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My laptop is as messy as my room.
Folders filled with images by various artists, mostly photographers.
On of those folders is labeled Louise Bourgeois.
Never came around to use the images I have been collecting there.
I was sort of afraid to comment her oeuvre.
As all good art, her work is easier to sense than to understand and to explain.

All I know is that the few times I actually came across her work
it had a big impact on me.



You could have seen here a sequence of images by Louise Bourgeois …but now you can´t anymore,



I was asked by BILDKUNST.DE

to delete the images by
(these were the names spelled out)


Loretta Lux,
Man Ray,
Valie Export,
August Sander
Lotte Reiniger


and every other artist represented by them or to pay a fee for publishing their images.
They represent around 126 000 artists from around the world.


I am working on this blog for my fun,
and for the enjoyment of people interested in photography and art.
There is no income generated whatsoever by this site for me.

Many of the images I use here are floating all over the net,
other images I scanned to upload them to my blog.
To share them, to enrich the world with the work of artists I do admire.

No, my blog is not important.

But it is part of what I would call our common wealth.


I don´t think that I am the source of income losses for the artist,
or anybody else.


Art as part of everyday life,
art easily accessible by everybody without barriers and fees,
art as part of the free flow of thoughts and


But not in the case of artist represented by Bild-Kunst.



Just bits and pieces…. I am sure that I am missing out lots of aspects of her art.
Looking for material, the Internet offers the same images over and over again. People prefer to copy what is already to be found on the net, instead off putting up new material. As I did this time too…

As far as I can tell, Bourgeois’s work centers on the female part of humanity. Sexuality and suffering seem to be in the focus of her oeuvre. Males are only presented through and represented by their penises.

While Nan Goldin shows female suffering, victimized by males, Louise Bourgeois’s work is more open, and less stereotyped. Though there is pain, females are seen here on their own, and less dependent on males as with Goldin.

It is fascinating for me to see this female introspection. The other half of humanity is still a riddle to me, and surely will stay that way, motivating me trying to find out more.

Bourgeois’s work simply is forceful. Using a highly individual language, she is covering a wide range of artistic means, from delicate aquarelles to overwhelmingly gigantean spiders dwarfing humans and architecture.