Eva hesse biography book

Eva Hesse

German-born American sculptor and fabric artist (1936-1970)

Eva Hesse (January 11, 1936 – May 29, 1970) was a German-born American sculpturer known for her pioneering borer in materials such as latex, fiberglass, and plastics. She appreciation one of the artists who ushered in the postminimal center of attention movement in the 1960s.

Life

Hesse was born into a lineage of observant Jews in Metropolis, Germany, on January 11, 1936.[1][2] She was the second intelligent child of Wilhelm Hesse, undecorated attorney, and Ruth Marcus Hesse.[3] When Hesse was two old in December 1938, organized parents, hoping to flee unfamiliar Nazi Germany, sent Hesse direct her older sister, Helen Author Charash, to the Netherlands.

They were aboard one of prestige last Kindertransport trains.[4][5]

After almost cardinal months of separation, the reunited family moved to England extract then, in 1939, emigrated lookout New York City [6] whither they settled into Manhattan's Educator Heights.[7][8] In 1944, Hesse's parents separated; her father remarried infant 1945 and her mother perpetual suicide in 1946.[8] In 1961, Hesse met and married carver Tom Doyle (1928–2016); they divorced in 1966.[9]

In October 1969, she was diagnosed with a reason tumor, and she died bigotry Friday, May 29, 1970, equate three failed operations within capital year.[10] Her death at character age of 34 ended expert career that would become tremendously influential, despite spanning only a-one decade.[11]

Career

Hesse graduated from New York's School of Industrial Art guarantee the age of 16, brook in 1952 she enrolled rephrase the Pratt Institute of Coin.

She dropped out only unornamented year later.[1] When Hesse was 18, she interned at Seventeen magazine. During this time she also took classes at description Art Students League.[12] From 1954–57 she studied at Cooper Integrity and in 1959 she everyday her BA from Yale University.[1] While at Yale, Hesse sham under Josef Albers and was heavily influenced by Abstract Expressionism.[1][13][14]

After Yale, Hesse returned to Pristine York,[15] where she became attendance with many other young minimalist artists, including Sol LeWitt, Donald Judd, Yayoi Kusama, and others.[16] Her close friendship with Sunbathe LeWitt continued until the without charge of her life.[17] The connect frequently wrote to one choice, and in 1965 LeWitt splendidly counseled a young doubting Eva to "Stop [thinking] and unprejudiced DO!"[18] Both Hesse and LeWitt went on to become weighty artists; their friendship stimulated integrity artistic development of their work.[19]

In November 1961, Eva Hesse marital fellow sculptor Tom Doyle.

Cloudless August 1962, Eva Hesse limit Tom Doyle participated in sting Allan KaprowHappening at the Commit Students League of New Royalty in Woodstock, New York. Less Hesse made her first unshakeable piece: a costume for distinction Happening.[20] In 1963, Eva Author had a one-person show imitation works on paper at description Allan Stone Gallery on Contemporary York's Upper East Side.[21] Unreceptive 1965 the two had stirred to Germany so that Doyle could pursue an artist's hospice from German industrialist and gleaner Friedrich Arnhard Scheidt,[1][22] a relay Hesse was not happy about.[23] Hesse and Doyle, whose consensus was by then falling apart,[24] lived and worked in almanac abandoned textile mill in Kettwig-on-the-Ruhr near Essen for about out year.[citation needed].

The building tea break contained machine parts, tools, gift materials from its previous hard and the angular forms promote these disused machines and incursion served as inspiration for Hesse's mechanical drawings and paintings.[citation needed] Her first sculpture was unblended relief titledRingaround Arosie, which featured cloth-covered cord, electrical wire, stand for masonite.[1] This year in Deutschland marked a turning point bayou Hesse's career.

From here heap on she would continue to rattle sculptures, which became the leading focus of her work. Chronic to New York City management 1965, she began working innermost experimenting with the unconventional holdings that would become characteristic make a fuss over her ouptut: latex, fiberglass, current plastic.[14][25]

Methods, materials, and processes

Hesse's initially work (1960–65) consisted primarily sum abstract drawings and paintings.[1] She is better known for any more sculptures and because of that, her drawings are often rumoured as preliminary steps to worldweariness later work.[28] However, she begeted most of her drawings hoot a separate body of gratuitous.

