Source: Feminist Review, No. 93, <bold>birth</bold> (2009), pp. 27-45 Published by: Palgrave Macmillan Journals Stable URL: http://www.jstor.org/stable/40664052 . Accessed: 29/03/2014 09:35 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. . Palgrave Macmillan Journals is collaborating with JSTOR to digitize, preserve and extend access to Feminist Review. http://www.jstor.org This content downloaded from 182.185.206.108 on Sat, 29 Mar 2014 09:35:14 AM All use subject to JSTOR Terms and Conditions 93 Louise Bourgeois! ageing! and maternal bodies Rosemary Betterton abstract This article explores late works by contemporary artist Louise Bourgeois that illuminate current concerns about ageing maternal bodies and the ambivalent responses of fear and loathing that they provoke. In 2003, Louise Bourgeois made an installation for the Freud Museum in Vienna entitled The Reticent Child, on the subject of her own earlier pregnancy and birth of her son, one of several works featuring maternity and fertility which Bourgeois has created in old age. In Nature Study 2007, made at the age of 96 years, she depicts carnal couples and pregnant and birthing figures embodied in brilliant pinks and scarlet reds. Bourgeois represents women as the powerful agents of the maternal function, marking a return to motherhood as a central topic of her earlier work. Edward Said posited sources of cultural meaning as lthe whole notion of beginning, the moment of birth and origin ... reproductive generation, maturity', and 'the last great problematic ... the last and late period of life, the decay of the body' (Said, 2006: 4-6). What does it mean for Bourgeois to return to the theme of birth in her nineties and how does it resonate with contemporary anxieties about the ageing maternal body? If the space of the gallery is a safe arena for a woman artist to present sexuality and maternity in old age, how are older women who break codes of fertility represented elsewhere? In a culture which is hostile to the conjunction of ageing women with motherhood, I shall argue that Bourgeois' late maternal works can help to undo the taboo on older mothers. keywords ageing; bodies; maternal; representation; art feminist review 93 2009 27 (27-45) 2009 Feminist Review. 0141-7789/09 www.feminist-review.com This content downloaded from 182.185.206.108 on Sat, 29 Mar 2014 09:35:14 AM All use subject to JSTOR Terms and Conditions introduction I walk into the gallery and I am surrounded by mages of maternal bodies: multiple pregnant, birthing bodies and lactating breasts, painted in brilliant crimsons, pinks and vermilions, and startling in their maternal presence. (18 June 2008) Nature Study 2007 is a series of gouaches by the French-American artist Louise Bourgeois. Created when she was a 96-year-old, they represent women as powerfully embodied maternal agents, marking a return to motherhood as a central topic of her work. Self Portrait depicts twenty small pregnant figures, each like a child's schematic drawing of a woman with swelling belly, a mark for the pubic cleft, two stick legs, a knob for the head and five bulbous breasts/arms that radiate like flower petals on top of a swollen seedpod (Figure l).1 The figures pulse with energy: some are defined by powerful strokes that are nevertheless blurred and smudged as though their pregnant bodies tremble with life, while others are almost obliterated by the crimson wash that has soaked and stained them. In one of three paintings entitled Pregnant Woman, an active infant appears to be diving through the solid painted pink flesh of the belly. What strikes me about these maternal images made towards the end of Bourgeois1 long working life, is how much they open out towards the future: pregnancy, birth and the nurturance of life imply a sense of prospective time as well as reference to the past. In this article, I argue that Bourgeois' late works incorporate maternal relations through a series of repetitions and insistent returns to her past as a means of shaping maternal bodies in the present. I shall explore her complicated relationship to the maternal by focusing on two artworks The Reticent Child 2003 and Nature Study 2007, each of which addresses the theme of birth directly. The question that motivates my enquiry is: why does Bourgeois return to themes of birth and fertility so powerfully in her nineties? If one deeply held cultural myth is that creativity in later life is about la special maturity, a new spirit of reconciliation and serenity' that comes with age, Bourgeois confounds such expectations (Said, 2006: 6). Can Bourgeois' late maternal works enable us to think about birth and ageing in different ways? How do we approach the maternal as it is thought and embodied by an older self? And, in view of the cultural hostility to older women who give birth, can representations of the maternal body by Bourgeois help us to understand what is at stake? These questions are the focus for my argument, which moves between autobiography and late style, the new visibility of the ageing maternal body, and themes of creativity and reparation in Bourgeois' late works. 28 feminist review 93 2009 Louise Bourgeois, ageing, and maternal bodies 1 Nature Study Inverleith House, Royal Botanical Gardens, Edinburgh, 3 May - 6 July 2008. This content downloaded from 182.185.206.108 on Sat, 29 Mar 2014 09:35:14 AM All use subject to JSTOR Terms and Conditions 2 Louise Bourgeois Archive T97, quoted in Morris (2007: 180). 3 Artforum 20: 4, December 1982. Figure 1 Self Portrait, 2007 Source: Cheim and Read, Hauser and Wirth, and Galerie Karsten Greve. autobiographies of the future: Nature Study and late style I transfer to a scene today emotions that I experienced 40 years ago. Often it is in a relation - I relive today - but was this ecstasy present 40 years ago, I doubt it. It is my desire to recreate that contains. I want, want to find, find, to find - I am about to find the past, I feel it, I have it, I grasp it. I own it forever and ever. (Louise Bourgeois, c.1959-1966)2 Critical accounts of Bourgeois' art have tended to focus on her psychobiography, particularly on her difficult childhood relationship to her overbearing father and his betrayal of her in an affair with her governess, an interpretation encouraged by Bourgeois' own poetic account of her traumatised response to these events in her work Child Abuse, 1982. 