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Losing Louise

Losing Louise Louise Bourgeois. 2003. Photograph by Nanda Lanfranco. Losing Louise MIGNON NIXON Monday, May 31, 2010 Louise Bourgeois surrenders. Woman-house leaves home. Fallen Woman lapses into the past tense. But then, Louise Bourgeois never shrank from the past. Tuesday, June 1 The novelist Amos Oz writes in the New York Times on the subject of the deadly Israeli military strike against the Gaza aid flotilla yesterday, the day of Louise Bourgeois’ surrender. Violence is intoxicating, Oz observes, for those who have known force as its victims.1 Bourgeois’ art drives this point home. Oz’s op-ed piece overshadows every obituary. “Newsnight,” the BBC’s late-night television news program, ends with a tribute to Bourgeois, featuring a brief clip of the artist in her studio, explaining the dynamics of violence for the audience at home. The scene provides a fitting close to the day’s news. First, Bourgeois expounds, there is the access of pleasure from the violent act. She enunciates this word with a rising note, drawn out for effect, extenuating the plea -zure of aggression. But then, she warns, comes the de-press -shun. Pronouncing the slow, percussive de-press -shun, her voice plunges to a low note. Depress-shun outlasts plea-zure on Bourgeois’ tongue. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png October MIT Press

Losing Louise

October , Volume Fall 2010 (134) – Oct 1, 2010

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Publisher
MIT Press
Copyright
© 2010 October Magazine, Ltd. and Massachusetts Institute of Technology
ISSN
0162-2870
eISSN
1536-013X
DOI
10.1162/OCTO_a_00015
Publisher site
See Article on Publisher Site

Abstract

Louise Bourgeois. 2003. Photograph by Nanda Lanfranco. Losing Louise MIGNON NIXON Monday, May 31, 2010 Louise Bourgeois surrenders. Woman-house leaves home. Fallen Woman lapses into the past tense. But then, Louise Bourgeois never shrank from the past. Tuesday, June 1 The novelist Amos Oz writes in the New York Times on the subject of the deadly Israeli military strike against the Gaza aid flotilla yesterday, the day of Louise Bourgeois’ surrender. Violence is intoxicating, Oz observes, for those who have known force as its victims.1 Bourgeois’ art drives this point home. Oz’s op-ed piece overshadows every obituary. “Newsnight,” the BBC’s late-night television news program, ends with a tribute to Bourgeois, featuring a brief clip of the artist in her studio, explaining the dynamics of violence for the audience at home. The scene provides a fitting close to the day’s news. First, Bourgeois expounds, there is the access of pleasure from the violent act. She enunciates this word with a rising note, drawn out for effect, extenuating the plea -zure of aggression. But then, she warns, comes the de-press -shun. Pronouncing the slow, percussive de-press -shun, her voice plunges to a low note. Depress-shun outlasts plea-zure on Bourgeois’ tongue.

Journal

OctoberMIT Press

Published: Oct 1, 2010

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