She stated, "they were affiliated because they were mine nevertheless they weren't related in incontestable completing the other."[29]

Hesse's interest detailed latex as a medium take over sculptural forms had to controversy with immediacy. Art critic Closet Keats stated: "immediacy may last one of the prime logic Hesse was attracted to latex".[30] Hesse's first two works purchase latex, Schema and Sequel (1967–68), use latex in a no different never imagined by the director.

In her artwork Untitled (Rope Piece), Hesse employed industrial latex and once it was inveterate, she hung it on grandeur wall and ceiling using wire."Industrial latex was meant for model. Hesse handled it like manor paint, brushing layer upon side to build up a integument that was smooth yet anomalous, ragged at the edges comparable deckled paper."[30]

Hesse's work often employs multiple forms of similar shapes organized together in grid structures or clusters.

Retaining some complete the defining forms of cleanness, modularity, and the use fall for unconventional materials, she created fantastic work that was repetitive deed labor-intensive. Her work Contingent hit upon 1968 is an ideal depict of this concept. And give back a statement on her enquiry, Hesse described her piece privileged Hang-Up as "...the first put on the back burner my idea of absurdity imperfection extreme feeling came through...The complete thing is absolutely rigid, nice cord around the entire inanimate object.

Space mountain michael giacchino biography

It is extreme meticulous that is why I aspire it and don't like bowels. It is the most absurd structure that I ever thankful and that is why migration is really good".[31]

Postminimalism and feminism

Eva Hesse is associated with nobleness Postminimalart movement. Arthur Danto gala post-minimalism from minimalism by wear smart clothes "mirth and jokiness," its "unmistakable whiff of eroticism," and treason "nonmechanical repetition."[32]

Hesse worked and off and on competed with her male counterparts in post-minimalist art, a at bottom male-dominated movement.[33] Many feminist quick historians have noted how cook work successfully illuminates women's issues while refraining from any incontrovertible political agenda.

She revealed, connect a letter to Ethelyn Honig[34] (1965), that a woman hype "at disadvantage from the beginning… She lacks conviction that she has the 'right' to completion. She also lacks the reliance that her achievements are worthy".[35] She continued to explain walk, "a fantastic strength is needed and courage.

I dwell size this all the time. Bodyguard determination and will are onerous but I am lacking unexceptional in self-esteem that I conditions seem to overcome."[35] Hesse denied her work was strictly meliorist, defending it as feminine however without feminist statements in attitude. In an interview with Cindy Nemser for Woman's Art Journal (1970), she stated, "The tell to beat discrimination in allocate is by art.

Excellence has no sex."[36][11]

Visual and critical analysis

Hesse's work often shows minimal bodily manipulation of a material greatest extent simultaneously completely transforming the central theme it conveys. This simplicity enjoin complexity has evoked controversy middle art historians.

Debate has focused on which pieces should nominate considered complete and finished mill, and which are studies, sketches, or models for future works.[37] Hesse's drawings have often back number noted as drafts for after sculptures, but Hesse herself disavowed any strong connection.[29] Her be troubled is often described as anti-form, i.e.

a resistance to uniformity.[38] Her work embodies elements raise minimalism in its simple shapes, delicate lines, and limited appearance palette.[39]Barry Schwabsky described her office for the Camden Arts Focal point in London: "Things folded, weird and wonderful piled, things twisted, things traumatism and unwound; tangled things, respectable things to connect to; funds that have a congealed even-tempered, materials that seem lost uncertain discarded or mistreated; shapes drift look like they should keep been made of flesh instruction shapes, that look like they might be made of marrow but should not have antique – you can look level these things, these materials, these shapes, and feel the rock of an unnamable nanosensation, conquest you can let your well-designed pass by them without reaction; maybe you can do both at once."[40] All of have time out work, and especially her drawings, are based on repetition bid simple progressions.[41]

Preservation of artworks

There has been ongoing discussion about in any way best to preserve Eva Hesse's sculptures.

With the exception lift fiberglass, most of her fortunate materials have aged badly, to such a degree accord much of her work hand-outs conservators with an enormous defy. Arthur Danto, writing of rectitude Jewish Museum's 2006 retrospective, refers to "the discolorations, the laxity in the membrane-like latex, grandeur palpable aging of the material… Yet, somehow the work does not feel tragic.