3 Feminist critics have doubted the prevalence of this version of the Freudian family romance, noting that it excludes attention to her Rosemary Betterton fe m n St re vi e W 93 2009 29 This content downloaded from 182.185.206.108 on Sat, 29 Mar 2014 09:35:14 AM All use subject to JSTOR Terms and Conditions relationship to her mother, a theme that grew in psychic intensity through Bourgeois' mature work.4 In her recent study of Bourgeois, Mignon Nixon argues that the maternal is a central theme of her sculpture, which turns 'time and time again to the beginning, to the dynamics of the maternal-infantile relation' (Nixon, 2005: 9). Indeed, Bourgeois' art is constantly informed by turns to her past in forms of repetition - and contradiction - that refute the concept of a whole and unified self bound by a chronological narrative. Repetition characterises her writing too: she dispenses herself in words through multiplying stories about her life and work, in many interviews over recent decades and in notebooks, diaries and short text works. These numerous accounts layer each other so that they become a palimpsest in which early memories are revisited and constantly reshaped in the telling. Bourgeois seems driven to reconstruct the images that haunt her, but deliberately reworks them in consciously chosen incarnations of different form, medium and materials in a practice that is 'both a calculated and yet unpredictable staging of psychic processes' (Pollock, 1999: 88). Pollock suggests the danger is that we read the work of the artist who makes material signs to articulate meaning, trauma and memory as the 'truth' of her life, a reading that Bourgeois herself has to some extent deliberately encouraged. While psychic processes connect her present ageing and earlier maternal self these are only made visible through material transformations, which are strikingly embodied in Nature Study. In On Late Style; Music and Literature against the Grain, Edward Said discusses late style as a particular kind of thought or idiom belonging to the last phase of life. Said suggests that there are the three great human episodes that engage an artist: 'The first is the whole notion of beginning, the moment of birth and origin'; 'the second great problematic is about the continuity that occurs after birth, the exfoliation from a beginning: in the time from birth to youth, reproductive generation, maturity'. And the third is, 'the last or late period of life, the decay of the body, the onset of ill health' (Said, 2006: 4-6). He rejects the consoling view that old age brings wisdom and maturity, 'a new spirit of reconciliation', preferring artists who have a 'special sense of lateness' and 'quarrel with time' (Said, 2006: xi-xii). He asks: 'what of artistic lateness not as harmony and resolution, but intransigence, difficulty and unresolved contradiction? What if age and ill health don't produce the serenity of 'ripeness is all'? (Said, 2006: 7). Said's chosen artists are all male and they are distinguished by their anachronism, being out of step with their time and at odds with the world. Bourgeois too remains defiant, refusing to compromise with age as she continues to produce work that is intransigent and unresolved: 'a way of waging a war against time by recreating the past' (Bernadac and Obrist, 2000: 19). But, if Bourgeois embraces the juxtapositions between birth and death, beginnings and endings, she draws on maternal experience and embodiment in Nature Study that reveals an altogether different affective economy. 30 feminist review 93 2009 Louise Bourgeois, ageing, and maternal bodies 4 See Robinson (1996, 2006), Huhn (1996), Bernadac (1998), Pollock (1999), Bernadac and Obrist (2000), Nixon (2005) and Morris (2007). 5 See Morris (2007). This content downloaded from 182.185.206.108 on Sat, 29 Mar 2014 09:35:14 AM All use subject to JSTOR Terms and Conditions Figure 2 The Family, 2007 Source: Cheim and Read, Hauser and Wirth, and Galerie Karsten Greve. In The Family 2007, twelve panels that complement Self Portrait, the overall effect of the repeated figures is cartoon-like, suggested by the crude graphic style and the visual format of small panels arranged horizontally and vertically within a larger frame (Figure 2). In each panel, a female figure with blossoming breasts/arms has a small stick infant somersaulting inside her pregnant belly. Her male partner stands close, barely touching the woman's belly with his erect penis, not so much a form of penetration as a bumping up against her rounded form. Her belly swells and his penis pokes in mutual embrace, while the spinning and dancing stick-child whirls inside her. The Family returns to the subject of Bourgeois' major early work, the sculptural group Quarantania I 1947-1953, in which she represented herself, her husband Robert Goldwater and their three sons in the form of five totemic poles. As she later explained: ll had children around my waist. This is the origin of Quarantania. I was carrying my packages' (quoted in Morris, 2007: 234). This was one of a series of sculptures called Personages, in which life-size human-objects appear in abstracted and reduced form, often isolated or in small groups: 'the common characteristic of all these pieces is that they terminate in a point that expresses the fragility of verticality, and that Rosemary Betterton fe m i n i St fe V ew 93 2009 31 This content downloaded from 182.185.206.108 on Sat, 29 Mar 2014 09:35:14 AM All use subject to JSTOR Terms and Conditions represents a superhuman effort to hold oneself up' (Bernadac and Obrist, 2000). Nixon argues persuasively that the Personages assert a correspondence between materials and the psychic reality of the maternal depressive position that characterised Bourgeois' sculpture in the post-war period: 'the work of mourning and the work of mothering converged and their conjunction produced a new psychic economy in sculpture' (Nixon, 2005: 231-232). The constant shifting between psychic spaces and physical objects is evident in the connection Bourgeois herself made between the material aspects of these sculptures and the 'emotional geometry' of her state at the time (Bernadac and Obrist, 2000: 352). They were, in her words: 'Scared stiff. Immobilised with fear. Stuck. This