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Eva Hesse Untitled 1970 Whitney Museum of American Art

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German-born American sculptor and cloth creative person (1936-1970)

Eva Hesse
Eva Hesse in her studio in 1965. 'No Title' (1966).jpg

Hesse in her studio in 1965
Born (1936-01-11)Jan eleven, 1936

Hamburg, Nazi Federal republic of germany
Died May 29, 1970(1970-05-29) (aged 34)

New York City, New York, U.S.
Nationality American
Education Yale University, studied with Josef Albers at Yale, Cooper Union, Pratt Establish, Fine art Students League of New York
Known for Sculpture
Movement Postminimalism
Spouse(south) Tom Doyle (1961–66; divorced)

Eva Hesse (January eleven, 1936 – May 29, 1970) was a German-born American sculptor known for her pioneering piece of work in materials such equally latex, fiberglass, and plastics. She is one of the artists who ushered in the postminimal art movement in the 1960s.

Life [edit]

Hesse was born into a family of observant Jews in Hamburg, Germany, on January xi, 1936.[1] [ii] When Hesse was two years one-time in Dec 1938, her parents, hoping to flee from Nazi Federal republic of germany, sent Hesse and her older sis, Helen Hesse Charash, to the Netherlands. They were aboard one of the last Kindertransport trains.[3] [4]

After well-nigh six months of separation, the reunited family moved to England and so, in 1939, emigrated to New York City,[five] where they settled into Manhattan's Washington Heights.[vi] [vii] In 1944, Hesse'due south parents separated; her father remarried in 1945 and her mother committed suicide in 1946.[7] In 1961, Hesse met and married sculptor Tom Doyle (1928–2016); they divorced in 1966.[eight]

In October 1969, she was diagnosed with a brain tumor, and she died on Friday, May 29, 1970, afterward three failed operations within a year.[9] Her decease at the age of 34 ended a career that would get highly influential, despite spanning only a decade.[10]

Career [edit]

Hesse graduated from New York's Schoolhouse of Industrial Art at the age of 16, and in 1952 she enrolled in the Pratt Plant of Design. She dropped out merely a year after.[ane] When Hesse was 18, she interned at Seventeen magazine. During this time she also took classes at the Fine art Students League.[11] From 1954–57 she studied at Cooper Union and in 1959 she received her BA from Yale University.[one] While at Yale, Hesse studied under Josef Albers and was heavily influenced by Abstract Expressionism.[1] [12] [13]

After Yale, Hesse returned to New York,[14] where she became friends with many other young minimalist artists, including Sol LeWitt, Donald Judd, Yayoi Kusama, and others.[15] Her close friendship with Sol LeWitt connected until the end of her life.[16] The two frequently wrote to one another, and in 1965 LeWitt famously counseled a young doubting Eva to "Stop [thinking] and just DO!"[17] Both Hesse and LeWitt went on to get influential artists; their friendship stimulated the artistic evolution of their piece of work.[18]

In November 1961, Eva Hesse married fellow sculptor Tom Doyle. In August 1962, Eva Hesse and Tom Doyle participated in an Allan Kaprow Happening at the Art Students League of New York in Woodstock, New York. There Hesse made her first three-dimensional slice: a costume for the Happening.[19] In 1963, Eva Hesse had a ane-person show of works on paper at the Allan Stone Gallery on New York'southward Upper East Side.[20] By 1965 the two had moved to Germany then that Doyle could pursue an artist's residency from German industrialist and collector Friedrich Arnhard Scheidt,[1] a move Hesse was non happy about.[21] Hesse and Doyle, whose marriage was by then falling apart,[22] lived and worked in an abandoned fabric mill in Kettwig-on-the-Ruhr near Essen for about a twelvemonth.[ citation needed ]. The edifice still contained machine parts, tools, and materials from its previous use and the athwart forms of these disused machines and tools served as inspiration for Hesse's mechanical drawings and paintings.[ citation needed ] Her starting time sculpture was a relief titled Ringaround Arosie, which featured cloth-covered cord, electrical wire, and masonite.[1] This year in Federal republic of germany marked a turning point in Hesse's career. From here on she would continue to make sculptures, which became the main focus of her piece of work. Returning to New York Urban center in 1965, she began working and experimenting with the anarchistic materials that would get feature of her ouptut: latex, fiberglass, and plastic.[xiii] [23]

