2. project description: You will design a research project that captures the essence of the feeling, emotion and the content
of your movement, person or artist through visual communication. Your piece would be sold through
a museum gift store. This project will be developed outside of class on an individual basis. However,
you will have deadlines throughout the semester and meetings with your instructor regarding
your progress.
objective: Comprehension of research and application of the appropriate materials to reflect the content of
the movement, person, or artist of that time.
To identify with the social & economic climate of your time period in history.
To explore, compare and contrast the many disciplines of fine art, architecture, metal work, jewelry,
graphic design, industrial design, typography ect. through line, color, form, content and in meaning.
To utilize the the grid system and your conceptual skills
To explore folds with paper and packaging possibilities
specifications: This piece must include the following:
one: Must become a teaching tool to others that reflects your movement, designer, or artist.
This must have copy and images to back up your research.
This may take the form of: (just a few ideas)
• book (explore various folds, accordion ect.)
• package design series w/ small booklet (consider various package shapes)
• direct mail package w/individual cards (consider diecuts if appropriate)
• game with history trivia questions perhaps with game instructons
two: Include a bibliography and documentation of your resources included in the final piece.
Must be incorporated into the design.
three: Reflect the content using typography, grid systems and in color combinations
four: Must strive for creative solutions, however applicable (to print)
five: Content must be included and and will be written by you.
Visual application and presentation of design will be of equal importance.
look up these sites: Check out the museum gift stores online explore others not listed
• Centre International d'art contemporain CIAC de Montréal http://www.ciac.ca
• San Francisco Museum of Modern Art http://www.sfmoma.org
• Museum of Modern Art http://www.moma.org
• Walker Art Center http://www.walkerart.org
• Guggenheim Museum http://www.guggenheim.org
• Museé du Louvre http://www.louvre.fr
• Chicago Art Institute http://www.artic.edu/aic/index.html
presentation: Must be well crafted, typo free (use spell check) and professional in appearance as
well as informative.
deliverables: 1 Page paper with documentation of your sources, Physical 3D project, Process work pdf
(include thumbnails), Photographs, Portfolio Sheet,
Research Project
spring
Applications of the grid and organization of image and type. Study of creative solu-
tions
individual studyProject Description
4. Louise Bourgeois created the first of her darkly
compelling spider sculptures in the mid-1990s,
when she was in her eighties. The artist saw
spiders as both fierce and fragile, capable
of being protectors as well as predators.
For Bourgeois, the spider embodied an
intricate and sometimes contradictory mix
of psychological and biographical allusions.
Partly a reference to her mother, partly to
herself, spiders for her represented cleverness,
industriousness, and protectiveness. Filling the
museum’s sculpture gallery on Floor 5, Louise
Bourgeois Spiders explores the captivating
complexity of the artist’s conception of these
elegant and fearsome creatures, with works
sculpted in a range of materials and scales,
from the intimate to the monumental.
Born in Paris in 1911, Louise Bourgeois
was raised by parents who ran a tapestry
restoration business. A gifted student, she
also helped out in the workshop by drawing
missing elements in the scenes depicted on the
tapestries. During this time, her father carried
on an affair with Sadie Gordon Richmond,
the English tutor who lived in the family
house. This deeply troubling—and ultimately
defining—betrayal remained a vivid memory
for Bourgeois for the rest of her life. Later, she
would study mathematics before eventually
turning to art. She met Robert Goldwater,
an American art historian, in Paris and they
married and moved to New York in 1938. The
couple raised three sons.
Bourgeois’s idiosyncratic approach found few
champions in the years when formal issues
dominated art world thinking. But by the
1970s and 1980s, the focus had shifted to the
examination of various kinds of imagery and
content. In 1982, at 70 years old, Bourgeois
IMAGES:
• www.artspace.com
• https://twitter.com/artgeek_art/sta-
tus/1063471398838951937
• http://gulati.info/louise-bour-
geois-maman.html
• https://cellcode.us/quotes/early-child-
hood-articles-2018.html
• https://www.sfmoma.org/exhibition/lou-
ise-bourgeois-spiders/
• https://chateau-la-coste.com/en/portfo-
lio-items/louise-bourgeois/
• https://www.moma.org/explore/collec-
tion/lb/themes/spiders
finally took center stage with a retrospective
at The Museum of Modern Art. After that, she
was filled with new confidence and forged
ahead, creating monumental spiders, eerie
room-sized “Cells,” evocative figures often
hanging from wires, and a range of fabric
works fashioned from her old clothes. All
the while she constantly made drawings on
paper, day and night, and also returned to
printmaking. Art was her tool for coping; it was
an exorcism. As she put it, “Art is a guarantee of
sanity.”Bourgeois died in New York in 2010, at
the age of 98.