was an entire period. And then suddenly there's a kind of softening that came from the softness of my children and my husband; that changed me a little' (Bernadac and Obrist, 2000: 180). The drooping wooden 'packages' in Quarantania I suggest the burden of childcare: the central figure is 'encumbered by three low slung sacks, appendages suggestive of pregnancy and maternal devoir' (Nixon, 2005: 163). Nixon notes further that their shape inverts the formal and psychic economy of the standing figures by turning them upside down. In a striking return, whether conscious or unconscious, Bourgeois employs exactly the same forms in Self Portrait and The Family. No longer drooping or burdensome, these elongated shapes have become five expansive balloon-like breasts/arms rising from each pregnant figure in what is a generative, even Utopian, image. First in Quarantania I and then in later works Bourgeois re-wrote her own oedipal script again and again in material form with a maternal figure - her mother and herself - at its centre. In The Family, Bourgeois returns to heterosexual relations in a way that visually transforms them through the fluid and open-ended drawing in paint. The translation between pictorial materiality and affect or, more precisely, the embedding of affect in the material properties of the painted image is what generates new meaning. In one of the scenes each figure has two heads that meet and fuse into each other; a carnal coupling without power imbalance in which the masculine partner has become literally and figuratively (h)arm-less. She thus not only envisions a new maternal self in this late work, but also replaces the threatening patriarchal father of her childhood with a benign male figure who shares maternal space on equal terms as the phallus re-signified becomes merely a penis that nuzzles the woman's pregnant belly. In contrast to these affirming images of pregnancy, the moment of birth is shown in intense close up, the crimson paint saturated with both desire and anxiety. In The Birth, a baby emerges head down and open-mouthed, squeezed between two huge thighs that in some versions are as sumptuous as strawberry puree and in others appear to crush the infant with the power of an Aztec birth goddess. A similar ambivalence between pleasure and pain is evident in The Feeding; 32 feminist review 93 20 0 9 Louise Bourgeois, ageing, and maternal bodies This content downloaded from 182.185.206.108 on Sat, 29 Mar 2014 09:35:14 AM All use subject to JSTOR Terms and Conditions a suite of ten magenta red images where the figure of a baby is shown below an outline of a suspended breast whose poised nipple is withheld from infant's screaming mouth drawn like an 0 of raw pain and need. The little homunculus, un-gendered and of indeterminate age, evokes sound and fury in the gaping hole of its mouth and eyes. Two other versions of The Feeding show a breast suspended over the prone figure of an infant, and both breast and baby are suffused with a wash of dark pink that engulfs them in one tide of colour. In one, the baby is suckling and the separate contours of the mother's body have disappeared, the child's eyes and mouth barely distinguishable from the nipples which leak milk- paint whereas in the other, it turns away its face and cries with a distorted open mouth as in Munch's Scream. In another mage, five pointed purplish breasts project comically yet aggressively like inquisitive and threatening objects into the space surrounding the tiny tadpole-like infant. The Good Mother and The Bad Mother suggest a frightening interdependency in which the mother holds the power to threaten the child's very being, while leechlike, it swells to mirror her breast as it sucks life from her. What astounds me about these images made in late life by an ageing artist is their visceral intensity, split between birthing and being birthed, the raw desire for love and comfort as well as the threat of its loss. We seem to inhabit the psychic world as Melanie Klein described it, in which the intense relationship of the infant to the breast and body of the mother continues to stir 'both love and hatred and powerful curiosity' (Klein, 1988: ix-x). For Bourgeois, as for Klein, inner psychic reality takes the material form of objects, but before exploring this idea further, I want to take a sideways step to look at how perceptions of the ageing female body are shaped in visual culture and what implications this has for thinking about maternal creativity in older age. ageing and the sexual -maternal body The aging body as imagined and experienced and the aging body as represented structure each other in endless and reciprocal reverberation. (Woodward, 1991: 5) In her study of ageing and gender in twentieth century literature and psychoanalysis, Ageing and Its Discontents: Freud and Other Fictions, Kathleen Woodward argues that the prevailing paradigm of ageing in western culture is profoundly negative. She notes the obsession with appearance as the dominant signifier of old age and, more specifically, the absence in psychoanalytic and literary discourse of representations of old age in terms of creativity in later life. Woodward suggests that the obsession with age in western consumer culture produces a binary psychic economy which values youth, seen in terms of fluidity and movement, at the expense of old age. Against this, she proposes the 'psychic imagination of prospective time', a different psychic economy in which 'we bring our identifications from the past with us into ... imagined futures' (Woodward, Rosemary Betterton feminist review 93 2009 33 This content downloaded from 182.185.206.108 on Sat, 29 Mar 2014 09:35:14 AM All use subject to JSTOR Terms and Conditions 1991: 12-13). This conscious act of imaginary identification with a still- becoming-self, rather than nostalgia for what we have once been resonates very precisely with Bourgeois' late maternal works, which also bear 'inflections towards the future, as autobiography in the prospective, not retrospective mood' (Woodward, 1999: 160). Woodward contrasts this 'psychic body' with the 'specular body', in which 'performing age is principally a bodily effect anchored in visuality' (Woodward, 2006: 167). She suggests that 'the youthful structure of the look, one that is further inflected by