Unveiling Desire: The Courtauld Gallery’s Provocative Abstract Erotica Exhibit

In a dynamic blend of whimsy and darkness, the exhibition “Abstract Erotic” revisits a pivotal 1966 showcase curated by the then-emerging American critic and curator Lucy Lippard. Held at the Fischbach Gallery on Madison Avenue, New York, the original exhibition was titled “Eccentric Abstraction.” Lippard’s selection featured the works of eight artists, including notable pieces by three women: Alice Adams, Eva Hesse, and Louise Bourgeois. Despite its original title, the exhibition ventured beyond mere abstraction, touching on themes that are both erotic and enigmatic, with works that remain vibrantly resonant even after six decades.

“Eccentric Abstraction” marked Lippard’s curatorial debut and represented her exploration of the boundaries between minimalism and more sensuous, sensory art forms, which she later recognized as aligning with feminist ideologies—though feminism wasn’t her initial focus. This exhibition was foundational in shaping Lippard’s future thought and activism, significantly impacting her career at the age of 88.

While many pieces from the original lineup are present, this exhibition does not attempt a full reenactment, and notably excludes all the male artists from the original group, such as Bruce Nauman. The enduring legacy of “Eccentric Abstraction” is largely attributed to the contributions of Adams, Hesse, and Bourgeois, who collectively advanced a coherent vision of materiality, form, and process, deeply engaging with psychosexual themes and the human form.

The gallery houses fewer than 30 pieces in two compact rooms, yet the size of the artworks does not diminish their impact. The intimacy of the exhibit is one of its charms, with some pieces so small they could fit in a pocket, and others demanding more space but still maintaining a close relationship with the viewer. The artworks are strategically placed—some clinging to walls, others hanging or perched on shelves—creating a sense of closeness and intricate visibility.

The exhibition doesn’t solely focus on forms that mimic body parts, although these are prevalent. Instead, it explores the unsettling transitions between exterior and interior, part and whole, combining sculptural forms with drawings and creating a complex dialogue between object and image, threat and tenderness, familiarity and alienation.

A striking piece by Hesse features a black shape suspended by a string from the wall, resembling both a pear and a lightbulb. It connects via a looped string to another object that mimics a slender, tapering sausage. Painted in stark black enamel, the ensemble is humorous yet provocative, reminiscent of Giacometti’s surrealist sculpture “Suspended Ball.” This piece, like many others in the exhibit, pays homage to surrealism and the persistent influence of Freudian concepts, with the unconscious ever-present.

Adams, originally trained in weaving, presents complex sculptures where steel cables intertwine through perforated plates and metal grids, showcasing her evolution from textile arts to more industrial materials. These sculptures, featuring chain-link fences and resilient cables, embody a tension and resistance that echo the struggles and adaptations inherent in her materials.

Another fascinating installation merges a chain-link cylinder with a rusted steel cable, creating a visual puzzle of internal and external forms. An aluminum fencing roll suspended mid-air resembles an immense intestinal drawing, its form highlighted against its own shadow, creating a dramatic interplay of light and texture.

While the historical context of “Eccentric Abstraction” seems distant, the artistic methods and philosophies it introduced continue to resonate. The artists’ disregard for strict categorizations of abstraction and figuration and their dynamic engagement with space remain influential. However, the conservation of Hesse’s works, made from hand-poured latex resin, poses significant challenges due to the material’s susceptibility to aging and environmental factors.

Bourgeois’s sculptures, similarly crafted from latex, have darkened and contracted over time, gaining an almost archaeological quality. One piece, resembling a split-open vessel, invites interpretations of hidden anatomical forms, suggesting a mysterious, ancient origin.

Bourgeois’s works are rife with ambiguous forms and dualities. Her sculpture “Fée Couturière,” resembling a wasp’s nest with multiple apertures, blurs the lines between organic and habitable forms. Even her representation of a swaddled phallic form challenges traditional gender perceptions, embodying both masculine and feminine qualities.

The exhibition is a complex interplay of forms and ideas, where even the smallest details, like Hesse’s cylindrical containers filled with white enamel-coated wire worms, provoke thought and invite interpretation. Hesse’s approach to her art was spontaneous and exploratory, often using ephemeral materials and techniques that emphasized the transient nature of her artistic expressions.

In conjunction with “Abstract Erotic,” The Courtauld also displays a selection of Bourgeois’s drawings, which are turbulent and repetitive, capturing the emotional intensities that inform her sculptures. While these drawings offer a glimpse into Bourgeois’s emotional landscape, the sculptures themselves encapsulate a broader narrative, even if their full meanings remain elusive.