Louise Bourgeois

From The #Pizzagate Wiki
Jump to: navigation, search

Public life

Description from Wikipedia

Louise Joséphine Bourgeois (25 December 1911 – 31 May 2010) was a French-American artist. Best known for her large-scale sculpture and installation art, Bourgeois was also a prolific painter and printmaker. She explored a variety of themes over the course of her long career including domesticity and the family, sexuality and the body, as well as death and the subconscious. Although Bourgeois exhibited with the Abstract Expressionists and her work has much in common with Surrealism and Feminist art, she was not formally affiliated with a particular artistic movement.

Role on #Pizzagate

Tony Podesta with Arch of Hysteria
It is not believed that Louise Bourgeois has any direct role. Rather, her work, Arch of Hysteria, as well as her prior works with themes of cannibalism, are discussed in relation to the mindset of art collector Tony Podesta.

Relation with #Pizzagate

Arch of Hysteria

Bourgeois' work, Arch of Hysteria, is prominently featured in Tony Podesta's art collection. It bears a striking resemblance to a Polaroid photo of a victim of the cannibal, Jeffrey Dahmer due to the decapitated head, emaciated frame, and similar positioning of the body. Arch of Hysteria is often suspended from a ceiling by a cable in its pelvic region, but it also may be presented in a recreation of a cellar, with a large saw and the sculpture lying on a bed. Some may argue the latter scenario is reminiscent of a slaughterhouse.[1][Archived Version] It should also be noted, Dahmer's victim was also lying on a bed.
Arch of Hysteria presented in a cellar with a saw

According to Bourgeois, the work's name and inspiration is a reference to a classic view of "hysteria," a traditionally female malady as it was originally linked to premenstrual syndrome.[2] An 1824 engraving by Charles Bell provides one illustration using a male.[3] However, there is one key difference between Bourgeois' work and all other portrayals of "hysteria" - no other portrayal has the subject's head severed.

Discussion Over Whether Dahmer's Photos Influenced Bourgeois

A Side-by-side comparison of a Dahmer victim and Arch of Hysteria

Arch of Hysteria was first released in 1993.[4] Jeffrey Dahmer was arrested on July 22, 1991.[5] On February 15, 1992, his first trial concluded.[6] The Polaroid photos he took of his victims provided key evidence against him in his criminal trial. The adjoining photo is one of 74 others.[7]

Evidence in criminal trials is often made available to the public after it is shown in court or after the case has concluded. "[T]he public's right of access to judicial records is protected by various legal sources. After-the-fact access to evidence, however, is less certain, although some courts have adopted the view that the public has a right to access such evidence, absent exceptional circumstances."[8][Archived Version] Needless to say, the Court in the Dahmer trial showed no attempt to conceal the proceedings from the public. In fact, the Jeffrey Dahmer trial was televised publicly on CourtTV.[9][Archived Version] It was arguably one of the 11 most-watched trials in history.[10][Archived Version]

While it is unclear what Polaroid photos, if any, were shown on television, the photos were made publicly available. That is how Vernon Gerberth was able to acquire them for his 1996 book, Practical Homicide Investigation, for example. Given the high-profile nature of the Dahmer case, the occasional portrayal of the Arch of Hysteria in a scenario reminiscent of a slaughterhouse, and Bourgeois' previous works showing her interest in cannibalism, it is not unreasonable to think that she may have taken an interest in the case, seen the Dahmer photo, and allowed it to influence her work, which would be released a year later.

Destruction of the Father

Destruction of the Father, 1974
Bourgeois has a large body of work, having created pieces throughout her almost 100 year life, and some others have featured themes of cannibalism. Perhaps most notable was her 1974 piece, Destruction of the Father. "Set in a stylized dining room (with the dual impact of a bedroom), the abstract blob-like children of an overbearing father have rebelled, murdered, and eaten him."[11][Archived Version] In her own words, Bourgeois described the piece as such "We grabbed him, laid him on the table and with our knives dissected him. We took him apart and dismembered him, we cut off his penis. And he became food. We ate him up…"[12][Archived Version]

External links