gender', is the default position of the spectator within a contemporary ideology of youth culture. But, if the body in old age is socially constructed in terms of visibility, it is at the same time stigmatised, both signified as the body in decline and subjectively absent, a condition which renders 'the older female body paradoxically both hypervisible and invisible' (Woodward, 2006: 163). Simone de Beauvoir was the first to recognise the ambivalent experience of the ageing process for women, suggesting that we can not fully accept our own ageing, but can only 'picture what we are through the vision that others have of us' (Beauvoir, 1972: 291). In Old Age, she noted the deep cultural ambivalence towards the elderly whereby they are either viewed as serene and wise or as abject and 'sexually repulsive' (Beauvoir, 1972: 13). Beauvoir saw acutely that we are frightened by old age, of losing or changing identity and becoming 'as another to myself (Beauvoir, 1972: 5, original emphasis). This experience of an alienation displaced onto the other's gaze is echoed in Woodward's 'specular', but Beauvoir's objective view of old age is more deeply pessimistic coupled with her subjective disgust at her own ageing body, which she explored in her fiction (Beauvoir, 1972: 378). 6 She had little to say about older women's sexual lives, except where she relates the mediaeval Spanish story of Celestina (1492), as the first literary example of an old woman as protagonist, albeit a 'self-seeking, lewd, and intriguing old woman, and something of a witch as well' (Beauvoir, 1972: 148). This might well describe Robert Mapplethorpe's Portrait of Louise Bourgeois 1982, where she appears at the age of 71 years with a crinkled face and hands, dressed in a monkey fur coat and cradling under her arm her earlier sculpture Fillette 1968, in the form of a giant latex phallus (Figure 3). Bourgeois chose to be represented by Mapplethorpe with an uncompromising directness, wrinkles and all, and like Beauvoir she despises growing old serenely. She uses humour and irony as forms of resistance to stereotypes of ageing, sending up her older self by sporting her potent sculpture as well as a wicked grin. The image challenges binary codes that rigidly demarcate old age and sexuality, impotence and potency, sex and gender. By donning her elderly monkey fur coat for the portrait, Bourgeois also collapses boundaries between flesh and fur, human and animal, in a manner that is deeply eroticised. In this respect, Mapplethorpe's photograph is more than a portrait of the artist as an old woman; it is a record of a particular 34 feminist review 93 20 09 Louise Bourgeois, ageing, and maternal bodies 6 See Beauvoir (1969). This content downloaded from 182.185.206.108 on Sat, 29 Mar 2014 09:35:14 AM All use subject to JSTOR Terms and Conditions Figure 3 Robert Mapplethorpe Louise Bourgeois in 1982 with 'Fillette' (1968). Photo copyright 1982 the Estate of Robert Mapplethrope. 7 Bourgeois gives the circumstances of the photograph, describing how her own fear led her to performance of age and gender enacted by Bourgeois herself. Her burlesque upsetting of categories confronts our cultural horror of older women's sexuality and, moreover, through the typology of the Madonna, she connects this specifically with the power of the mother. In her reading of the photograph, Nixon suggests that Fillette is an object being mothered in a parody of this maternal ideal. Bourgeois strips away sentimentality, Maying bare a repressed maternal aggression ... Bourgeois's performance shows a powerfully desiring kind of mother, while at the same time underlining the pathology of mothering conceived as the projection of all desire onto the infant body' (Nixon, 2005: 78). In Bourgeois' own account of the photograph, she explains that Fillette represents a masculine object that she holds tenderly as a comfort; she is literally in possession of the phallus: lThe word 'fillette' is an extremely delicate thing that needs to be protected' (Bernadac and Obrist, 2000: 183). This gender ambiguity is compounded when Bourgeois suggests that 'you can also carry it around like a baby, have it as a doll' (quoted in Lippard 1976: 243). The multivalence of Bourgeois' sculptural referents in the context of the photograph makes Fillette simultaneously her husband's penis, a doll, a baby, a little girl and 'a little Louise' (Bernadac and Obrist, 2000: 202). 7 Here, old age is no barrier to sexual and maternal desire and, indeed, reveals what the cultural conventions of motherhood can not, feelings of desire and aggression of the mother towards her infant. Rosemary Betterton feminist review 93 2009 35 This content downloaded from 182.185.206.108 on Sat, 29 Mar 2014 09:35:14 AM All use subject to JSTOR Terms and Conditions Portrait of Louise Bourgeois 1982 can be contrasted with Woodward's account of post-menopausal pregnancy represented in the cartoon of a pregnant grandmother featured on the cover of The New Yorker in 1997: Here, the figure of the pregnant woman beyond menopause is represented in terms of comic derision, one that both responds to and promotes moral panic. As the cartoon suggests, the very association of fertility with an older body is absurd, a cultural contradiction in terms, one that in the register of humour elicits a dismissive smile of superiority. Thus, here the conflation of the reproductive body and the post-reproductive body is presented as ridiculous, unnatural, perhaps even perverse. (Woodward, 2006: 168) In the cartoon the pregnant old woman is the butt of ridicule, but in Mapplethorpe's photograph Bourgeois turns the joke onto the viewer: wrinkled and grinning she holds on to her potency and desire as contradictory signifiers. What emerges from Woodward's critique of gender and ageing, read in conjunction with Bourgeois' portrait, is the rejection of simplistic and negative stereotypes associated with older women's sexuality and a more complex account of their capacity for maternal and sexual desire. Woodward also reads the caricature as a condensation of attitudes to new reproductive technologies that enable older women to give birth. If women's post-menopausal sexuality and fertility is still conventionally represented as either the subject of derision, or else entirely absent, what happens when older women do