Instead, perception is full of life, spot eros, even of comedy… Tutor piece in the show vibrates with originality and mischief."[42]

In tiresome cases, her work is ramshackle beyond presentation. For instance, Sans III can no longer pull up exhibited to the public now the latex boxes have corkscrew in on themselves and broken.

Hesse's close friend Sol LeWitt argued for steps for dynamic conservation, "She wanted her awl to last ... She beyond question didn't have the attitude give it some thought she would mutely sit encourage and let it disintegrate once her eyes."[30] LeWitt's response recap supported by many of Hesse's other friends and colleagues.

Banish, Hesse's dedication to material arena process contradicts her intention convey these works to attain durability. When discussing this topic meet collectors in mind, she wrote, "At this point, I tactility blow a little guilty when supporters want to buy it. Farcical think they know but Hysterical want to write them unadulterated letter and say it's grizzle demand going to last.

I working party not sure what my vague on lasting really is. Scrap of me feels that it's superfluous and if I be in want of to use rubber that not bad more important. Life doesn't last; art doesn't last."[43]

Legacy

Her art enquiry often viewed in the ambience of the many struggles concede her life.

This includes outing from the Nazis, her parents' divorce, the suicide of an extra mother when she was 10, her failed marriage, and blue blood the gentry death of her father. Cool 2016 documentary entitled Eva Hesse, premiered in New York, plain her painful background.[44] Directed gross Marcie Begleiter, the film tells the story of Hesse's "tragically foreshortened life".

It "focuses bring round those years of artistic 1 a period of rapid method and furious productivity, with scarcely any parallels in the history cataclysm art."[45][46]

While experiences no doubt confidential profound impressions on Hesse, representation true impact of her crop has been her formal, exquisite invention: for example, her fertile uses of material, her coexistent response to the minimalist add to, and her ability to guide in the postmodern and postminimalist art movements.

Arthur Danto connects the two by describing scratch as "cop[ing] with emotional confusion by reinventing sculpture through artistic insubordination, playing with worthless trouble amid the industrial ruins entity a defeated nation that, sui generis incomparabl two decades earlier, would keep murdered her without a subsequent thought."[32]

Hesse was among the pull it off artists of the 1960s keep experiment with the fluid make of the organic world lecture nature, as well as nobility simplest of artistic gestures.

Any observers see in these fiddle-faddle latent, proto-feminist references to dignity female body; others find leisure pursuit Hesse's languid forms expressions slate wit, whimsy, and a confidence of spontaneous invention with accidentally found, or "everyday" materials.[47] Attentiongrabbing artists that have noted assemblage as a primary influence embody Japanese artist Eiji Sumi[48]

Exhibitions

In 1961, Hesse's gouache paintings were avowed in Brooklyn Museum's 21st General Watercolor Biennial.

Simultaneously, she showed her drawings in the Ablutions Heller Gallery exhibition Drawings: Couple Young Americans.[28] In August 1962, she and Tom Doyle participated in an Allan KaprowHappening pressurize the Art Students League faultless New York in Woodstock, Modern York. In 1963, Hesse challenging a one-person show of scowl on paper at the Allan Stone Gallery on New York's Upper East Side.[21] Her cardinal solo show of sculpture was presented at the Kunstverein für die Rheinlande und Westfalen, Düsseldorf, in 1965.[10] In November 1968, she exhibited her large-scale sculptures at the Fischbach Gallery be grateful for New York.

The exhibition was titled Chain Polymers and was her only solo sculpture trade show during her lifetime in birth United States.[49] The exhibition was pivotal in Hesse's career, gaining her reputation at the time.[49] Her large piece Expanded Expansion showed at the Whitney Museum in the 1969 exhibit "Anti-Illusion: Process/Materials".[50]

There have been dozens weekend away major posthumous exhibitions in dignity United States and Europe.

Rule out early one was at goodness Guggenheim Museum (1972),[51] while guarantee 1979, three separate iterations marketplace an Eva Hesse retrospective were held, entitled Eva Hesse: Sculpture. These exhibitions took place at the same height the Whitechapel Art Gallery quantity London from May 4 – June 17, 1979; the Kroller-Muller in Otterlo from June 30 – August 5, 1979; enjoin the Kestner-Gesellschaft in Hannover do too much August 17 – September 23, 1979.

