlights include The Destruction of the Father, which is among the pieces that've never been displayed in Australia before; Crouching Spider, and one of the biggest works ever to grace the Tank; Clouds and Caverns, which is rarely seen in general; and the mirrored piece Has the Day Invaded the Night, or Has the Night Invaded the Day?, which shares the exhibition's moniker.
Louise Bourgeois, The destruction of the father 1974-2017, archival polyurethane, resin, wood, fabric and red light, 237.8 x 362.3 x 248.6 cm. Glenstone Museum, Potomac, Maryland. Photo: Ron Amstutz. © The Easton Foundation.
Louise Bourgeois: Has the Day Invaded the Night, or Has the Night Invaded the Day? runs from Saturday, November 25, 2023–Sunday, April 28, 2024 at the Art Gallery of New South Wales, Art Gallery Road, The Domain, Sydney, with tickets on sale from Wednesday, September 6.
Sydney International Art Series runs from November 2023 — head to the AGNSW and MCA websites for further details.
Top image: Louise Bourgeois 'Maman' 1999, installed during the exhibition 'Louise Bourgeois: To Unravel a Torment', Museu de Arte Contemporânea de Serralves, Porto, 3 December 2020 – 20 June 2021 © The Easton Foundation, photo: Filipe Braga.