become pregnant and give birth? If the space of a gallery has become one arena where women can transgress sexual and maternal norms in relative safety, how are older women who break the codes of age and fertility currently being represented? Recent debates about older women who give birth as a result of new reproductive technologies are witness to current confusions in what Imogen Tyler terms the new visibility of the maternal (Tyler, 2008). In July 2006 'Britain's oldest mother', Dr Patricia Rashbrook, 'a 63 year old child psychiatrist' gave birth to a baby boy by Caesarean section after receiving fertility treatment from the 'maverick scientist' Severino Antinori (Boseley, 2006). She was outed by The Sun newspaper in her seventh month of pregnancy, which prompted widespread discussion of her age (although not that of her 61-year-old husband), and the fact that the couple had travelled to the former Soviet Union for IVF treatment, to which she was not legally entitled in Britain. Such news reports of births to older mothers are invariably accompanied by debates about the appropriate upper age limit for IVF treatment, the perils of pregnancy in later life, unregulated reproductive tourism, and the health and welfare of children born to older mothers. These debates pose medical and ethical questions, but clearly reveal the assumptions about what constitutes 'normal' pregnancy and birth. The couple's choice of doctor was also controversial: Italian fertility specialist Severino Antinori had already helped several women to become pregnant after menopause using donor eggs, and declared that he was prepared to clone a human embryo. His 36 feminist review 93 2009 Louise Bourgeois, ageing, and maternal bodies bring Fillette las a precaution against catastrophe ... a little Louise ... . It gave me security' (Bernadac and Obrist, 2000: 202). 8 For examples, see http://www .guardian.co.uk/ lifeandstyle/2008/ jul/30/health .genderissues; http: //www .guardian.co.uk/ 2006/may/04/ This content downloaded from 182.185.206.108 on Sat, 29 Mar 2014 09:35:14 AM All use subject to JSTOR Terms and Conditions familyand relationships .health/print. justification for Rashbrook's IVF treatment was revealing: 'The couple love each other, she is slim, blonde and in perfect condition, she fits all the criteria for maternity. She should live for at least another 20-25 years - we are not giving birth to an orphan1 (Boseley, 2006). His breathtaking description of her fitness for maternity reinforces the prevailing stereotype of a pregnant woman as young (or at least in this case looking so), white and in a heterosexual relationship. As well as her age and fitness for birth, Dr Rashbrook's professional status as a consultant psychiatrist in the adolescent mental health service in East Sussex was a feature of the reports. The inference was that as a career woman she had deferred childbearing until too late (although she already had two children in their twenties), and that as a child psychologist she should have known better about the negative effects of ageing parents on a child. The couple themselves stated rather defensively that they did not think it was appropriate to discuss their circumstances: lWe wish to emphasise however that this has not been an endeavour undertaken lightly or without courage, that a great deal of thought has been given to ... providing for the child's present and future wellbeing, medically, socially and materially'. Or, as Antinori put it more baldly (and with outrageous parental presumption): lShe should live for at least another 20 to 25 years - we are not giving birth to an orphan' (Boseley, 2006). In the context of this media onslaught, Rashbrook's courage was undoubted and her treatment by the press reveals the extent to which public perception of older women giving birth is still shaped in negative ways. Although Rashbrook's story could have been written as an individual's triumph-over-tragedy, her subjective maternal experience was largely absent from the controversy surrounding the birth of her child. Her treatment by the news media indicates the moral panic evoked by older maternal bodies: a woman who desires to prolong her reproductive (and by implication, sexual) life beyond menopause is still stereotyped as abnormal. If psychic violence is the response to women's ageing sexual and maternal bodies, we need representations of old age that offer us imaginative projections that we can potentially inhabit. creating maternal bodies: performance to prosthetics Bourgeois performs age differently, modelling the polarities that inform our cultural expectations of women in terms of youth and age and transmuting them in the process, presenting a creative female body that is not post-reproductive but productive, a new kind of female body in older age, one that is in fact appearing on the world stage. (Woodward, 2006: 170) In 'Performing Age, Performing Gender', Woodward identifies questions that she proposes are absent from both feminism and the arts: lHow is the older Rosemary Betterton fern i n i st review 93 2009 37 This content downloaded from 182.185.206.108 on Sat, 29 Mar 2014 09:35:14 AM All use subject to JSTOR Terms and Conditions female body represented and ... performed in visual mass culture? How have older women artists performed age?1 (Woodward, 2006: 162, original emphasis).9 Looking to creative and performing women as cultural models, she is interested in how older women are represented and represent themselves. She cites the performance of gender by three artists including Bourgeois, who 'seek to expose, critique, subvert, and exceed the conventions of aging for older women' by 'publicly, playfully, theatrically, flamboyantly, sardonically, ironically, and pensively, self-consciously performing age' (Woodward, 2006: 167). Woodward discusses a 1975 photograph of Bourgeois wearing a moulded latex sculpture that encases the artist's body from her chin to below her knees. She reads this image as suggesting breasts and genitals; body parts that endow the artist with 'the shape of pregnancy ... it recalls an outsized ovary, one that has released many eggs' (Woodward, 2006: 170). I agree, and would argue further that Bourgeois also deliberately subverts gender and sexual codes in her performance of a prosthetic pregnancy. At the opening