Flower photograms by Nell Dorr

**Nell Dorr** (1893-1988) ~ [Wildflowers view two], ca. 1940-1954. Photogram | src Amon Carter Museum

**Nell Dorr** (1893-1988) ~ [Wildflowers], ca. 1940-1954. Photogram. [Mother and Child 7] | src Amon Carter Museum

**Nell Dorr** (1893-1988) ~ [Wildflowers view five], ca. 1940-1954. Photogram. [Mother and Child 66] | src Amon Carter Museum

**Nell Dorr** (1893-1988) ~ [Wildflowers view seven], ca. 1940-1954. Photogram. [Mother and Child 83] | src Amon Carter Museum

**Nell Dorr** (1893-1988) ~ [Wildflowers view four], ca. 1940-1954 [Mother and Child 41] | src Amon Carter Museum

**Nell Dorr** (1893-1988) ~ [Wildflowers view four], ca. 1940-1954 [Mother and Child 41] | src Amon Carter Museum P1990.45.66

**Nell Dorr** (1893-1988) ~ [Wildflowers view three], ca. 1940-1954. Photogram. [Mother and Child 35] | src Amon Carter Museum

**Nell Dorr** (1893-1988) ~ [Wildflowers], ca. 1940-1954. Photogram | src Amon Carter Museum P1990.45.215

**Nell Dorr** (1893-1988) ~ [Wildflowers view nine], ca. 1940-1954. Photogram | src Amon Carter Museum

**Nell Dorr** (1893-1988) ~ [Wildflowers view eight], ca. 1940-1954. Photogram. [Mother and Child 84] | src Amon Carter Museum

**Nell Dorr** (1893-1988) ~ [Wildflowers view twenty-one], ca. 1940-1954. Photogram. Endpaper; right hand page

**Nell Dorr** (1893-1988) ~ [Wildflowers view fifteen], ca. 1940-1954. Photogram | src Amon Carter Museum

**Nell Dorr** (1893-1988) ~ [Wildflowers view six], ca. 1940-1954. Photogram. [Mother and Child 48-82] | src Amon Carter Museum

He Brings Me Roses

Vivian Maier · on cats

**Vivian Maier** (1926-2009) ~ Cats in Window, ca. 1955. Gelatin silver print | src “Vivian Maier: A Singular Vision”

**Vivian Maier** (1926-2009) ~ Animal Encounters, circa 1950s | src Heritage auctions: “Vivian Maier: A Singular Vision”

**Vivian Maier** (1926-2009) ~ Shop Cat, 1950s | src Heritage auctions: “Vivian Maier: A Singular Vision”

Detail from Cats in Window (circa 1955) by Vivian Maier | src Heritage auctions: “Vivian Maier: A Singular Vision”

Käte Hoch · liegender weiblicher Akt

**Käte Hoch** (1873-1933) ~ Untitled (Reclining female nude), ca. 1910. Woodcut on thin Japan paper, with red coloring, probably added later. Inscribed “original woodcut” at the bottom left | src Nosbüsch & Stucke

**Käte Hoch** (1873-1933) ~ Ohne Titel (Liegender weiblicher Akt). Holzschnitt auf dünnem Japan, mit punktuellem, wohl später hinzugefügtem roten Kolorit, um 1910 | src Nosbüsch & Stucke

Die deutsche Malerin Käte Hoch (1873-1933) studierte von 1891-1894 an der Münchner Damenakademie. Ab 1906 betrieb sie eine eigene Mal- und Zeichenschule in München und nahm u.a. an Ausstellungen der Münchner Secession und des Kunstvereins München teil. 1933 stürmte ein SA-Trupp ihre Wohnung und ihr Atelier in Schwabing, wobei der Großteil ihrer Werke zerstört wurde.

The German painter Käte Hoch (1873-1933) studied at the Munich Women’s Academy from 1891-1894. From 1906 she ran her own painting and drawing school in Munich and took part in exhibitions at the Munich Secession and the Munich Art Association, among others. In 1933, an SA troop stormed her apartment and studio in Schwabing, destroying most of her work.

Louise Bourgeois · Gouaches

**Louise Bourgeois** (1911 – 2010) ~ The Ticking of the Clock: The Heartbeat, 2008. Gouache and colored pencil on paper, suite of 12 | src Hauser & Wirth

**Louise Bourgeois** (1911 – 2010) ~ Les Fleurs, 2009. Gouache on paper, suite of 18 | src Hauser & Wirth

‘Louise Bourgeois. My Own Voice Wakes Me Up’

First solo exhibition in Hong Kong of works by renowned French-American artist Louise Bourgeois (1911 – 2010). The exhibition is curated by Jerry Gorovoy, who worked closely with Bourgeois from the early 1980s until her death in 2010.

For more than 70 years, Bourgeois created forms that merged the concrete reality of the world around her and the fantastic reality of her inner psychic landscape. Her creative process was rooted in an existential need to record the rhythms and fluctuations of her conscious and unconscious life as a way of imposing order on the chaos of her emotions. The body, with its functions and distempers, held the key to both self-knowledge and cathartic release. ‘My Own Voice Wakes Me Up’ takes its title from one of Bourgeois’s ‘psychoanalytic writings,’ dated December 1951 and written at the very beginning of her intensive analysis. In this text, she describes how her own voice awakes her from a dream in which she was calling out (‘maman, maman’) while pounding on her husband’s chest. The exhibition focuses on distinct bodies of work from the final two decades of the artist’s life, including fabric sculptures, hand poses, late works on paper, topiary sculptures, and rarely exhibited holograms. | text Hauser & Wirth