Looming over the sandstone steps of the Art Gallery of New South Wales, a giant spider is redirecting foot traffic. The giant spider, titled Maman, is one of the late French-American artist Louise Bourgeois’ most renowned – and most outsized – works, towering at almost 10m at its highest point and sprawling just as wide.
When I visit on the final day of installation, it is cordoned off – though at regular intervals, visitors peer through the gaps to gawp at the spindly creation within. People take photos from various angles in an effort to bypass the fence; others, circumnavigating the sculpture, end up down back alleys trying to find their way back.
