
Buenos Aires News, Buenos Aires, Argentina, 1997
Patrick Zachmann

Nan Goldin, NAN AND BRIAN IN BED, NYC, 1983: Dye bleach print (cibachrome), image: 27 x 38 inches (68.6 x 96.5 cm.) paper: 30 x 40 inches (76.2 x 101.6 cm.) from WHITNEY MUSEUM OF AMERICAN ART 75 th ANNIVERSARY PHOTO PORTFOLIO, 2006 NAN GOLDIN, RICHARD PRINCE, JEFF KOONS, CINDY SHERMAN Suite of four photographs, each signed and numbered, in custom made cloth covered box 31 ¾ x 41 ¾ x 1 ½ inches (81 x 106 x 3.8 cm.) Edition of 25 Published by Carolina Nitsch for the Whitney Museum of American Art, New York

Francis Bacon, Sensations of Couples Copulating Triptych, Three Studies of Figures on Beds, 1972

Louise Bourgeois, Couple, 2001, Drypoint with ink, pencil and gouache additions

Sam Taylor-Wood
Passion Cycle XIII, 2002

LOUISE BOURGEOIS
Metamorfosis VI (Deluxe), 1999
Art Form Limited Edition Print
Medium Etching
Size in cm 42 x 38
Size in inch 16.5 x 15

Egon Schiele, Seated Couple, 1915.

Louise Bourgeois, The Couple, 2003, installed at Mass MoCA, personal photo
“Fabricated in cast aluminum, the two figures in Couple (2003) are meant to hold on to each other for eternity. Bourgeois suffered from a lifelong fear of separation and abandonment, a dread rooted in the events of her early childhood. Made out of various materials and at different scales, and sometimes hanging precariously together from a single wire, Bourgeois’s many couple sculptures express an anxiety defined by the potential loss of the love object. The suspended sculptures also have the capacity to spin in opposite directions, existing in a perpetual state of fragility and ambivalence. Spirals, which abound in Bourgeois’s work and are echoed in the movement of the rotating figures, have duality inherent to their form:
‘The spiral is an attempt at controlling the chaos. It has two directions. Where do you place
yourself, at the periphery or at the vortex? Beginning at the outside is the fear of losing control;
the winding in is a tightening, a retreating, a compacting to the point of disappearance.
Beginning at the center is affirmation, the move outward is a representation of giving, and giving
up control; of trust, positive energy, of life itself.’”

ERIC RHEIN, Lovers (Felix Gonzalez-Torres and Ross Laycock) (from Leaves, an AIDS Memorial, conceived in 1996), 2015, Wire and paper, 16 x 19 x 2 in (40.64 x 48.26 x 5.08 cm)