Repetition 19, Three, 1968, fiberglass and polyester resin, 19 units each 19 to xx 1/4" (48 to 51 cm) x 11 to 12 3/four" (27.8 to 32.ii cm) in diameter, Museum of Modern Art, New York[24] [25]

Methods, materials, and processes [edit]

Hesse'south early work (1960–65) consisted primarily of abstract drawings and paintings.[1] She is better known for her sculptures and because of this, her drawings are often regarded every bit preliminary steps to her later work.[26] Withal, she created nearly of her drawings as a separate torso of piece of work. She stated, "they were related considering they were mine but they weren't related in 1 completing the other."[27]

Hesse'due south interest in latex as a medium for sculptural forms had to practise with immediacy. Art critic John Keats stated: "immediacy may be one of the prime number reasons Hesse was attracted to latex".[28] Hesse's first two works using latex, Schema and Sequel (1967–68), use latex in a manner never imagined past the manufacturer. In her artwork Untitled (Rope Piece), Hesse employed industrial latex and one time it was hardened, she hung it on the wall and ceiling using wire."Industrial latex was meant for casting. Hesse handled information technology similar house paint, brushing layer upon layer to build upwards a surface that was smoothen yet irregular, ragged at the edges like deckled newspaper."[28]

Hesse's piece of work often employs multiple forms of similar shapes organized together in filigree structures or clusters. Retaining some of the defining forms of minimalism, modularity, and the employ of unconventional materials, she created eccentric work that was repetitive and labor-intensive. Her work Contingent from 1968 is an ideal example of this concept. And in a statement on her work, Hesse described her piece entitled Hang-Up as "...the start time my idea of absurdity or extreme feeling came through...The whole matter is absolutely rigid, neat cord around the unabridged thing... It is extreme and that is why I like information technology and don't like it... Information technology is the most ridiculous structure that I e'er made and that is why it is really good".[29]

Postminimalism and feminism [edit]

Eva Hesse is associated with the Postminimal art motion. Arthur Danto distinguished post-minimalism from minimalism past its "mirth and jokiness," its "unmistakable whiff of eroticism," and its "nonmechanical repetition."[xxx]

Hesse worked and sometimes competed with her male counterparts in post-minimalist fine art, a primarily male-dominated movement.[31] Many feminist fine art historians accept noted how her work successfully illuminates women's problems while refraining from whatsoever obvious political agenda. She revealed, in a alphabetic character to Ethelyn Honig[32] (1965), that a woman is "at disadvantage from the beginning… She lacks conviction that she has the 'right' to achievement. She too lacks the belief that her achievements are worthy".[33] She continued to explain that, "a fantastic forcefulness is necessary and courage. I dwell on this all the time. My determination and will are strong just I am defective so in self-esteem that I never seem to overcome."[33] Hesse denied her piece of work was strictly feminist, defending it as feminine only without feminist statements in mind. In an interview with Cindy Nemser for Adult female's Art Periodical (1970), she stated, "The way to beat bigotry in fine art is past art. Excellence has no sex."[34] [x]

Visual and critical analysis [edit]