A journey inside the world of a legend of
modern art and an icon of feminism. Onscreen,
the nonagenarian Louise Bourgeois is
magnetic, mercurial and emotionally raw-an
uncompromising artist whose life and work
are imbued with her ongoing obsession with
the mysteries of childhood. Her process is
on full display in this intimate documentary,
which features the artist in her studio and
with her installations, shedding light on her
intentions and inspirations. Louise Bourgeois
has for six decades been at the forefront of
successive new developments, but always on
her own powerfully inventive and disquieting
terms. In 1982, at the age of 71, she became
the first woman to be honored with a major
retrospective at New York’s Museum of Modern
Art. In the decades since, she has created her
most powerful and persuasive work, including
her series of massive spider structures that
have been installed around the world. Filmed
with unparalleled access between 1993
and 2007, Louise Bourgeois: The Spider, the
Mistress and the Tangerine is a comprehensive
and dramatic documentary of creativity and
revelation.
RESEARCH:
• https://www.moma.org/explore/collec-
tion/lb/themes/spiders
• https://www.youtube.com/watch?v=99-
0CzJWKuk
• https://www.sfmoma.org/exhibition/lou-
ise-bourgeois-spiders/?gclid=EAIaIQobCh-
MI8O_Y3YyP4gIV2LXACh2zmwr8EAAYASA-
AEgJ9MfD_BwE
• https://en.wikipedia.org/wiki/Louise_
Bourgeois
• http://www.artnet.com/artists/lou-
ise-bourgeois/
Research: History of Louise
7. More Box Drafts
ABOUT THE ARTIST
Born in Paris in 1911, Louise Bourgeois was raised by parents who ran a
tapestry restoration business. A gifted student, she also helped out in the
workshop by drawing missing elements in the scenes depicted on the tapestries.
During this time, her father carried on an affair with Sadie Gordon Richmond,
the English tutor who lived in the family house. This deeply troubling—and
ultimately defining—betrayal remained a vivid memory for Bourgeois for the
rest of her life. Later, she would study mathematics before eventually turning to
art. She met Robert Goldwater, an American art historian, in Paris and they
married and moved to New York in 1938. The couple raised three sons.
Bourgeois’s idiosyncratic approach found few champions in the years when
formal issues dominated art world thinking. But by the 1970s and 1980s, the
focus had shifted to the examination of various kinds of imagery and content. In
1982, at 70 years old, Bourgeois finally took center stage with a retrospective at
The Museum of Modern Art. After that, she was filled with new confidence and
forged ahead, creating monumental spiders, eerie room-sized “Cells,” evocative
figures often hanging from wires, and a range of fabric works fashioned from
her old clothes. All the while she constantly made
drawings on paper, day and night, and also returned
to printmaking. Art was her tool for coping; it was an
exorcism. As she put it, “Art is a guarantee of sanity.”
Bourgeois died in New York in 2010, at the age of 98.
Info: https://www.moma.org
Image: www.artspace.com
“The spider-why the spider? Because my best friend was my
mother and she was deliberate, clever, patient, soothing,
reasonable, dainty, subtle, indeispensabe, neat and as useful as a
spider.” -Louise Bourgeois
deliberate, clever, patient, soothing,
reasonable, dainty, subtle,
indeispensabe, neat, useful
KEEP CALM
AND
SPIDER ON
LouiseBourgeoiscreatedthefirstofherdarkly
compellingspidersculpturesinthemid-1990s,whenshewasin
hereighties.Theartistsawspidersbothasfierceandfragile,
capableofbeingprotectorsaswellaspredators.ForBourgeois,
thespiderembodiedanintricateandsometimescontradictory
mixofpsychologicalandbiographicalallusions.Partlya
referencetohermother,partlytoherself,spidersforher
representedcleverness,industriousness,andprotectiveness.
Info:https://www.sfmoma.orgImage:?????
LouiseBourgeoiscreatedthefirstofherdarkly
compellingspidersculpturesinthemid-1990s,whenshewasin
hereighties.Theartistsawspidersbothasfierceandfragile,
capableofbeingprotectorsaswellaspredators.ForBourgeois,
thespiderembodiedanintricateandsometimescontradictory
mixofpsychologicalandbiographicalallusions.Partlya
referencetohermother,partlytoherself,spidersforher
representedcleverness,industriousness,andprotectiveness.
