Cumuls

1938–2010 · Local de trabalho

New York City

1960s

New materials: latex, bronze and stone

In the 1960s Bourgeois began using latex, bronze and stone; her works grew larger and increasingly referred to the central theme of her art, the traumatic experience of childhood.

early 1970s

The “Sunday, bloody Sundays” salons

In the early 1970s Bourgeois held gatherings at her home in Chelsea that filled with young artists and students whose work she critiqued. Her ruthlessness in critique and her dry sense of humour gave the meetings their name, “Sunday, bloody Sundays”.

1970s

Joins the Fight Censorship Group

Bourgeois aligned herself with activists and became a member of the Fight Censorship Group, a feminist anti-censorship collective founded by the artist Anita Steckel; in the 1970s the group defended the use of sexual imagery in art.

1972

The group exhibition “13 Women Artists”

In 1972 Bourgeois took part in the group exhibition “13 Women Artists” at the 117 Prince Street Gallery in New York City.

1972

Among the women artists in Mary Beth Edelson’s collage

In 1972 Mary Beth Edelson collaged the heads of notable women artists over the heads of Christ and the apostles in Leonardo’s “Last Supper”; Bourgeois was among them. The image became one of the most iconic of the feminist art movement.