of a performance entitled A Banquet/ A Fashion Show of Body Parts in New York in 1978, similar costumes made of latex moulds were worn in a comedie show of cross-dressing by well-known male figures from the art world, although not by Bourgeois herself. In this context, the body suits were sexually ambiguous: a male parody of the maternal-feminine body or the feminine engulfing the male body - either reading is possible. In another photograph taken on the steps of her brownstone house in New York, both Bourgeois and the costume appear even more decrepit, her head inclined downwards and the sculpture battered and dented. The same iconography of bulging and sagging latex forms appeared in her first major installation in 1974, then called Le Repas du Soir (The Evening Meal) and later re-titled The Destruction of the Father. Bourgeois has described this work as a fantasy of the children's revenge on the father in which they 'dismembered him' and 'ate him up' at the dinner table (Bernadac and Obrist, 2000: 102). The murderous rage of the betrayed daughter is played out in a monstrous parody of consumption that anticipates her more sexually ambivalent Banquet/A Fashion Show of Body Parts. In later reconstructions, the womb-like interior of The Destruction of the Father is theatrically staged with dramatic red spotlighting, which points to performance as a means of acting out the psychic self. By 'destroying' her father and re- framing her relationship with her mother, she replaces the Oedipal triangle with a different one, mother-mother-child, in which female generational relationships and the active role of the mother is central. As Nixon argues, this aggressive oral fantasy should be understood as 'an assault on patriarchy ... from within the body of the mother' (Nixon, 2005: 260). In a series of installations entitled Cells, made in her seventies and early eighties, Bourgeois extends the processes of mapping and embodying the matriarch-spider that 'delineate a self-determined, architectural and material description of the artist's own psychic space' 38 feminist review 93 2009 Louise Bourgeois, ageing, and maternal bodies 9 See Foundation for Women's Art (2002) and Arbeloff (2008). This content downloaded from 182.185.206.108 on Sat, 29 Mar 2014 09:35:14 AM All use subject to JSTOR Terms and Conditions 10 See Bernadac (1998), Pollock (1999) and Robinson (2006). 11 See Klein (1988). (Robinson, 2006: 138). The Cells articulate Bourgeois1 relation to her past but with a sense of bracketing childhood experience - literally barred by cages, doors and windows; they invoke a sense of claustrophobic intimacy and insecurity. The objects encased within are literal, for example, her worn garments and also function metaphorically to stage subjectivity and self-knowledge through what Pollock calls 'the relief of signification' (Pollock, 1999: 82). 10 I propose the idea of the prosthetic as a useful means of marking the distance between Bourgeois1 maternal experience (which we cannot know) and the material fabrications that she creates, while still holding on to the embodied qualities of her work. What is at issue is not the symbolisation of emotion in the form of identifiable figures or signs, but mistaking these 'bodies' for Bourgeois' own. The prosthetic describes more precisely how maternal desire and loss are lodged as contrary affects in Bourgeois' work through the embedding of psychic textures in the material form of objects. One early example is Pregnant Woman 1947-1949, where the figure of her sister Henriette is represented as 'an enormous pregnant woman with a wooden leg', as both a metaphor for her sister's unachieved desire to have a child and literally as a prosthesis for her crippled knee, signified by the cane she used to support it (Bernadac and Obrist, 2000: 126-127). The 'wooden-leg-pregnant-woman' is prosthetic in the sense of being a material object that stands in for her sister's body and a synecdoche for Henriette's psychic and physical pain. Bourgeois' repeated returns to prosthetic figures like Femme Couteau 1969-1970, and Arch of Hysteria 1992-1993, can be seen as deliberate attempts to repair disabling and traumatic experiences through the alterity of representation. In the final section of this article, I want to explore this prosthetic practice further as it operates in Bourgeois' installation The Reticent Child. Move, guilt and reparation111: The Reticent Child My mother would sit out in the sun and repair a tapestry or a petit point. She really loved it. This sense of reparation is very deep within me. I break everything I touch because I am violent. I destroy my friendships, my love, my children. People would not generally suspect it, but the cruelty is there in the work... I break things because I am afraid. (Morris 2007: 242) Bourgeois returned to the theme of pregnancy and birth in The Reticent Child, an installation made for the Freud Museum in Vienna in 2003. It comprises six small figurative sculptures on small plinths against a long concave mirror set on a steel table, so that each figure is reflected and appears doubled front and back. From left to right they are: a standing pregnant woman; a red sac Rosemary Betterton fern i n ist review 93 2009 39 This content downloaded from 182.185.206.108 on Sat, 29 Mar 2014 09:35:14 AM All use subject to JSTOR Terms and Conditions womb placed on a marble slab, a winged standing figure with a net belly enclosing a foetus; a prone woman in the act of giving birth; a small child lying on its side on a bed, and a standing male figure with his head in his hands. Read sequentially, these are six stages surrounding the birth of her third son Alain in 1941, who she described in the text accompanying the installation as 'a child who simply refused to be born ... He is the reticent child. // tait reticent. Mais j'ai l'ai rvl [He was reticent. But I found him out]' (Morris, 2007: 38). In a suite of engravings and texts made in 1947, He Disappeared Into Complete Silence, Bourgeois had described her descent into depression in the years after his birth: Once there was a mother of a son. She loved him with a complete devotion. And she protected him because she knew how sad and wicked this world is. He was of a quiet nature and rather intelligent but he was not interested in being loved or protected