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.
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.