John Dewey, Artistic Theory, and Louise Bourgeois
While John Dewey's views on art may not seem particularly radical to us today, he was actually pretty revolutionary for his time. He was unlike many other of his contemporaries, such as Sigmund Freud – who believed that art was an expression of repressed desire – and Clive Bell – a formalist aesthetician, who had little interest in exploring any hidden or deeper meaning in art, beyond the quality of its line and color. Dewey, however, believed that the power of art came from personal experience.
The artist, according to Dewey, does not draw inspiration from some divine or magical source beyond our own understanding. Rather, our art and actions are driven primarily by our own interpretation of past experiences. Through art, the creator can explore complex emotions or ideas, using symbolism and metaphor to render these abstract concepts in material form – which can then be shared and communicated to others.
Dewey emphasized the relationship between artist and viewer. While he did not believe that art had any kind of intrinsic value on it’s own – art could be made meaningful based on how people interpret and respond to it. In his work, Dewey describes a process of “doing and undoing” (Barret, 7). According to Dewey, the human mind is not set in stone. Rather, we exist in a state of constant change – where people and perspective will continue to grow and evolve over time in response to new experiences. Dewey believed there was no single “correct” interpretation of art. Rather, we should exchange differing ideas through open dialogue. Not in search of a conclusion – but to expand upon and enrich our own perspective, so we will be able to learn and grow from other people’s experiences as well as our own.
One of the more powerful examples of this life-expression is the work of Louise Bourgeois – whose art was shaped dramatically – if not entirely – from her own life and past experience.
Fig. 1 || Louise Bourgeois inside ARTICULATED LAIR. || Photo: © Peter Bellamy ||
While Bourgeois has a wealth of work that one could explore, from a lifetime of sculpting, painting, and various abstract and experimental art from 1911 through 2010 (Kawecki, 2017) I would like to focus primarily on The Cells – not only because I find it the most visually fascinating – but I believe it best exemplifies John Dewey’s theory of art inspired by one’s personal life and perspective.
Fig. 2 || Louise Bourgeois || Cell XXVI, 2003 ||
Throughout the last 20 years of her life, Bourgeois created over sixty Cells (Kawecki, 2017). In each of these Cells, Bourgeois has captured a piece of her own history – caged and displayed for the audience to see. Through the clever placement of fences and doors, Bourgeois plays with audience expectations. Where the walls she constructs are not designed to keep people out – but used to draw the viewer in.
Almost reminiscent of a zoo exhibit or aquarium, Bourgeois reconstructs various places and events from her past, offering the audience a glimpse into a completely different world – hers. Through the use of various objects either found or gathered over time, Bourgeois renders memory into physical form.
Fig. 3 || Louise Bourgeois || RED ROOM || Photo: © Peter Bellamy || The Easton Foundation
Throughout her work, Bourgeois describes her troubling relationship with her father, and the misogyny she experienced throughout her formative years, both by his hand, and society at large. She was often subjected to her father’s cruel and sexual jokes, who would frequently humiliate her in front of guests at parties. Her father had always wanted a son, not a daughter, and no matter what she did, according to Bourgeois: “I could not make myself feel understood” (Pierrel, 2021).
Fig. 4 || Bourgeois with her brother Pierre, her tutor, Sadie, and her father in Nice (1922)
These feelings of betrayal were further exacerbated when she later discovered her father had a ten year-long affair with her tutor while her mother was ill with the Spanish flu. When her mother later died of tuberculosis, she was mocked for her grief, and fell into a deep depression and even attempted suicide before she was finally able to break away from her father’s home. According to a BBC interview, “even twenty-five years later,” Bourgeois still carried the pain and resentment that her father had inflicted on her. And it was only through acts of art and destruction (such as smashing plates on the ground) that she could “start to exist” (Pierrel, 2021).
Fig. 5 || Louise Bourgeois || Cell XXV - The view of the world of the jealous wife - 2001 ||
Fig. 6 || Louise Bourgeois || CELL - YOU BETTER GROW UP (1991) || Photo: Peter Bellamy ||
Each individual cell is like a photograph – a frozen moment in time. While the individual cells are relatively self-contained, there are several symbolic elements that appear throughout her work that add up to a more cohesive whole. Florence Waters of Wallpaper describes how Bourgeois uses these objects almost like a “secret language” – using familiar objects of the home such as beds, doors, and furniture – to contrast with her depiction of the human form, which is often distorted and incomplete (Waters, 2016). Mirrors, severed hands, twisted bodies, and several large silver and blue orbs -- which hover above her cells like watchful eyes – are frequently recurring characters throughout her work.
Fig. 7 || Louise Bourgeois || Cell (Eyes and Mirrors) ||
By using these symbols, Bourgeois invokes specific imagery of her own childhood, but these familiar elements can often touch on similar emotions in her own audience. This falls into Dewy’s theory of art as a channel for shared emotion and perspective. While the viewer may have not experienced Bourgeois’ life personally, they can experience her feelings vicariously through art, and compare or contrast them to their own life experience.
Fig. 8 || Louise Bourgeois || CELL XXVI (2003) || Photo: Christopher Burke ||
While you may not need to know Bourgeois’ past in order to enjoy or appreciate The Cells, I believe it would be difficult to separate the art from the artist in this case when they are so thoroughly intertwined. Despite being an ardent student of the “Death of the Author” class, even I must admit that it would be difficult to gain a full understanding of The Cells without knowing at least some of the story behind it. The Cells is a deeply intimate and intensely personal piece of work, shaped so heavily from the artist’s own experience, that if one were to remove the author from the equation, I think a great deal of nuance and understanding would be lost.
When it comes to differing perspectives, I can think of no better example than her 1997 Cell – SPIDER.