because he was interested in something else. Consequently at an early age he slammed the door and never came back. Later on she died but he did not know it. (Bernadac and Obrist, 2000: 48) In The Reticent Child, the figures are made from pink fabric, all except for the marble child on its cushioned metal bed. In their fragility and isolation, the tiny fabric figures evade neat encapsulation: they appear to oscillate somewhere between fear of abandonment and self-reflection, between vulnerability and reparation. Bourgeois had begun to make sculptures from cloth in the 1990s and they range in size from tiny dolls to life-size figures, often crudely stitched and stuffed in cotton or terrycloth. These fabric works are sewn by hand and recall the repair of Aubusson tapestries in the family business where Bourgeois grew up, learning the skills of needlework from her mother and grandmother. The act of sewing therefore suggests the reparative power of the needle in relation to Bourgeois' mother, who died when she was a 20-year-old and whom she identified with the figure of the spider as spinner and weaver: lmy best friend was my mother and she was deliberate, clever, patient, soothing, reasonable, dainty, subtle, indispensable, neat, and as useful as an araigne' (Bernadac and Obrist, 2000: 321). Like worn clothes, fabric carries personal affects and repairing is the way of keeping things together when they start to fall apart. But stitching can also be an act of cruelty, both literally and metaphorically - / stitched him up - and, as Linda Nochlin acutely remarks of Bourgeois' late fabric sculpture, 'its power lies in the deliberate ferocity of its bad sewing', noting that 'old-age style presents outrages wrought on the vulnerable, cloth embodied female subject itself (Nochlin, 2007: 191-192). Writers on Bourgeois have frequently turned to psychoanalytic theory in their readings of her work and Bourgeois' own relation to psychoanalysis is a close and complex one.1 After an early engagement with Freudian theory via Surrealism, Bourgeois expressed her disappointment in Freud and Lacan: 'They promised the truth and just came up with theory. They were like my father: promise so much 40 feminist review 93 2009 Louise Bourgeois, ageing, and maternal bodies 12 See Huhn (1996), Robinson (1996, 2006), Pollock (1999), Nicoletta This content downloaded from 182.185.206.108 on Sat, 29 Mar 2014 09:35:14 AM All use subject to JSTOR Terms and Conditions (2005), Nixon (2005), and Larratt Smith (2008). and deliver so little' (Bernadac and Obrist, 2000: 229). Nixon argues that Klein provided Bourgeois with an alternative psychoanalytic model in which the figure of the mother, not the father, is central to the psychic life of a child. By laying claim to maternal subjectivity, Bourgeois' work, 'exposes the cultural taboos on the representation of the maternal subject (especially the maternal subject of desire and death) that persist in art and psychoanalysis alike' (Nixon, 2005: 12). While there is nothing to indicate when Bourgeois read Klein's writings, by the 1960s she was evidently interested enough to consider training in the psychology of art and childhood, and the titling of subsequent works like The Bad Mother 1997 and The Good Breast 2007, suggest she became well aware of Kleinian readings of her own work. What Bourgeois takes directly from Klein is her interest in 'making reparation', both as a psychic process through which the child (and adult) can make good feelings of aggression, guilt and anxiety experienced in infancy and, more specifically, in relation to art as a means of restoring and recreating lost psychic objects (Klein, 1988: 313). In an essay written in 1929, 'Infantile Anxiety Situations Reflected in a Work of Art and in the Creative Impulse', Klein gives an account of a woman painter who was subject to deep depression and whose painting she analyses as a form of restoration for loss: 'It is obvious that the desire to make reparation, to make good the injury psychologically done to the mother and also to restore herself was at the bottom of the compelling urge to paint' (Klein, 1929: 93). While Bourgeois' work resists such 'obvious' interpretations, I see the installation of The Reticent Child in the Freud Museum in Vienna as a direct riposte to Freudian psychoanalysis on behalf of Klein. But in Kleinian analysis, the mother figure remains a projection of the child's phantasy and a psychic object rather than being a subject in her own right. While Bourgeois adopts a Kleinian approach in The Reticent Child, her central interest in the mother-as-subject in relation to the child also extends its theoretical parameters. This can be seen more clearly in a related work, The Woven Child 2002 (Figure 4), in which a figure of a tiny baby made of pink terrycloth is suspended in a pink gauze net from a large sieve set vertically on a metal base. The sieve functions as a prosthetic mother figure, her 'face' tilted downwards supporting the baby, which in turn reaches its arms and legs up towards her. The fabric infant is suspended like a little fish in the net; he is fragile and precarious, but protected by the enfolding mother-sieve. Both infant and mother are caught within a mutual gaze; their relationship is a reciprocal one in which the mother is also enmeshed; her look holds the infant. The Woven Child thus enacts the primary maternal subject-object relation before the point of separation. This is closer to the psychic model that Jessica Benjamin develops centred on the concept of an 'intersubjective space', in which it is possible to identify with the other's position without losing one's own' (quoted in Baraitser, 2009: 30). Benjamin argues that the infant's capacity for intersubjective space is made possible through the Rosemary Betterton feminist review 93 2009 41 This content downloaded from 182.185.206.108 on Sat, 29 Mar 2014 09:35:14 AM All use subject to JSTOR Terms and Conditions Figure 4 The Woven Child, 2002 Source: Cheim and Read, Hauser and Wirth, and Galerie Karsten Greve. mother figure in a mutual recognition of otherness that ensures its separation of self. In Benjamin's model, as Lisa Baraitser explains, there is a constant tension and play between subject positions and object relations: 'When intersubjective space breaks down, (when destruction