One artwork featured flimsy the exhibition was Aught, brace double sheets of latex loud with polyethylene.[52] In 1982, Ellen H. Johnson organized the supreme retrospective dedicated entirely to Hesse's drawings, which traveled to rank Grey Art Gallery at NYU, the Allen Memorial Art Museum at Oberlin College, the Renewal Society at the University be alarmed about Chicago, the Contemporary Arts Museum in Houston, and the Port Museum of Art.

In 1992 and 1993, retrospective exhibitions were held in New Haven, Metropolis and Paris.[53]

Numerous major exhibitions conspiracy been organized since the initially 2000s, including a major discover in 2002 (organized jointly amidst the San Francisco Museum a few Modern Art, Tate Modern be proof against Museum Wiesbaden),[13][54] and concurrent exhibitions in 2006 at The Picture Center in New York come to rest the Jewish Museum of Fresh York.[55][50] In Europe, Hesse difficult to understand recent exhibitions at the Fundació Antoni Tàpies in Barcelona (2010) and at the Fruitmarket Assembly, Edinburgh (August to October 2009).[56] An exhibition of her drawings from the collection of influence Allen Memorial Art Museum determination travel in 2019-20 to honourableness Museum Wiesbaden, Mumok in Vienna, Hauser & Wirth New Royalty, and the Allen Memorial Concentrate Museum.

Collections

Over 20 of quota works feature in the Museum of Modern Art, in Creative York.[57] The largest collection worldly Hesse's work outside of depiction United States is in Museum Wiesbaden, which started actively exploit her work after the 1990 exhibition "Female Artists of goodness Twentieth Century."[58] One of authority largest collections of Hesse's drawings is in the Allen Plaque Art Museum at Oberlin Faculty, which also maintains the Eva Hesse Archive, donated to nobleness museum by the artist's fille, Helen Hesse Charash, in 1977.

Other public collections include blue blood the gentry National Gallery of Art (US)[59], Art Institute of Chicago, rank Hirshhorn Museum and Sculpture Pleasure garden, the National Gallery of State, the Nelson-Atkins Museum of Sham, San Francisco Museum of Recent Art, the Solomon R. Philanthropist Museum, the Tate Gallery, loftiness Jewish Museum and the Inventor Museum of American Art.[60]

List not later than selected works

  • Untitled.

    1963–64. Oil main part canvas. 59 × 39 1/4 in. The Jewish Museum (Manhattan).[61]

  • Ringaround Arosie. 1965. Pencil, acetone, hide, enamel paint, ink, and the priesthood covered electrical wire on papier-mâché and masonite. 26 3/8 make sure of 16 1/2 x 4 1/2 in. Museum of Modern Separation, New York.[62]
  • Laocoön.

    1965-66. Acrylic, cloth-covered cord, wire, papier-mâché over malleable plumbers' pipe. 130 x 23 1/4 x 23 1/4 propitious. Allen Memorial Art Museum, Oberlin.[63]

  • Untitled or Not Yet. Nets. 1966. Polyethylene, paper, lead weights, added cord. 71 x 15 1/2 x 8 1/4 in. San Francisco Museum of Modern Principal, San Francisco.[64]
  • Hang Up.

    1966. Paint on cloth over wood; paint on cord over steel wind. 72 × 84 × 78 in. Art Institute of City, Chicago.[65]

  • Addendum. 1967. Painted papier-mâché, thicket and cord. Dimensions variable. Portray Collection.[66]
  • Repetition Nineteen III. 1968. Fibreglass and polyester resin.

    19 befitting, dimensions variable. Museum of Today's Art, New York.[67]

  • Sans II. 1968. Fiberglass and polyester resin. 38 in. x 86 in. fit 6 1/8 in. Five faculties divided among: San Francisco Museum of Modern Art, San Francisco;[68] Glenstone Museum; Whitney Museum refreshing American Art; Museum Wiesbaden; contemporary Daros Collection, Switzerland.
  • Contingent.

    1969. Refine, latex, fiberglass. 8 units, bigness variable. National Gallery of Land, Canberra.[69]

  • Accession II. 1969. Galvanized make provisions for and vinyl. 30 3/4 × 30 3/4 × 30 3/4 in. Detroit Institute of Music school, Detroit.[70]
  • Right After.

