{"page":"\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/resources-c03aa079.css\" /\u003e\n\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/lp_boclips_stylesheets-517835be.css\" media=\"all\" /\u003e\n\u003cdiv data-title='The complex towering cells of artist Louise Bourgeois' data-url='/boclips/videos/5c54d242d8eafeecae1e0211' data-video-url='/boclips/videos/5c54d242d8eafeecae1e0211' id='bo_player_modal'\u003e\n\u003cdiv class='boclips-resource-page modal-dialog panel-container'\u003e\n\u003cdiv class='react-notifications-root'\u003e\u003c/div\u003e\n\u003cdiv class='rp-header'\u003e\n\u003cdiv class='rp-type'\u003e\n\u003ci aria-hidden='true' class='fai fa-regular fa-circle-play'\u003e\u003c/i\u003e\nVideo\n\u003c/div\u003e\n\u003ch1 class='rp-title' id='video-title'\u003e\nThe complex towering cells of artist Louise Bourgeois\n\u003c/h1\u003e\n\u003cdiv class='rp-actions'\u003e\n\u003cdiv class='mr-1'\u003e\n\u003ca class=\"btn btn-success\" data-posthog-event=\"Signup: LP Signup Activity\" data-posthog-location=\"body_link_boclips\" data-remote=\"true\" href=\"/subscription/new\"\u003e\u003cspan\u003e\u003cspan\u003eGet Free Access\u003c/span\u003e\u003cspan class=\"\"\u003e for 10 Days\u003c/span\u003e\u003cspan\u003e!\u003c/span\u003e\u003c/span\u003e\u003c/a\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-body'\u003e\n\u003cdiv class='rp-info'\u003e\n\u003cdiv aria-label='Hide resource details' class='rp-hide-info' role='button' tabindex='0'\u003e\u0026times;\u003c/div\u003e\n\u003ci aria-label='Expand resource details' class='rp-expand-info fai fa-solid fa-up-right-and-down-left-from-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003ci aria-label='Compress resource details' class='rp-compress-info fai fa-solid fa-down-left-and-up-right-to-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003cdiv class='rp-rating'\u003e\n\u003cspan class='resource-pool'\u003e\n\u003cspan class='pool-label'\u003ePublisher:\u003c/span\u003e\n\u003cspan class='pool-name'\u003e\n\u003cspan class='text'\u003e\u003ca data-publisher-id=\"30356011\" href=\"/search?publisher_ids%5B%5D=30356011\"\u003eCurated Video\u003c/a\u003e\u003c/span\u003e\n\u003c/span\u003e\n\u003c/span\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-description'\u003e\n\u003cspan class='short-description'\u003eFOR CLEAN VERSION SEE STORY NUMBER: 4060335LEAD IN:Denmark's Louisiana Museum of Modern Art is presenting a new exhibit which explores the complex, towering installations of French-American artist Louise Bourgeois.Named 'cells', her...\u003c/span\u003e\n\u003cspan class='full-description hide'\u003eFOR CLEAN VERSION SEE STORY NUMBER: 4060335LEAD IN:Denmark's Louisiana Museum of Modern Art is presenting a new exhibit which explores the complex, towering installations of French-American artist Louise Bourgeois.Named 'cells', her large-scale works provided a space in which she could present ideas of the mind and the body.STORY-LINE:It's an arachnophobe's nightmare, but it's Louise Bourgeois' dream.At Denmark's Louisiana Museum of Modern Art (around 35 kilometres north of Copenhagen), the gallery is presenting a new exhibit on the French-American artist's larger than life installations, called 'cells'.Over a period of 70 years, Bourgeois crafted a comprehensive body of work which spanned a wide array of materials and forms.But here they're focusing on perhaps her most original work types: cells. Each work is an independent installation filled with carefully arranged objects which - together broken glass, old doors or wire mesh - create certain scenarios.Playing on the common fear of spiders, this work - named 'Spider' - shows how the artist actually saw the spider as a caring and protective creature.A frequent element of her works, spiders often represented her mother who worked as a weaver, restoring historical tapestries in the family's workshop.\"With the cells she could create her own sales that were independent of random museum spaces that her works could be placed in,\" says exhibit curator, Tine Colstrup.\"So with the cells she could really compose a three-dimensional spatial architectural piece where she could preserve a certain story and mood and temper, regardless of what context the works could be placed in.\"Drawing together 25 of the 62 cells Bourgeois created, the exhibit begins with some of her earliest attempts. It's the first time so many cells have been brought to together for one exhibition.'The Cells I-VI' were created for the exhibit Carnegie International in Pittsburgh in 1991 and were the first the artist referred to as 'cells'. The walls are made from old doors. \"We have perfume bottles for the sensation of smell, we have an ear for hearing, so all the different senses and their relation to memory,\" explains Colstrup. \"Also their relation to different kinds of pain, which is also the subject in these first cells. And then, they're all pretty small, so they're also about really small, claustrophobic spaces and that's the kind of space she preferred.