is truly destructive, if you like, when the other does not 'survive', but instead retaliates or abandons) there is a return to the complementary positioning of internal objects' (Baraitser, 2009: 30). In Destruction of the Father, Bourgeois had enacted the oral phantasy of the daughter who retaliates by eating up her father. The Reticent Child acts as Bourgeois' riposte to her own installation made 30 years previously, in which the 42 feminist review 93 2009 Louise Bourgeois, ageing, and maternal bodies This content downloaded from 182.185.206.108 on Sat, 29 Mar 2014 09:35:14 AM All use subject to JSTOR Terms and Conditions terrifying red interior is replaced by a mirror, and destruction by reparation: 'In intersubjective space both reflection and also analysis become possible on the mother/analyst's side because the infant/patient experiences the other as truly external through the survival of its own destructive impulses' (Baraitser, 2009: 30). In Bourgeois' personal iconography: 'Mirror means the acceptance of the self (Bernadac and Obrist, 2000: 260), a state in which reflection and analysis become possible after surviving her own destructive impulses. Bourgeois makes a distinction between two different approaches to her sculpture: 'the spontaneous kind' as an expression of 'immediate, all-consuming importance to me', and 'a work of assemblage; a synthesis, a putting together of elements, which is peaceful as opposed to the outburst of the previous type of work' (Bernadac and Obrist, 2000: 84-85). The Reticent Child belongs to the latter type as an attempt to reflect and to repair the damage done to her son. The movement from pregnant to birthing woman, and from the child's isolation to the man's grief reflects on the difficult process of separation: 'He abandoned everything because he had been abandoned. I will never make him understand. I make work with my concerns. I make work with all my failures. When I say the trauma of abandonment, I really mean what I say' (Bernadac and Obrist, 2000: 246). But in the mirror's curved reflection the sequence can also be read in reverse from right to left: the grieving son, now grown, turns back towards the birthing and pregnant body of his mother, tracing a potential path of return if he can but understand. The prosthetic figures of The Reticent Child make reparation after injury; they both witness to trauma and place it at one remove through a 'work of assemblage'. It would be too neat - and too implausible - to reach the final stages of Bourgeois' maternal work without a further return to its fundamental ambivalence. The Reticent Child shows the work of maternal reparation, but also that the pain of loss is never given up nor mourning entirely resolved in older age. In The Arrival 2007, the maternal figure takes the form of a small cloth torso of a pregnant woman with huge breasts and without arms or legs, lying on her back as a baby's head emerges from her vagina, appearing like a reverse image of her own head. It is seamed around the breasts and through the navel, the natural coloured cloth of the head and torso contrasting with the custard yellow of the breasts and the bright pink used for nipples, vulva and both figures' open mouths. There is something extremely painful and poignant about the helplessness of this carefully stitched and stuffed duo: like a reversible doll, the two headed figure can be viewed both ways up to imply an interdependent corporeality in which both mother and infant seem equally trapped. In this antithesis of maternal comfort, we are confronted again with Klein's good and bad object, the subject of infantile love and hate, bliss and violence. However, I think Bourgeois' late maternal works can also move us forward to the possibility of a 'non-retaliatory maternal figure who bears destruction so that the infant Rosemary Betterton feminist review 93 2009 43 This content downloaded from 182.185.206.108 on Sat, 29 Mar 2014 09:35:14 AM All use subject to JSTOR Terms and Conditions can develop the capacity for intersubjective space1 (Baraitser, 2009: 39). In The Arrival, the fabric figure 'bears the destruction' of birth, just as in The Reticent Child Bourgeois explores lthe self returning from an encounter with the other, changed, thereby opening the possibility of a maternal subjectivity arising out of an encounter with alterity rather than through the processes of surviving destruction' (Baraitser, 2009: 39). Baraitser's account of maternal subjectivity as an ongoing and relational process resonates with Bourgeois' late style and practice as an older artist: she remains a maternal subject who is still 'unaccommodated' in old age (Baraitser, 2009: 11). Bourgeois' reworking of family relationships has implications for thinking about the relation between time and memory as generative rather than traumatic or merely nostalgic; it is an artistic practice of re-making the past that is also about imagined futures. In these late works, Bourgeois employs a range of prosthetic bodies to connect past maternal experience with prospective time. They represent la refiguration of our relation to new and necessary fictions of who we once were, are and would like to be' (Baraitser, 2009: 52). This is the tense of the future anterior, of what could have been and may still be, as a generative moment of birth from which something new may re-emerge after loss. Bourgeois' maternal time is a psychic projection forward and backward in multiple movements that are cyclical and spiral, la tangible way of recreating a missed past' (Bernadac and Obrist, 2000: 106). In this late maternal time, the past is not fully present and the future is yet to be determined. In this sense, Bourgeois remains a maternal subject in old age, still bearing witness to the desires and losses, pleasures and pains of the older maternal body. author biography Rosemary Betterton is Emeritus Reader in Women's Studies at Lancaster University and has published widely on women's historical and contemporary art practices, feminist cultural theory and practice, gender, embodiment and representation, including An Intimate Distance: Women, Artists and the Body, Routledge, 1996, and Unframed: Practices and Politics of Women's Contemporary Painting, (editor) I.B.Tauris Ltd. 2004. 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