Info:https://www.sfmoma.orgImage:?????
LouiseBourgeoiscreatedthefirstofherdarkly
compellingspidersculpturesinthemid-1990s,whenshewasin
hereighties.Theartistsawspidersbothasfierceandfragile,
capableofbeingprotectorsaswellaspredators.ForBourgeois,
thespiderembodiedanintricateandsometimescontradictory
mixofpsychologicalandbiographicalallusions.Partlya
referencetohermother,partlytoherself,spidersforher
representedcleverness,industriousness,andprotectiveness.
Info:https://www.sfmoma.orgImage:?????
LouiseBourgeoiscreatedthefirstofherdarkly
compellingspidersculpturesinthemid-1990s,whenshewasin
hereighties.Theartistsawspidersbothasfierceandfragile,
capableofbeingprotectorsaswellaspredators.ForBourgeois,
thespiderembodiedanintricateandsometimescontradictory
mixofpsychologicalandbiographicalallusions.Partlya
referencetohermother,partlytoherself,spidersforher
representedcleverness,industriousness,andprotectiveness.
Info:https://www.sfmoma.orgImage:?????
“The spider-why the spider? Because my best
friend was my mother and she was deliberate,
clever, patient, soothing, reasonable, dainty, subtle,
indeispensabe, neat and as useful as a spider.”
-Louise Bourgeois
8. More Box Drafts
Love,Louisespiderinspiredblanknotecards
KEEP CALM
AND
SPIDER ON
KEEP CALM
AND
SPIDER ON
KEEP CALM
AND
SPIDER ON
“The spider-why the spider? Because my best
friend was my mother and she was deliberate,
clever, patient, soothing, reasonable, dainty, subtle,
indeispensabe, neat and as useful as a spider.”
-Louise Bourgeois
“The spider-why the spider?
Because my best friend was my mother and she was deliberate, clever, patient, soothing,
reasonable, dainty, subtle, indeispensabe, neat and as useful as a spider.” -Louise Bourgeois
LouiseBourgeoiscreatedthefirstofherdarklycompelling
spidersculpturesinthemid-1990s,whenshewasinhereighties.The
artistsawspidersbothasfierceandfragile,capableofbeingprotectors
aswellaspredators.ForBourgeois,thespiderembodiedanintricate
andsometimescontradictorymixofpsychologicalandbiographical
allusions.Partlyareferencetohermother,partlytoherself,spidersfor
herrepresentedcleverness,industriousness,andprotectiveness.
Info:https://www.sfmoma.org
Image:https://www.sfmoma.org/exhibition/louise-bourgeois-spiders/
LouiseBourgeoiscreatedthefirstofherdarklycompelling
spidersculpturesinthemid-1990s,whenshewasinhereighties.The
artistsawspidersbothasfierceandfragile,capableofbeingprotectors
aswellaspredators.ForBourgeois,thespiderembodiedanintricate
andsometimescontradictorymixofpsychologicalandbiographical
allusions.Partlyareferencetohermother,partlytoherself,spidersfor
herrepresentedcleverness,industriousness,andprotectiveness.
Info:https://www.sfmoma.org
Image:http://gulati.info/louise-bourgeois-maman.html
LouiseBourgeoiscreatedthefirstofherdarklycompelling
spidersculpturesinthemid-1990s,whenshewasinhereighties.The
artistsawspidersbothasfierceandfragile,capableofbeingprotectors
aswellaspredators.ForBourgeois,thespiderembodiedanintricate
andsometimescontradictorymixofpsychologicalandbiographical
allusions.Partlyareferencetohermother,partlytoherself,spidersfor
herrepresentedcleverness,industriousness,andprotectiveness.
Info:https://www.sfmoma.org
Image:https://twitter.com/artgeek_art/status/1063471398838951937
LouiseBourgeoiscreatedthefirstofherdarklycompelling
spidersculpturesinthemid-1990s,whenshewasinhereighties.The
artistsawspidersbothasfierceandfragile,capableofbeingprotectors
aswellaspredators.ForBourgeois,thespiderembodiedanintricate
andsometimescontradictorymixofpsychologicalandbiographical
allusions.Partlyareferencetohermother,partlytoherself,spidersfor
herrepresentedcleverness,industriousness,andprotectiveness.
Info:https://www.sfmoma.org
Image:https://cellcode.us/quotes/early-childhood-articles-2018.html
ABOUT THE ARTIST
Born in Paris in 1911, Louise Bourgeois was raised by parents who ran a
tapestry restoration business. A gifted student, she also helped out in the
workshop by drawing missing elements in the scenes depicted on the tapestries.