\"Bourgeois lived to the age of 98 and it was during the last 20 years of her life that she began concentrating on these large-scale works.In 1980, she obtained her first real studio in a closed-down garment factory in Brooklyn, New York and it was there she was able to create works on a much larger scale.Objects from the abandoned factory, as well as doors, windows and other found elements, found their way into her works.\"I think she liked creating her own architecture to house these objects,\" explains Jerry Gorovoy, the chairman of the Louise Bourgeois Foundation.\"To set the scale, to make room-size installations sort of claustrophobic spaces that the viewer could enter and in certain cases the viewer could look from the outside, it sets up different kinds of relationship to the body in a way.\"This work - named 'The Last Climb' - features a spiral staircase leading up through the roof to nowhere. It was her last 'cell' sculpture.The staircase at its centre was originally located in the artist's Brooklyn studio, she made the installation when she left the studio and decided to take the staircase with her.\"She doesn't work with a concept, she always says; 'I start with an emotion first,' and I think it's leaving the studio that she had worked in for almost 25 years,\" explains Gorovoy. \"To leave a place that she created a whole body of work, it was a big chapter in her life in a way, this space. \"It's the staircase that she actually made for the studio so it has this idea of holding on to things, holding onto the past.\"In 1982, Bourgeois was the first woman to have a large-scale retrospective at New York's Museum of Modern Art.Then in her 70s, the exhibit finally introduced her work to the wider public.Colstrup believes Bourgeois is gaining greater significance and appreciation as time goes on.\"I've looked her up in various encyclopedias that are not brand new and it's really interesting because if she's mentioned usually it's only ten lines, very short,\" she says. \"And if we were to write new encyclopedias today - and that's being done right now - she would most certainly take up some more space.\"In 2010, Bourgeois died at the age of 98 in New York. She worked until her death.'Louise Bourgeois. Structures of Existence: The Cells' runs 13 October - 26 February 2017 at Denmark's Louisiana Museum of Modern Art.Copenhagen, Denmark - 12 October 20161. Various of 'Spider' 1997 by French-American artist Louise Bourgeois at Louisiana Museum of Modern Art's new exhibit 'Louise Bourgeois. The Structure of Existence: The Cells'2. Setup shot of Tine Colstrup, Exhibit Curator, looking at 'Spider'3. SOUNDBITE (English) Tine Colstrup, Exhibit Curator:\"With the cells she could create her own sales that were independent of random museum spaces that her works could be placed in. So with the cells she could really compose a three-dimensional spatial architectural piece where she could preserve a certain story and mood and temper, regardless of what context the works could be placed in.\"4. Various of 'Cell II' 19915. Various of 'Cell V' 19916. Various of 'Cell VI' 19917. Various of 'Cell IV' 19918. SOUNDBITE (English) Tine Colstrup, Exhibit Curator:\"We have perfume bottles for the sensation of smell, we have an ear for hearing, so all the different senses and their relation to memory. Also their relation to different kinds of pain, which is also the subject in these first cells. And then, they're all pretty small, so they're also about really small, claustrophobic spaces and that's the kind of space she preferred.\"9. Various of 'Cell (The Last Climb)' 200810. SOUNDBITE (English) Jerry Gorovoy, Chairman of the Louise Bourgeois Foundation:\"I think she liked creating her own architecture to house these objects. To set the scale, to make room-size installations sort of claustrophobic spaces that the viewer could enter and in certain cases the viewer could look from the outside, it sets up different kinds of relationship to the body in a way.\"11. Various of 'Cell (The Last Climb)' 200812. SOUNDBITE (English) Jerry Gorovoy, Chairman of the Louise Bourgeois Foundation:\"She doesn't work with a concept, she always says; 'I start with an emotion first,' and I think it's leaving the studio that she had worked in for almost 25 years. To leave a place that she created a whole body of work, it was a big chapter in her life in a way, this space. It's the staircase that she actually made for the studio so it has this idea of holding on to things, holding onto the past.\"13. Various of 'In and Out' 199514. Various of 'Cell (Choisy)' 1990-9315. SOUNDBITE (English) Tine Colstrup, Exhibit Curator:\"I've looked her up in various encyclopedias that are not brand new and it's really interesting because if she's mentioned usually it's only ten lines, very short. And if we were to write new encyclopedias today - and that's being done right now - she would most certainly take up some more space.\"16. Various of 'The Destruction of the Father' 197417. Various of 'Cell IX' 1999 18. Long shot of corridor, reading: \"Louise Bourgeois\", visitor walks by in foreground19. Various of photograph of artist Louise Bourgeois at entrance to exhibit20. 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