Okay, I wanted to test the white, to see how
that shows up on that.
I'll go back and then see how it looks.
Oh, I think it's great.
I think it's great.
Let me see if you like it.
Good?
Yeah.
It's interesting, because different times
of the day it's gonna be different colors,
so...
And even the different seasons.
That's right.
Right now we're at 2:00, it's pretty bright
in here, actually.
Yeah.
But it's summer, so I guess it'll be darker.
And then, we'll have the lights on the works
themselves.
It was smart to choose the dark color in here.
I think so, rather than the gallery.
Yeah.
Yeah.
Yeah.
So we get that, sort of, envelope feeling.
Seems dramatic to me, I hope it will be suitable
for the spider.
Sure, yeah.
Yeah.
So who do you get to decide that it's not
gonna fall down?
I mean...
Well, there would be a meeting with the rigging
company.
With Moore?
With Moore.
So they'd know what to look for behind?
Oh, before the day you installed?
Way before.
Like, if we decide soon, we should get them
in as soon as possible.
We were gonna put it down there, remember,
because I thought, when people come in, you
know, I mean, you're really down here.
It's still pretty big.
Wanna put it down there for a second, just
to see?
Sure, or we can put the other one if you want.
Oh yeah, oh yeah.
So, there, even closer...yeah, higher though.
Yeah.
Yeah, you know, it almost seems too huge,
doesn't it, to me now.
Yeah.
It kind of dwarfs the prints.
Can we try this smaller one there?
Sure.
I feel like this one doesn't seem as much
like a real spider.
This one's always seemed, like, more like
the design of the spider, the flatness of
it, whereas this one really looks like it's
more crawling.
Yeah.
Does anyone think that's true?
I like the thinner one, that's always been
my preference.
Yeah.
The thing is, when it's that far away, as
Sewon was saying it would be better to have
the big one...
Have the big one?
What do you think?
I mean, like, when we're way down here...
I think the opposite is true.
I think the fourth leg on the right, the bottom
right, it curls up and out and it turns into
a hook, and that one's kind of, just, flat
all the way down.
Like, that's a little bit more...
More dimensional?
Yeah.
Oh, I see, more alive.
Yeah.
Does it look too tiny?
Oh my God, because we have to make a decision.
So Jerry was just asking...We can control
these lights.
Did you wanna ask him your question?
I just wanna make sure that the spider is
not in the way.
We don't...You're not going up there to adjust
the lights, right?
Well, we can.
We use that lift, and we adjust those outer
corner ones.
We can adjust them a little bit...
Okay.
And change the temperature.
Were you gonna ask me because you wanted them
to adjust it?
I wanted the room to be a little dark, because
I didn't know how it felt, like, on a dimmer
switch.
It is, it is.
I can control all these with my computer...
Oh great...
With the laptop...
That's fantastic.
And so, I can change the color temperature
or the dimming.
It's a brand new system that we installed
last week, so...
When should we do that?
It's the first time we've used it.
Yeah.
Would you wanna be around when we do that,
Jerry?
Yeah.
Yeah?
I mean, I think we should wait until...
Everything is on...
All the tuning work is done.
Yeah, yeah.
Okay.
So our goal is for the show to open at 4:00.
However, for that to happen, as you can see,
there's a lot to do.
It's noon now.
It's 20 after noon.
It's 20 after 12:00, and we would like to
open by 4:00.
I don't think this has been shown.
No, I can't remember.
So this is called...
Do you want to guess the title?
Minuscule.
Well, it's from a series that's called Microbe,
or Microbe, so that was a good guess.
Yeah.
But the full title is "Adam and Eve Expelled
From the Garden of Eden".
Oh wow.
Can you see any Adam and Eve in there?
I mean, I don't see...I see the shining light...
Yes.
Yeah, yeah.
And the landscape of, like, decay or something.
Right.
Yeah, exactly.
No, you do.
There's a shining light, it's a landscape,
but there's no...We looked at it...
Just don't see any figures.
No.
We looked at it under the microscope with
Laura in Conservation, and there's no figures
in there.
So we think he just gave it that title...
So people would get up and look close.
Are we ready? Is it time?
Have your I.D. out, please.
Hi everyone.
I'm Sewon, I'm a curatorial assistant in Drawings
and Prints, and I assisted Debbie Wye, Chief
Curator Emerita of the Prints and Illustrated
Books department, on this exhibition.
Louise Bourgeois moved to New York in the
'40s after she met an American, a historian
named Robert Goldwater.
They actually knew each other for two weeks
before they got married.
So when she moved here, she was alone.
She left all her friends and family, and turned
to print making.
Well, she was already a print maker, but print
making was especially helpful for her in these
early years because of the collaborative nature
of the print shop.
You can't really make prints alone.
You need special equipment, you need a helping
hand to set up the press, and get your paper
down, and ink your plate, and all that stuff.
What's really wonderful about prints is that
you can see how the imagination of the artist
unfolded.
With a sculpture or a painting, let's say,
you only see the final product, because all
of the works in progress are hidden underneath.
But with print making, you actually can save
the works in progress.
You see, she etched a drawing of a figure
in a doorway on the plate, printed a proof,
wanted to change the plate, changed the plate,
printed another proof, and then kept going.
So that's a really good teaching moment, if
you want to point out what, sort of, the mechanics
of print making are.
You can show people step one, step two, step
three.