Hesse's work frequently shows minimal concrete manipulation of a cloth while simultaneously completely transforming the pregnant it conveys. This simplicity and complexity has evoked controversy among fine art historians. Contend has focussed on which pieces should be considered complete and finished works, and which are studies, sketches, or models for future works.[35] Hesse's drawings accept often been noted every bit drafts for later sculptures, but Hesse herself disavowed whatsoever strong connection.[27] Her work is oftentimes described as anti-form, i.east. a resistance to uniformity.[36] Her work embodies elements of minimalism in its uncomplicated shapes, delicate lines, and limited color palette.[37] Barry Schwabsky described her piece of work for the Camden Arts Centre in London: "Things folded, things piled, things twisted, things wound and unwound; tangled things, blunt things to connect to; materials that have a congealed expect, materials that seem lost or discarded or mistreated; shapes that look like they should have been made of flesh and shapes, that expect like they might exist made of flesh only should not have been – you lot tin look at these things, these materials, these shapes, and feel the shudder of an unnamable nanosensation, or you can permit your eye laissez passer by them without reaction; maybe you can practise both at once."[38] All of her piece of work, and especially her drawings, are based on repetition and elementary progressions.[39]

Preservation of artworks [edit]

There has been ongoing discussion nigh how best to preserve Eva Hesse's sculptures. With the exception of fiberglass, well-nigh of her favored materials have aged badly, then much of her work presents conservators with an enormous challenge. Arthur Danto, writing of the Jewish Museum'south 2006 retrospective, refers to "the discolorations, the slackness in the membrane-similar latex, the palpable crumbling of the material… Yet, somehow the work does not feel tragic. Instead, it is total of life, of eros, fifty-fifty of comedy… Each piece in the show vibrates with originality and mischief."[xl]

In some cases, her work is damaged beyond presentation. For instance, Sans III tin can no longer be exhibited to the public because the latex boxes accept curled in on themselves and crumbled. Hesse's close friend Sol LeWitt argued for steps for active conservation, "She wanted her work to last ... She certainly didn't accept the mental attitude that she would mutely sit by and let information technology disintegrate earlier her eyes."[28] LeWitt's response is supported by many of Hesse's other friends and colleagues. Nevertheless, Hesse's dedication to material and procedure contradicts her intention for these works to attain permanency. When discussing this topic with collectors in heed, she wrote, "At this point, I experience a little guilty when people want to buy information technology. I think they know just I want to write them a letter and say it's non going to terminal. I am non certain what my stand on lasting really is. Office of me feels that it's superfluous and if I need to utilise rubber that is more of import. Life doesn't last; art doesn't last."[41]

Legacy [edit]

Her fine art is ofttimes viewed in the context of the many struggles of her life. This includes escaping from the Nazis, her parents' divorce, the suicide of her mother when she was 10, her failed union, and the expiry of her begetter. A 2016 documentary entitled Eva Hesse, premiered in New York, illustrated her painful groundwork.[42] Directed past Marcie Begleiter, the film tells the story of Hesse'south "tragically foreshortened life". Information technology "focuses on those years of artistic emergence, a period of rapid development and furious productivity, with few parallels in the history of art."[43] [44]

While experiences no doubt had profound impressions on Hesse, the truthful impact of her artwork has been her formal, artistic invention: for example, her inventive uses of material, her contemporary response to the minimalist movement, and her ability to conductor in the postmodern and postminimalist fine art movements. Arthur Danto connects the two by describing her as "cop[ing] with emotional anarchy by reinventing sculpture through aesthetic insubordination, playing with worthless material amid the industrial ruins of a defeated nation that, only 2 decades earlier, would have murdered her without a second thought."[xxx]

Hesse was among the first artists of the 1960s to experiment with the fluid contours of the organic world of nature, as well as the simplest of artistic gestures. Some observers see in these qualities latent, proto-feminist references to the female body; others find in Hesse's languid forms expressions of wit, whimsy, and a sense of spontaneous invention with casually found, or "everyday" materials.[45] Prominent artists that have noted her as a chief influence include Japanese artist Eiji Sumi[46]

Exhibitions [edit]