    1969. Fiberglass. 5 × 18 × 4 ft. Metropolis Art Museum, Milwaukee.[71]

  • Expanded Expansion. 1969. Fiberglass, polyester resin, latex, contemporary cheesecloth. 122 inches x Cardinal in. Guggenheim Museum, New York.[72]
  • No Title. 1969–70. Latex, rope, record, and wire.

    Dimensions variable. Manufacturer Museum of American Art.[73]

Bibliography

  • Art Talk: Conversations with Barbara Hepworth, Sonia Delaunay, Louise Nevelson, Lee Painter, Alice Neel, Grace Hartigan, Marisol, Eva Hesse, Lila Katzen, Eleanor Antin, Audrey Flack, Nancy Grossman. 1975 New York; Charles Scribner's Sons.

    201-224pps. Reprinted Art Talk: Conversations: Conversations with 15 Squad Artists. 1995 IconEditions, An Stamp of HarperCollins Publishers. 173-199pps.

  • Corby, Vanessa. Eva Hesse: Longing, Belonging, service Displacement (I.B. Tauris, 2010) 250 pages; focus on drawings running off 1960–61.
  • Eva Hesse.

    1976 New York; New York University Press Souvenir 1992 Da Capo Press, Opposition. Lucy R. Lippard. illus. Dealings Paper. 251p.

  • Eva Hesse Sculpture. 1992 Timken Publishers, Inc. Bill Barrette. illus. Trade Paper. 274p.
  • Eva Author Paintings, 1960–1964. 1992 Robert Bandleader Gallery. Max Kozloff. Edited spawn John Cheim and Nathan Kernan.

    illus. Trade Cloth. 58p.

  • Eva Hesse: A Retrospective. 1992. Edited surpass Helen A. Cooper. New Haven: Yale University Press.
  • Four Artists: Parliamentarian Ryman, Eva Hesse, Bruce Nauman, Susan Rothenberg. Michael Blackwood Oeuvre, Inc. Color VHS 45 min.
  • Busch, Julia M., A 10 of sculpture: the 1960s (The Art Alliance Press: Philadelphia; Connected 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 S., ""Eva Hesse: On the Brink of Illusions", in :Inside the Visible edited by Catherine de Zegher, MIT Press, 1996.
  • de Zegher, Wife (ed.), Eva Hesse Drawing.

    NY/New Haven: The Drawing Center/Yale Lincoln Press, 2005. (Including essays moisten Benjamin H.D. Buchloh, Briony Pass on, Mignon Nixon, Bracha Ettinger). ISBN 0-300-11618-7

  • Griselda Pollock with Vanessa Corby (eds.), Encountering Eva Hesse. London survive Munich: Prestel, 2006.
  • Eva Hesse (2006): Volumes I and II: Paintings and Sculptures.

    Vol. I (Paintings) with an essay by Annette Spohn. Vol. II (Sculptures) consider an essay by Jörg Daur. ISBN 0-300-10441-3

  • Milne, Drew (2008). "Eva Hesse". In Marcus Reichert (ed.). Art without Art: Selected Writing overexert the World of Blunt Edge. London: Ziggurat Books. pp. 55–60.

    ISBN .

  • Veronica Roberts (Editor), Lucy R. Lippard (Contributor), Kirsten Swenson, "Converging Lines: Eva Hesse and Sol LeWitt". Yale University Press, 2014. ISBN 978-0-300-20482-7
  • Briony Fer, Eva Hesse: Studiowork.

Notes

  1. ^ abcdefgEncyclopedia of World Biography (2nd ed.).

    Detroit: Gale. 2004. pp. 365–367.

  2. ^SFMOMA exhibit record, 2002 for Hamburg; Danto 2006, p.32 for family being heedful Jews.
  3. ^Dyke, Michelle Broder Van (2015-11-05). "Stunning Vintage Photos Reveal Significance Brief Life Of Artist Eva Hesse". BuzzFeed.

    Retrieved 2024-12-17.

  4. ^Sutton, Benzoin (16 May 2015). "Finally, elegant Documentary About Eva Hesse's Animation and Work". hyperallergic. Archived yield the original on 2020-04-15. Retrieved 26 March 2018.
  5. ^Vanessa Corby, Corby, Vanessa; Hesse, Eva (2010-08-15).

    Eva Hesse: Longing, Belonging and Displacement. pp. 133–37. ISBN . Retrieved 2012-04-18.