Fig. 9|| Louise Bourgeois || SPIDER ||
Upon first glance, Bourgeois’ spider appears to be a nightmarish presence. Much like other potentially dangerous animals, such as wolves or snakes, many people today still have an instinctive revulsion towards spiders. Not helped by the fact that this spider is not only bigger than the ceiling, but by the way it hovers over the cell – with gnarled, crooked legs poised above the cage, as though waiting for the perfect time to strike.
It would certainly be tempting to interpret the spider as a malevolent figure in the author’s life. Perhaps a poisonous friend or family member – a predator, or puppet-master – weaving webs to lure in their prey, before trapping them forever, and eventually drinking them dry.
However, this perspective would stand in stark contrast to the artist’s own interpretation. Bourgeois saw the spider, not for it’s fangs or venom – but as a talented weaver, and a good mother. The way the spider hovers ominously over Bourgeois’ cell is not because it’s her predator. It is her protector.
Fig. 10 || Spider (1997) || Photo: Maximilian Geuter || The Easton Foundation ||
I think this just goes to show the importance of perspective. While I don’t believe any one interpretation is necessarily the “correct” one, by offering different perspectives, art can often cause us to question ourselves and our own perspective. And I think it’s important to allow ourselves to ask these questions. To hear other people’s voices, and listen when people tell their stories – through art, or otherwise.
By exposing ourselves to differing perspectives and experiences, we will not only be able to build empathy, and gain a greater understanding of other people and the world around us – but along the way, we will often find a better understanding of ourselves.
Fig. 11 || Louise Bourgeois || CELL - THE LAST CLIMB - (2008) || Photo: Christopher Burke ||
Citations:
Barret, T. (2008) Why is that Art? Oxford: Oxford University Press.
Manchester, E. (2003) Louise Bourgeois’ Cell - Eyes and Mirrors. Tate
Available at: https://www.tate.org.uk/art/artworks/bourgeois-cell-eyes-and-mirrors-t06899 (Accessed: 8 November 2021).
Kawecki M. (2017) Louise Bourgeois' Structure of Existence: The Cells. Champ Magazine.
Kawecki M. (2017) Louise Bourgeois' Structure of Existence: The Cells. Champ Magazine.
Available at: https://champ-magazine.com/art/louise-bourgeous-structure-of-existence-the-cells/ (Accessed: 8 November 2021).
Waters, F. (2016) Both prison and refuge: Louise Bourgeois’ Cells at the Guggenheim, Bilbao. Wallpaper
Available at: https://www.wallpaper.com/art/louise-bourgeois-cells-at-the-bilbao-guggenheim
(Accessed: 8 November 2021).
Louise Bourgeois. Structures of Existence: The Cells (2015) Haus der Kunst.
Available at: https://hausderkunst.de/en/exhibitions/louise-bourgeois-structures-of-existence-the-cells (Accessed: 8 November 2021).
Pierrel, C. (2021) A Psychoanalytic Exploration of the Work of Louise Bourgeois: Trauma, Therapy and Catharsis. Yiara Magazine.
Available at: https://yiaramagazine.com/2021/01/28/a-psychoanalytic-exploration-of-the-work-of-louise-bourgeois-trauma-therapy-and-catharsis-charlotte-pierrel/ (Accessed: 8 November 2021).
Image list:
Fig. 1, 3, 6, 8, & 11 - Kawecki M. (2017) Louise Bourgeois' Structure of Existence: The Cells. Champ Magazine.
Available at: https://champ-magazine.com/art/louise-bourgeous-structure-of-existence-the-cells/ (Accessed: 8 November 2021).
Fig. 2, 10 - Waters, F. (2016) Both prison and refuge: Louise Bourgeois’ Cells at the Guggenheim, Bilbao. Wallpaper
Fig. 2, 10 - Waters, F. (2016) Both prison and refuge: Louise Bourgeois’ Cells at the Guggenheim, Bilbao. Wallpaper
Available at: https://www.wallpaper.com/art/louise-bourgeois-cells-at-the-bilbao-guggenheim
(Accessed: 8 November 2021).
Fig. 4 - Pierrel, C. (2021) A Psychoanalytic Exploration of the Work of Louise Bourgeois: Trauma, Therapy and Catharsis. Yiara Magazine.
Available at: https://yiaramagazine.com/2021/01/28/a-psychoanalytic-exploration-of-the-work-of-louise-bourgeois-trauma-therapy-and-catharsis-charlotte-pierrel/ (Accessed: 8 November 2021).
Fig. 5 - Xavier
Cell XXV (The view of the world of the jealous wife), (2001) Xavier Hufkens (Accessed: 8 November 2021)
Available at: https://www.xavierhufkens.com/artworks/louise-bourgeois-cell-xxv-the-view-of-the-world-of-the-jealous-wife
Fig. 4 - Pierrel, C. (2021) A Psychoanalytic Exploration of the Work of Louise Bourgeois: Trauma, Therapy and Catharsis. Yiara Magazine.
Available at: https://yiaramagazine.com/2021/01/28/a-psychoanalytic-exploration-of-the-work-of-louise-bourgeois-trauma-therapy-and-catharsis-charlotte-pierrel/ (Accessed: 8 November 2021).
Fig. 5 - Xavier
Cell XXV (The view of the world of the jealous wife), (2001) Xavier Hufkens (Accessed: 8 November 2021)
Available at: https://www.xavierhufkens.com/artworks/louise-bourgeois-cell-xxv-the-view-of-the-world-of-the-jealous-wife
Fig. 7 - Manchester, E. (2003) Louise Bourgeois’ Cell - Eyes and Mirrors. Tate
Available at: https://www.tate.org.uk/art/artworks/bourgeois-cell-eyes-and-mirrors-t06899 (Accessed: 8 November 2021).