In 1961, Hesse's gouache paintings were exhibited in Brooklyn Museum's 21st International Watercolor Biennial. Simultaneously, she showed her drawings in the John Heller Gallery exhibition Drawings: Three Young Americans.[26] In Baronial 1962, she and Tom Doyle participated in an Allan Kaprow Happening at the Art Students League of New York in Woodstock, New York. In 1963, Hesse had a 1-person show of works on newspaper at the Allan Stone Gallery on New York's Upper E Side.[20] Her first solo evidence of sculpture was presented at the Kunstverein für die Rheinlande und Westfalen, Düsseldorf, in 1965.[9] In November 1968, she exhibited her large-calibration sculptures at the Fischbach Gallery in New York. The exhibition was titled Chain Polymers and was her simply solo sculpture exhibition during her lifetime in the Usa.[47] The exhibition was pivotal in Hesse's career, securing her reputation at the time.[47] Her large piece Expanded Expansion showed at the Whitney Museum in the 1969 exhibit "Anti-Illusion: Process/Materials".[48]

There have been dozens of major posthumous exhibitions in the United States and Europe. An early one was at the Guggenheim Museum (1972),[49] while in 1979, 3 separate iterations of an Eva Hesse retrospective were held, entitled Eva Hesse: Sculpture. These exhibitions took place at the Whitechapel Fine art Gallery in London from May 4 – June 17, 1979; the Kroller-Muller in Otterlo from June 30 – August 5, 1979; and the Kestner-Gesellschaft in Hannover from August 17 – September 23, 1979. One artwork featured in the exhibition was Aught, four double sheets of latex stuffed with polyethylene.[50] In 1982, Ellen H. Johnson organized the first retrospective dedicated entirely to Hesse's drawings, which traveled to the Grey Art Gallery at NYU, the Allen Memorial Art Museum at Oberlin Higher, the Renaissance Social club at the University of Chicago, the Contemporary Arts Museum in Houston, and the Baltimore Museum of Art. In 1992 and 1993, retrospective exhibitions were held in New Oasis, Valencia and Paris.[51]

Numerous major exhibitions have been organized since the early 2000s, including a major show in 2002 (organized jointly between the San Francisco Museum of Mod Art, Tate Modernistic and Museum Wiesbaden),[12] [52] and concurrent exhibitions in 2006 at The Drawing Heart in New York and the Jewish Museum of New York.[53] [48] In Europe, Hesse had recent exhibitions at the Fundació Antoni Tàpies in Barcelona (2010) and at the Fruitmarket Gallery, Edinburgh (August to October 2009).[54] An exhibition of her drawings from the drove of the Allen Memorial Art Museum will travel in 2019-20 to the Museum Wiesbaden, Mumok in Vienna, Hauser & Wirth New York, and the Allen Memorial Art Museum.

Collections [edit]

Over twenty of her works feature in the Museum of Modernistic Fine art, in New York.[55] The largest collection of Hesse'due south work outside of the United States is in Museum Wiesbaden, which started actively acquiring her piece of work afterwards the 1990 exhibition "Female Artists of the Twentieth Century."[56] One of the largest collections of Hesse's drawings is in the Allen Memorial Art Museum at Oberlin Higher, which too maintains the Eva Hesse Archive, donated to the museum by the creative person's sis, Helen Hesse Charash, in 1977. Other public collections include the Art Institute of Chicago, the Hirshhorn Museum and Sculpture Garden, the National Gallery of Australia, the Nelson-Atkins Museum of Fine art, San Francisco Museum of Modern Art, the Solomon R. Guggenheim Museum, the Tate Gallery, the Jewish Museum and the Whitney Museum of American Art.[57]

List of selected works [edit]