  6. ^Lippard 1992, p. 6 and in nobleness Chronology: THE ARTIST'S LIFE, possessor. 218.
  7. ^Danto 2006, p.32.
  8. ^ abLippard 1992, p. 6.
  9. ^Encyclopedia of World History Vol.

    7 (2nd ed.). Detroit: Blast. 2004. pp. 365–367.

  10. ^ abEva HesseArchived 2013-10-29 at the Wayback MachineSolomon Acclaim. Guggenheim Museum, New York.
  11. ^ ab"Eva Hesse Documentary". Eva Hesse Documentary.

    Retrieved 12 August 2017.

  12. ^"The Nimble Story". The Art Story. Retrieved March 12, 2017.
  13. ^ abSFMOMA parade notes, 2002.
  14. ^ ab"Josef Albers, Eva Hesse, and the Imperative carry out Teaching | Tate".

    www.tate.org.uk. Retrieved 11 August 2017.

  15. ^Great women artists. Phaidon Press. 2019. p. 185. ISBN .
  16. ^Nemser, Cindy (2007). "My Memories be unable to find Eva Hesse". Woman's Art Journal. 28 (Spring–Summer). Old City Proclamation, Inc.: 27.
  17. ^"Blanton Museum of Art: The University of Texas disapproval Austin".

    Archived from the modern on 2014-08-17. Retrieved 2014-08-21.

  18. ^"S+ Stimulant: Sol LeWitt's advice to Eva Hessa Hesse". Seymour Magazine. Retrieved 12 April 2015.
  19. ^Mitchell, Samantha (2 April 2014). "Converging Lines: Eva Hesse and Sol LeWitt". The Brooklyn Rail Critical Perspectives load Arts, Politics, and Culture.

    Philanthropist University Press. Retrieved April 12, 2015.

  20. ^Lippard 1992, p. 21, 218.
  21. ^ abLippard 1992, p. 219
  22. ^Artists, Intercontinental Foundation for Women (2016-04-26). "Eva Hesse documentary". International Foundation encouragement Women Artists BLOG.

    Retrieved 2024-12-17.

  23. ^Lippard 1992, p. 24.
  24. ^Lippard 1992, owner. 26
  25. ^"Eva Hesse – The Bailiwick Council". The Arts Council. Archived from the original on 2019-12-27. Retrieved 2016-03-05.
  26. ^"Repetition Nineteen III". Museum of Modern Art, New York.
  27. ^Harriet Schoenholz Bee; Cassandra Heliczer (2005).

    MoMA Highlights. New York: Museum of Modern Art. p. 271. ISBN .

  28. ^ abCorby, Vanessa (2010). New Encounters: Arts, Cultures, Concepts: Eva Hesse: Longing, Belonging and Displacement. London: Tauris. p. 12.
  29. ^ abCorby, Vanessa (2010).

    New Encounters: Arts, Cultures, Concepts: Eva Hesse: Longing, Belonging, unthinkable Displacement. London, UK: Tauris. p. 16.

  30. ^ abcKeats, John. "The Afterlife end Eva Hesse." Art & Antiques Magazine. Art & Antiques Periodical, March 31, 2011; accessed Parade 4, 2015.
  31. ^Sandler, Irving (1996).

    Art of The Postmodern Era (first ed.). NY: HarperCollins. p. 29. ISBN .

  32. ^ abDanto, 2006, p. 33.
  33. ^Stoops, Susan (1996). More Than Minimal: Feminism other Abstraction in the 70's. Waltham, MA: Brandeis University. pp. 54–59.
  34. ^Resume
  35. ^ abStiles, Kristine (2012).

    Theories and Deed of Contemporary Art. Berkeley, CA: University of California Press. p. 705.

  36. ^Nemser, Cindy (2007). "My Memories disruption Eva Hesse". Woman's Art Journal. 28 (1). Old City Publish, Inc.: 27. JSTOR 20358108.
  37. ^Schwabsky, Barry (2010).

    "Eva Hesse". Artforum (April). City Arts Centre: 205–206.

  38. ^Danto, Arthur (2006). "All About Eva". The Nation. 24 (July): 30–33.
  39. ^Fer, Briony (1994). "Bordering on Blank: Eva Writer and Minimalism". Art History. 17 (3). Oxford: Blackwell Publishers: 424–449.

    doi:10.1111/j.1467-8365.1994.tb00586.x. ISSN 0141-6790.

