“My mother, Dorothy, was abandoned by her parents as a young girl. She ended up on her own at 14, working as a house maid. She was saved by the kindness of others. Her first grade teacher saw she had nothing to eat at lunch, and brought extra food to share. The lesson she passed on to me years later stuck with me: No one gets through life alone. We have to look out for each other and lift each other up.”

Presidential campaign (April 12, 2015 – 2016), 2016 Democratic National Convention (July 28, 2016)

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American politician, senator, Secretary of State, First Lady 1947

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“None of us gets through life alone. We all have to look out for each other and lift each other up.”

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“If she's passing back this way I'm not that hard to find
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“I became aware of Louise Bourgeois in my first or second year at Brighton Art College. One of my teachers, Stuart Morgan, curated a small retrospective of her work at the Serpentine, and both he and another teacher, Edward Allington, saw something in her, and me, and thought I should be aware of her. I thought the work was wonderful. It was her very early pieces, The Blind Leading the Blind, the wooden pieces and some of the later bronze works. Biographically, I don't really think she has influenced me, but I think there are similarities in our work. We have both used the home as a kind of kick-off point, as the space that starts the thoughts of a body of work. I eventually got to meet Louise in New York, soon after I made House. She asked to see me because she had seen a picture of House in the New York Times while she was ironing it one morning, so she said. She was wonderful and slightly kind of nutty; very interested and eccentric. She drew the whole time; it was very much a salon with me there as her audience, watching her. I remember her remarking that I was shorter than she was. I don't know if this was true but she was commenting on the physicality of making such big work and us being relatively small women. When you meet her you don't know what's true, because she makes things up. She has spun her web and drawn people in, and eaten a few people along the way.”

Louise Bourgeois (1911–2010) American and French sculptor

Rachel Whiteread, " Kisses for Spiderwoman http://www.theguardian.com/artanddesign/2007/oct/14/art2," The Guardian, 14 Oct. 2007:

Rachel Whiteread photo

“I became aware of Louise Bourgeois in my first or second year at Brighton Art College. One of my teachers, Stuart Morgan, curated a small retrospective of her work at the Serpentine, and both he and another teacher, Edward Allington, saw something in her, and me, and thought I should be aware of her. I thought the work was wonderful. It was her very early pieces, The Blind Leading the Blind, the wooden pieces and some of the later bronze works. Biographically, I don't really think she has influenced me, but I think there are similarities in our work. We have both used the home as a kind of kick-off point, as the space that starts the thoughts of a body of work. I eventually got to meet Louise in New York, soon after I made House. She asked to see me because she had seen a picture of House in the New York Times while she was ironing it one morning, so she said. She was wonderful and slightly kind of nutty; very interested and eccentric. She drew the whole time; it was very much a salon with me there as her audience, watching her. I remember her remarking that I was shorter than she was. I don't know if this was true but she was commenting on the physicality of making such big work and us being relatively small women. When you meet her you don't know what's true, because she makes things up. She has spun her web and drawn people in, and eaten a few people along the way.”

Rachel Whiteread (1963) British sculptor

Rachel Whiteread, " Kisses for Spiderwoman http://www.theguardian.com/artanddesign/2007/oct/14/art2," The Guardian, 14 Oct. 2007: on Louise Bourgeois

Simone de Beauvoir photo

“To emancipate woman is to refuse to confine her to the relations she bears to man, not to deny them to her; let her have her independent existence and she will continue none the less to exist for him also: mutually recognising each other as subject, each will yet remain for the other an other.”

The Second Sex (1949)
Context: It is nonsense to assert that revelry, vice, ecstasy, passion, would become impossible if man and woman were equal in concrete matters; the contradictions that put the flesh in opposition to the spirit, the instant to time, the swoon of immanence to the challenge of transcendence, the absolute of pleasure to the nothingness of forgetting, will never be resolved; in sexuality will always be materialised the tension, the anguish, the joy, the frustration, and the triumph of existence. To emancipate woman is to refuse to confine her to the relations she bears to man, not to deny them to her; let her have her independent existence and she will continue none the less to exist for him also: mutually recognising each other as subject, each will yet remain for the other an other. The reciprocity of their relations will not do away with the miracles — desire, possession, love, dream, adventure — worked by the division of human beings into two separate categories; and the words that move us — giving, conquering, uniting — will not lose their meaning. On the contrary, when we abolish the slavery of half of humanity, together with the whole system of hypocrisy that it implies, then the 'division' of humanity will reveal its genuine significance and the human couple will find its true form.

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