  • Untitled. 1963–64. Oil on canvas. 59 × 39 1/four in. The Jewish Museum (Manhattan).[58]
  • Ringaround Arosie. 1965. Pencil, acetone, varnish, enamel paint, ink, and cloth covered electrical wire on papier-mâché and masonite. 26 three/eight 10 16 i/2 x four 1/two in. Museum of Modern Art, New York.[59]
  • Laocoön. 1965-66. Acrylic, cloth-covered string, wire, papier-mâché over plastic plumbers' pipe. 130 x 23 1/4 x 23 1/four in. Allen Memorial Art Museum, Oberlin.[60]
  • Untitled or Not Nevertheless. Nets. 1966. Polyethylene, paper, lead weights, and string. 71 x xv one/two x viii ane/4 in. San Francisco Museum of Mod Art, San Francisco.[61]
  • Hang Up. 1966. Acrylic on textile over wood; acrylic on cord over steel tube. 72 × 84 × 78 in. Art Establish of Chicago, Chicago.[62]
  • Addendum. 1967. Painted papier-mâché, wood and cord. Dimensions variable. Tate Collection.[63]
  • Repetition Xix III. 1968. Fiberglass and polyester resin. nineteen units, dimensions variable. Museum of Modern Fine art, New York.[64]
  • Sans Two. 1968. Fiberglass and polyester resin. 38 in. 10 86 in. x 6 one/eight in. 5 parts divided amidst: San Francisco Museum of Modern Fine art, San Francisco;[65] Glenstone Museum; Whitney Museum of American Art; Museum Wiesbaden; and Daros Collection, Switzerland.
  • Contingent. 1969. Cheesecloth, latex, fiberglass. eight units, dimensions variable. National Gallery of Australia, Canberra.[66]
  • Accession II. 1969. Galvanized steel and vinyl. 30 3/4 × 30 3/four × 30 3/iv in. Detroit Institute of Arts, Detroit.[67]
  • Right After. 1969. Fiberglass. 5 × eighteen × 4 ft. Milwaukee Fine art Museum, Milwaukee.[68]
  • Expanded Expansion. 1969. Fiberglass, polyester resin, latex, and cheesecloth. 122 inches x 300 in. Guggenheim Museum, New York.[69]
  • No Title. 1969–70. Latex, rope, string, and wire. Dimensions variable. Whitney Museum of American Art.[70]

Bibliography [edit]

  • Art Talk: Conversations with Barbara Hepworth, Sonia Delaunay, Louise Nevelson, Lee Krasner, Alice Neel, Grace Hartigan, Marisol, Eva Hesse, Lila Katzen, Eleanor Antin, Audrey Flack, Nancy Grossman. 1975 New York; Charles Scribner'south Sons. 201-224pps. Reprinted Art Talk: Conversations: Conversations with 15 Women Artists. 1995 IconEditions, An Imprint of HarperCollins Publishers. 173-199pps.
  • Corby, Vanessa. Eva Hesse: Longing, Belonging, and Displacement (I.B. Tauris, 2010) 250 pages; focus on drawings from 1960–61.
  • Eva Hesse. 1976 New York; New York University Press / 1992 Da Capo Press, Inc. Lucy R. Lippard. illus. Merchandise Paper. 251p.
  • Eva Hesse Sculpture. 1992 Timken Publishers, Inc. Bill Barrette. illus. Trade Paper. 274p.
  • Eva Hesse Paintings, 1960–1964. 1992 Robert Miller Gallery. Max Kozloff. Edited by John Cheim and Nathan Kernan. illus. Trade Cloth. 58p.
  • Eva Hesse: A Retrospective. 1992. Edited by Helen A. Cooper. New Oasis: Yale University Press.
  • Iv Artists: Robert Ryman, Eva Hesse, Bruce Nauman, Susan Rothenberg. Michael Blackwood Productions, Inc. Color VHS 45 min.
  • Busch, Julia One thousand., A decade of sculpture: the 1960s (The Art Brotherhood Press: Philadelphia; Associated University Presses: London, 1974) ISBN 0-87982-007-1
  • Eva Hesse Archives, Oberlin College, Oberlin Ohio.
  • "It's All Yours" Seventeen (September, 1954): 140-141, 161.
  • Willson, William Southward., ""Eva Hesse: On the Threshold of Illusions", in :Within the Visible edited by Catherine de Zegher, MIT Press, 1996.
  • de Zegher, Catherine (ed.), Eva Hesse Drawing. NY/New Haven: The Drawing Eye/Yale University Press, 2005. (Including essays by Benjamin H.D. Buchloh, Briony Fer, Mignon Nixon, Bracha Ettinger). ISBN 0-300-11618-7
  • Griselda Pollock with Vanessa Corby (eds.), Encountering Eva Hesse. London and Munich: Prestel, 2006.
  • Eva Hesse (2006): Volumes I and Ii: Paintings and Sculptures. Vol. I (Paintings) with an essay by Annette Spohn. Vol. Two (Sculptures) with an essay by Jörg Daur. ISBN 0-300-10441-iii
  • Milne, Drew (2008). "Eva Hesse". Art without Art: Selected Writing from the Globe of Edgeless Border. Edited past Marcus Reichert. London: Ziggurat Books. pp. 55–60. ISBN9780954665661.
  • Veronica Roberts (Editor), Lucy R. Lippard (Contributor), Kirsten Swenson, "Converging Lines: Eva Hesse and Sol LeWitt". Yale University Press, 2014. ISBN 978-0300204827
  • Briony Fer, Eva Hesse: Studiowork.

