Runaway Girl: The Artist Louise Bourgeois

I highly recommend this book to readers of all ages who want to know more about Louise Bourgeois and her work. It's beautifully designed, straight-forward, full of information, and inspring.

As you read RUNAWAY GIRL, a beautifully-crafted book that illuminates Louise Bourgeois's story, it is impossible not to keep your eyes on the art. The book is absolutely saturated with vivid photographs of the ninety-two year-old artist's work, as well as a progression of photos of Louise throughout a life that spanned nearly the entire twentieth century and has continued on into the new millennium. Louise's story--from a childhood in France to an apartment in Manhattan--encompasses family, creativity, and personal evolution, as well as her historic role in breaking down sexual barriers in the art world. But what makes RUNAWAY GIRL such an important piece of nonfiction for young adults is that unique peek at the psychological roots of an artist's creativity. Greenberg & Jordan provide the perfect measure of Louise's early years in order for us to understand those roots without ever getting bogged down in extraneous detail. The extensive access to her inner life that this controversial artist has granted the authors and their readers makes the book inspiring and unique. I didn't expect to enjoy a book about some female artist I'd never heard of before, but to find out why some two-story-high spiders represent her mother and herself totally captivated me. "From one of Louise Bourgeois's journals: The Runaway Girl who never grew up.I need no support nor comfort.I need no safety net, no breakfast.No lunch or tea, no visitors, no telephone calls nor little messages.No little concerts, no hype, or encouragement for big projects.No ambitions, no spying on my neighbors.I need nothing...I can wait, I am not afraid, I am an adult.Nothing is lacking." It is also fascinating to see little snippets of the artist at work. For instance, the authors describe her creation of one of my favorite pieces of her art: "She would go back to [the marble quarries in] Pietranta many times in the sixties and again in the eighties. Jerry Gorovoy, who accompanied her on one such trip, says there wasn't much time for sightseeing. They arrived at their hotel in the evening and instead of going to a restaurant or walking around town, she insisted on getting right to work. Jerry says that Louise had a hard time relaxing. 'If you take her to the beach, she can sit still for about five minutes. Then she gets restless.' Unfortunately, Louise hadn't packed any art supplies--no clay, wax or Plasticine. So she asked Jerry for the shirt off his back. She folded and shaped it, stitching the cotton into position until she was satisfied with the form. The next day at the quarry she changed the design somewhat, then applied gesso, a liquid plaster, to harden the fabric. A larger, marble version was measured and roughed out by the craftsmen at the quarry according to her specifications. Then it was shipped to the studio [in Brooklyn], where, upon her return, she carefully reworked it with a chisel. Eventually Jerry's shirt evolved into Femme Maison, 1983, a fresh interpretation of her fami