Blind Man's Buff

1984 · Sculpture

可否一睹真容？

可以，正在迎客

克利夫蘭藝術博物館

克利夫兰, 美國

展厅229C Contemporary

正对公众展出。由谁担保，见下文。

核实: 3天前
此状态始于: 2026年8月19日
出处: 博物馆

在地图上看博物馆页面

关于这件雕塑

Wit and play are essential elements throughout Louise Bourgeois’s work. Blind Man’s Buff is named for the child’s game in which a blindfolded person must search for fellow players using only sound and touch. The artist’s revision of “bluff” to “buff” has a dual meaning. It evokes the method of smoothing or buffing marble, which was part of the artwork’s production. Buff also relates to the sculpture’s suggestion of nude body parts, which emerge from the solid marble. The allusion to nudity is reinforced by the fabric folds visible at the sculpture’s edges, as if clothing has been cast aside.

克利夫蘭藝術博物館

作品信息

馆藏编号: 2002.29

与此同时，在Louise Bourgeois的生活中

完整生平

1938–2010 · 工作地
New York City
1980s
Returns to printmaking in her seventies
Bourgeois returned to printmaking after a long hiatus, in her seventies, encouraged first by print publishers: she set up her old press, added a second and worked with printers who came to her house. Over her life she created approximately 1,500 printed compositions.
1982
First retrospective at the Museum of Modern Art
In 1982 the Museum of Modern Art in New York held Bourgeois’s first retrospective; she was seventy, and until then had been a peripheral figure whose work was more admired than acclaimed. The New York Times wrote that her work was charged with tenderness and violence, acceptance and defiance.
1982
The text “Child Abuse” in Artforum
In 1982 Bourgeois wrote a text for Artforum titled “Child Abuse”, in which she defined her artistic concepts almost entirely in terms of childhood trauma.
1985
First solo exhibition in France
In 1985 Bourgeois’s first solo exhibition in France was held.