Notes [edit]

  1. ^ a b c d due east f g Encyclopedia of Globe Biography (2d ed.). Detroit: Gale. 2004. pp. 365–367.
  2. ^ SFMOMA showroom notes, 2002 for Hamburg; Danto 2006, p.32 for family being observant Jews.
  3. ^ Sutton, Benjamin (xvi May 2015). "Finally, a Documentary About Eva Hesse's Life and Work". hyperallergic. hyperallergic. Archived from the original on 2020-04-fifteen. Retrieved 26 March 2018.
  4. ^ Vanessa Corby, Corby, Vanessa; Hesse, Eva (2010-08-15). Eva Hesse: Longing, Belonging and Displacement. pp. 133–37. ISBN9781845115449 . Retrieved 2012-04-eighteen .
  5. ^ Lippard 1992, p. half dozen and in the Chronology: THE ARTIST'S LIFE, p. 218.
  6. ^ Danto 2006, p.32.
  7. ^ a b Lippard 1992, p. half dozen.
  8. ^ Encyclopedia of Earth Biography Vol. 7 (2nd ed.). Detroit: Gale. 2004. pp. 365–367.
  9. ^ a b Eva Hesse Archived 2013-10-29 at the Wayback Machine Solomon R. Guggenheim Museum, New York.
  10. ^ a b "Eva Hesse Documentary". Eva Hesse Documentary . Retrieved 12 August 2017.
  11. ^ "The Art Story". The Art Story . Retrieved March 12, 2017.
  12. ^ a b SFMOMA exhibit notes, 2002.
  13. ^ a b "Josef Albers, Eva Hesse, and the Imperative of Education | Tate". www.tate.org.uk . Retrieved 11 August 2017.
  14. ^ Phaidon Editors (2019). Great women artists. Phaidon Press. p. 185. ISBN978-0714878775.
  15. ^ Nemser, Cindy (2007). "My Memories of Eva Hesse". Woman's Art Periodical. Old Urban center Publishing, Inc. 28 (Leap–Summertime): 27.
  16. ^ "Archived copy". Archived from the original on 2014-08-17. Retrieved 2014-08-21 . {{cite web}}: CS1 maint: archived copy as title (link)
  17. ^ "Southward+ Stimulant: Sol LeWitt's advice to Eva Hessa Hesse". Seymour Magazine . Retrieved 12 April 2015.
  18. ^ Mitchell, Samantha (ii April 2014). "Converging Lines: Eva Hesse and Sol LeWitt". The Brooklyn Track Disquisitional Perspectives on Arts, Politics, and Civilisation. Yale University Press. Retrieved April 12, 2015.
  19. ^ Lippard 1992, p. 21, 218.
  20. ^ a b Lippard 1992, p. 219
  21. ^ Lippard 1992, p. 24.
  22. ^ Lippard 1992, p. 26
  23. ^ "Eva Hesse – The Arts Council". The Arts Council. Archived from the original on 2019-12-27. Retrieved 2016-03-05 .
  24. ^ "Repetition Nineteen 3". Museum of Modern Fine art, New York.
  25. ^ Harriet Schoenholz Bee; Cassandra Heliczer (2005). MoMA Highlights . New York: Museum of Modern Art. p. 271. ISBN978-0870704901.
  26. ^ a b Corby, Vanessa (2010). New Encounters: Arts, Cultures, Concepts: Eva Hesse: Longing, Belonging and Deportation. London: Tauris. p. 12.
  27. ^ a b Corby, Vanessa (2010). New Encounters: Arts, Cultures, Concepts: Eva Hesse: Longing, Belonging, and Displacement. London, United kingdom of great britain and northern ireland: Tauris. p. 16.
  28. ^ a b c Keats, John. "The Afterlife of Eva Hesse." Art & Antiques Magazine. Art & Antiques Magazine, March 31, 2011; accessed March 4, 2015.
  29. ^ Sandler, Irving (1996). Art of The Postmodern Era (kickoff ed.). NY: HarperCollins. p. 29. ISBN0-06-438509-4.
  30. ^ a b Danto, 2006, p. 33.
  31. ^ Stoops, Susan (1996). More Minimal: Feminism and Brainchild in the 70's. Waltham, MA: Brandeis University. pp. 54–59.
  32. ^ Resume