During this time, her father carried on an affair with Sadie Gordon Richmond,
the English tutor who lived in the family house. This deeply troubling—and
ultimately defining—betrayal remained a vivid memory for Bourgeois for the
rest of her life. Later, she would study mathematics before eventually turning to
art. She met Robert Goldwater, an American art historian, in Paris and they
married and moved to New York in 1938. The couple raised three sons.
Bourgeois’s idiosyncratic approach found few champions in the years when
formal issues dominated art world thinking. But by the 1970s and 1980s, the
focus had shifted to the examination of various kinds of imagery and content. In
1982, at 70 years old, Bourgeois finally took center stage with a retrospective at
The Museum of Modern Art. After that, she was filled with new confidence and
forged ahead, creating monumental spiders, eerie room-sized “Cells,” evocative
figures often hanging from wires, and a range of fabric works fashioned from
her old clothes. All the while she constantly made
drawings on paper, day and night, and also returned
to printmaking. Art was her tool for coping; it was an
exorcism. As she put it, “Art is a guarantee of sanity.”
Bourgeois died in New York in 2010, at the age of 98.
Info: https://www.moma.org
Image: www.artspace.com
ABOUT THE ARTIST
Born in Paris in 1911, Louise Bourgeois was raised by parents who ran a
tapestry restoration business. A gifted student, she also helped out in the
workshop by drawing missing elements in the scenes depicted on the tapestries.
During this time, her father carried on an affair with Sadie Gordon Richmond,
the English tutor who lived in the family house. This deeply troubling—and
ultimately defining—betrayal remained a vivid memory for Bourgeois for the
rest of her life. Later, she would study mathematics before eventually turning to
art. She met Robert Goldwater, an American art historian, in Paris and they
married and moved to New York in 1938. The couple raised three sons.
Bourgeois’s idiosyncratic approach found few champions in the years when
formal issues dominated art world thinking. But by the 1970s and 1980s, the
focus had shifted to the examination of various kinds of imagery and content. In
1982, at 70 years old, Bourgeois finally took center stage with a retrospective at
The Museum of Modern Art. After that, she was filled with new confidence and
forged ahead, creating monumental spiders, eerie room-sized “Cells,” evocative
figures often hanging from wires, and a range of fabric works fashioned from
her old clothes. All the while she constantly made
drawings on paper, day and night, and also returned
to printmaking. Art was her tool for coping; it was an
exorcism. As she put it, “Art is a guarantee of sanity.”
Bourgeois died in New York in 2010, at the age of 98.
Info: https://www.moma.org
Image: www.artspace.com
9. 3.9x4 box
“Thespider-whythespider?
Becausemybestfriendwasmymotherandshe
wasdeliberate,clever,patient,soothing,
reasonable,dainty,subtle,indispensabe,neatand
asusefulasaspider.”
LouiseBourgeois
Love,Louisespiderinspirednotecards
Love,Louisespiderinspirednotecards
“The spider-why the spider? Because my best
friend was my mother and she was deliberate,
clever, patient, soothing, reasonable, dainty, subtle,
indeispensabe, neat and as useful as a spider.”
-Louise Bourgeois
“The spider-why the spider? Because my best
friend was my mother and she was deliberate,
clever, patient, soothing, reasonable, dainty, subtle,
indeispensabe, neat and as useful as a spider.”
-Louise Bourgeois
“My best friend was my mother and she was deliberate, clever, patient,
soothing, reasonable, dainty, subtle, indeispensabe, neatand as useful as a spider.”
-Louise Bourgeois
KEEP CALM
AND
SPIDER ON
Forty Cards
Five Designs
One Artist
3.97 square lid
KEEP CALM
AND
SPIDER ON
KEEP CALM
AND
SPIDER ON
KEEP CALM
AND
SPIDER ON
“The spider-why the spider? Because my best
friend was my mother and she was deliberate,
clever, patient, soothing, reasonable, dainty, subtle,
indeispensabe, neat and as useful as a spider.”
-Louise Bourgeois
“My best friend was my mother and she was deliberate, clever, patient, soothing, reasonable,
dainty, subtle, indeispensabe, neatand as useful as a spider.”
-Louise Bourgeois
“The spider-why the spider? Because my best
friend was my mother and she was deliberate,
clever, patient, soothing, reasonable, dainty, subtle,
indeispensabe, neat and as useful as a spider.”
-Louise Bourgeois
Final Box Design
10. Final Box with Cards, Envelopes
& Artist Information Card