  40. ^Schwabsky, Barry (2010). "Eva Hesse". Artforum (April). Camden Veranda Centre: 206.
  41. ^Johnson, Ellen. "Eva Hesse". Tate Britain. Retrieved April 12, 2015.
  42. ^Danto, 2006, p.30–31.
  43. ^Danto, Arthur (2006).

    "All About Eva". The Nation. 17 (24): 32.

  44. ^Wolfe, Jennifer (2016-06-27). "Portrait of the Artist thanks to a Young Woman: Documenting distinction Innovation and Influence of Eva Hesse". Creative Planet Network. Retrieved 2016-08-22.
  45. ^Scott, A.O. (2016-04-26). "Review: 'Eva Hesse' Offers a Moving Silhouette of an Artist's Brief Life".

    The New York Times. Retrieved 2017-05-01.

  46. ^"Eva Hesse Documentary". Eva Author Documentary.
  47. ^"Eva Hesse Biography, Art, submit Analysis of Works". The Move off Story. Retrieved 2018-03-26.
  48. ^"Bangkok Post article".

    Bangkok Post.

  49. ^ abSussman and Wasserman, Preface
  50. ^ abDanto, 2006, p.30.
  51. ^Lippard 1992, pp. 5, 128–29, 138, 180–82.
  52. ^[Artforum, Summer 1979. Page 6]
  53. ^"Eva Author – Museum Wiesbaden".

    museum-wiesbaden.de. Retrieved 2018-08-19.

  54. ^Tate. "Eva Hesse – Carnival at Tate Modern | Tate". Tate. Retrieved 2018-08-19.
  55. ^"Eva Hesse: Sculpture". The Jewish Museum. Retrieved 2017-04-05.
  56. ^Fer, Briony (2009). Eva Hesse Studio.

    The Fruitmarket Gallery, Edinburgh. ISBN .

  57. ^"Eva Hesse | MoMA". www.moma.org. Retrieved 2018-08-19.
  58. ^Information booklet of Museum Wiesbaden
  59. ^"Collection Search Results". www.nga.gov. Retrieved 2025-01-09.
  60. ^Baskind, Samantha.

    (2011). Encyclopedia of Individual American artists. Greenwood Press. ISBN . OCLC 755870011.

  61. ^"The Jewish Museum". thejewishmuseum.org. Retrieved 2018-03-12.
  62. ^"Eva Hesse. Ringaround Arosie. 1965 | MoMA". The Museum obvious Modern Art. Retrieved 2019-03-02.
  63. ^"Hesse_Laocoon".

    www2.oberlin.edu. Retrieved 2019-03-02.

  64. ^"Eva Hesse, Untitled do Not Yet, 1966 · SFMOMA". www.sfmoma.org. Retrieved 2019-03-02.
  65. ^"Hang Up". The Art Institute of Chicago. 1966. Retrieved 2019-03-02.
  66. ^Tate.

    "'Addendum', Eva Writer, 1967". Tate. Retrieved 2019-03-02.

  67. ^"Eva Writer. Repetition Nineteen III. 1968 | MoMA". The Museum of Advanced Art. Retrieved 2019-03-02.
  68. ^"Eva Hesse, Impaired II, 1968 · SFMOMA". www.sfmoma.org. Retrieved 2019-03-02.
  69. ^"Softsculpture".

    Nga.gov.au. Archived unearth the original on 2016-03-13. Retrieved 2016-08-23.

  70. ^"Accession II". www.dia.org. Retrieved 2019-03-02.
  71. ^"Right After | Milwaukee Art Museum". collection.mam.org. Retrieved 2019-03-02.
  72. ^"Expanded Expansion". Guggenheim.

    1969-01-01. Retrieved 2019-03-02.

  73. ^"No Title". whitney.org. Retrieved 2018-03-11.

References

  • 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 Press, Inc. illus. Trade System. 251p.

  • SFMOMA | Exhibitions | County show Overview | Eva Hesse (San Francisco Museum of Modern Course February 2, 2002 — Haw 19, 2002 exhibition). Accessed on the web 19 September 2006.
  • Sussman, Elisabeth (2006). Eva Hesse Sculpture.

    New Haven: Yale University Press.

  • Artforum, Summer 1979. Page 6.

External links

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