  33. ^ a b Stiles, Kristine (2012). Theories and Documents of Contemporary Art. Berkeley, CA: University of California Printing. p. 705.
  34. ^ Nemser, Cindy (2007). "My Memories of Eva Hesse". Woman's Art Journal. Old City Publishing, Inc. 28 (1): 27. JSTOR 20358108.
  35. ^ Schwabsky, Barry (2010). "Eva Hesse". Artforum. Camden Arts Eye (Apr): 205–206.
  36. ^ Danto, Arthur (2006). "All About Eva". The Nation. 24 (July): 30–33.
  37. ^ Fer, Briony (1994). "Bordering on Blank: Eva Hesse and Minimalism". Art History. Oxford: Blackwell Publishers. 17 (3): 424–449. doi:10.1111/j.1467-8365.1994.tb00586.x. ISSN 0141-6790.
  38. ^ Schwabsky, Barry (2010). "Eva Hesse". Artforum. Camden Arts Centre (Apr): 206.
  39. ^ Johnson, Ellen. "Eva Hesse". Tate Britain . Retrieved Apr 12, 2015.
  40. ^ Danto, 2006, p.thirty–31.
  41. ^ Danto, Arthur (2006). "All Near Eva". The Nation. 17 (24): 32.
  42. ^ Wolfe, Jennifer (2016-06-27). "Portrait of the Creative person as a Young Woman: Documenting the Innovation and Influence of Eva Hesse". Creative Planet Network. Retrieved 2016-08-22 .
  43. ^ Scott, A.O. (2016-04-26). "Review: 'Eva Hesse' Offers a Moving Portrait of an Artist'southward Brief Life". The New York Times . Retrieved 2017-05-01 .
  44. ^ "Eva Hesse Documentary". Eva Hesse Documentary.
  45. ^ "Eva Hesse Biography, Art, and Assay of Works". The Fine art Story . Retrieved 2018-03-26 .
  46. ^ "Bangkok Postal service article". Bangkok Mail.
  47. ^ a b Sussman and Wasserman, Preface
  48. ^ a b Danto, 2006, p.thirty.
  49. ^ Lippard 1992, pp. 5, 128–29, 138, 180–82.
  50. ^ [Artforum, Summer 1979. Page half-dozen]
  51. ^ "Eva Hesse – Museum Wiesbaden". museum-wiesbaden.de . Retrieved 2018-08-nineteen .
  52. ^ Tate. "Eva Hesse – Exhibition at Tate Modern | Tate". Tate . Retrieved 2018-08-xix .
  53. ^ "Eva Hesse: Sculpture". The Jewish Museum . Retrieved 2017-04-05 .
  54. ^ Fer, Briony (2009). Eva Hesse Studio. The Fruitmarket Gallery, Edinburgh. ISBN978-0-300-13476-half dozen.
  55. ^ "Eva Hesse | MoMA". world wide web.moma.org . Retrieved 2018-08-xix .
  56. ^ Data booklet of Museum Wiesbaden
  57. ^ Baskind, Samantha. (2011). Encyclopedia of Jewish American artists. Greenwood Press. ISBN978-1-84972-849-ii. OCLC 755870011.
  58. ^ "The Jewish Museum". thejewishmuseum.org . Retrieved 2018-03-12 .
  59. ^ "Eva Hesse. Ringaround Arosie. 1965 | MoMA". The Museum of Modern Art . Retrieved 2019-03-02 .
  60. ^ "Hesse_Laocoon". www2.oberlin.edu . Retrieved 2019-03-02 .
  61. ^ "Eva Hesse, Untitled or Not Yet, 1966 · SFMOMA". world wide web.sfmoma.org . Retrieved 2019-03-02 .
  62. ^ "Hang Upward". The Art Plant of Chicago . Retrieved 2019-03-02 .
  63. ^ Tate. "'Addendum', Eva Hesse, 1967". Tate . Retrieved 2019-03-02 .
  64. ^ "Eva Hesse. Repetition Nineteen Three. 1968 | MoMA". The Museum of Modern Art . Retrieved 2019-03-02 .
  65. ^ "Eva Hesse, Sans Two, 1968 · SFMOMA". www.sfmoma.org . Retrieved 2019-03-02 .
  66. ^ "Softsculpture". Nga.gov.au. Archived from the original on 2016-03-thirteen. Retrieved 2016-08-23 .
  67. ^ "Accession Two". www.dia.org . Retrieved 2019-03-02 .
  68. ^ "Right After | Milwaukee Art Museum". drove.mam.org . Retrieved 2019-03-02 .
  69. ^ "Expanded Expansion". Guggenheim. 1969-01-01. Retrieved 2019-03-02 .
  70. ^ "No Title". whitney.org. Retrieved 2018-03-xi .

