Lea Vuong

Louise Bourgeois is best known for her monumental sculptures, installations, drawings, and paintings—but those familiar with her work know that words permeate her visual art. Louise Bourgeois: The Artist as Writer offers an important new portrait of the French-born New York artist, arguing that her extensive oeuvre can be read as a work of literature. While Bourgeois’s statements, diaries, letters, and texts have long been visible, this book contends that they have not yet truly been read. Drawing on years of research in the Louise Bourgeois Archive in New York, Léa Vuong redefines the artist as a woman of letters. She asks how Bourgeois’s art was impacted by literature and shows how Bourgeois consumed and produced knowledge daily by reading, note-taking, and diary writing; collaborating with writers, poets, and playwrights throughout her career; and experimenting with visual and verbal language in her art and everyday life. Vuong establishes how writing, reading, collecting, and making books were central to Bourgeois’s artistic practice, paying close attention to Erasmus Books and Prints, the bookshop she ran in New York City during an overlooked but crucial period in her career. By revealing the literary foundations of Bourgeois’s art and her bilingual engagement with French and English, this book provides a major reassessment of a canonical figure. Scholars and students of modern art, literary studies, and French culture will find a compelling new interpretation of Bourgeois’s life and work.

Louise Bourgeois is best known for her monumental sculptures, installations, drawings, and paintings—but those familiar with her work know that words permeate her visual art. Louise Bourgeois: The Artist as Writer offers an important new portrait of the French-born New York artist, arguing that her extensive oeuvre can be read as a work of literature. While Bourgeois’s statements, diaries, letters, and texts have long been visible, this book contends that they have not yet truly been read. Drawing on years of research in the Louise Bourgeois Archive in New York, Léa Vuong redefines the artist as a woman of letters. She asks how Bourgeois’s art was impacted by literature and shows how Bourgeois consumed and produced knowledge daily by reading, note-taking, and diary writing; collaborating with writers, poets, and playwrights throughout her career; and experimenting with visual and verbal language in her art and everyday life. Vuong establishes how writing, reading, collecting, and making books were central to Bourgeois’s artistic practice, paying close attention to Erasmus Books and Prints, the bookshop she ran in New York City during an overlooked but crucial period in her career. By revealing the literary foundations of Bourgeois’s art and her bilingual engagement with French and English, this book provides a major reassessment of a canonical figure. Scholars and students of modern art, literary studies, and French culture will find a compelling new interpretation of Bourgeois’s life and work.

The award-winning writer Pascal Quignard (1948-) has published many texts and has collaborated with painters, musicians and filmmakers. Yet despite the popularity and critical recognition of his work, Quignard remains a discreet and fleeting presence in the current cultural landscape, sharing with other contemporary French writers the belief that literature is a form of self-effacement.In this first critical study in English, L a Vuong offers a comprehensive survey of Quignard's still growing oeuvre by examining his specific attempts to produce disappearance through -- and for -- writing. His texts and collaborations appear as vanishing acts where the writer, like the figure on the Tomb of the Diver found in Paestum, remains suspended between presence and absence.

The award-winning writer Pascal Quignard (1948-) has published many texts and has collaborated with painters, musicians and filmmakers. Yet despite the popularity and critical recognition of his work, Quignard remains a discreet and fleeting presence in the current cultural landscape, sharing with other contemporary French writers the belief that literature is a form of self-effacement. In this first critical study in English, Lea Vuong offers a comprehensive survey of Quignard's still growing /uvre by examining his specific attempts to produce disappearance through - and for - writing. His texts and collaborations appear as vanishing acts where the writer, like the figure on the Tomb of the Diver found in Paestum, remains suspended between presence and absence.