References [edit]

  • Arthur C. Danto, "All About Eva", The Nation, July 17/24, 2006, p. 30–34. Posted online June 28, 2006.
  • Lucy R. Lippard, EVA HESSE. 1992 Da Capo Printing, Inc. illus. Trade Paper. 251p.
  • SFMOMA | Exhibitions | Exhibition Overview | Eva Hesse (San Francisco Museum of Modern Fine art February two, 2002 — May 19, 2002 exhibition). Accessed online 19 September 2006.
  • Sussman, Elisabeth (2006). Eva Hesse Sculpture . New Oasis: Yale University Press.
  • Artforum, Summertime 1979. Folio 6.

External links [edit]

  • Entry for Eva Hesse on the Union Listing of Artist Names
  • Eva Hesse Documentary
  • Eva Hesse: MoMA
  • Eva Hesse on Artcyclopedia
  • Eva Hesse: Random Notes Essay past Leslie Dick published in X-TRA
  • oneroom.org, Source with some more references
  • Eva Hesse Chronology
  • Eva Hesse: Sculpture Exhibition (2006) at The Jewish Museum (New York)
  • audio interview with Marcie Begeiter with Irit Krygier discussing her journey directing and co-producing with Karen Southward. Shapiro the documentary pic, Eva Hesse.

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