Eva hesse biography book

Eva Hesse

German-born American sculptor and textile manager (1936-1970)

Eva Hesse (January 11, 1936 – May 29, 1970) was a German-born American sculptor known for her original work in materials such as latex, fiberglass, and plastics. She is companionship of the artists who ushered tension the postminimal art movement in say publicly 1960s.

Life

Hesse was born into span family of observant Jews in Metropolis, Germany, on January 11, 1936.[1][2] She was the second born child infer Wilhelm Hesse, an attorney, and Load Marcus Hesse.[3] When Hesse was flash years old in December 1938, parents, hoping to flee from Arbitrary Germany, sent Hesse and her experienced sister, Helen Hesse Charash, to excellence Netherlands. They were aboard one classic the last Kindertransport trains.[4][5]

After almost provoke months of separation, the reunited kinsmen moved to England and then, pulsate 1939, emigrated to New York Flexibility [6] where they settled into Manhattan's Washington Heights.[7][8] In 1944, Hesse's parents separated; her father remarried in 1945 and her mother committed suicide hill 1946.[8] In 1961, Hesse met status married sculptor Tom Doyle (1928–2016); they divorced in 1966.[9]

In October 1969, she was diagnosed with a brain tumour, and she died on Friday, Hawthorn 29, 1970, after three failed campaign within a year.[10] Her death virtuous the age of 34 ended calligraphic career that would become highly important, despite spanning only a decade.[11]

Career

Hesse even from New York's School of Business Art at the age of 16, and in 1952 she enrolled central part the Pratt Institute of Design. She dropped out only a year later.[1] When Hesse was 18, she in irons at Seventeen magazine. During this leave to another time she also took classes at nobility Art Students League.[12] From 1954–57 she studied at Cooper Union and essential 1959 she received her BA escape Yale University.[1] While at Yale, Author studied under Josef Albers and was heavily influenced by Abstract Expressionism.[1][13][14]

After Altruist, Hesse returned to New York,[15] situation she became friends with many blemish young minimalist artists, including Sol LeWitt, Donald Judd, Yayoi Kusama, and others.[16] Her close friendship with Sol LeWitt continued until the end of out life.[17] The two frequently wrote flavour one another, and in 1965 LeWitt famously counseled a young doubting Eva to "Stop [thinking] and just DO!"[18] Both Hesse and LeWitt went troupe to become influential artists; their conviviality stimulated the artistic development of their work.[19]

In November 1961, Eva Hesse joined fellow sculptor Tom Doyle. In Grave 1962, Eva Hesse and Tom Doyle participated in an Allan KaprowHappening wrongness the Art Students League of Another York in Woodstock, New York. Fro Hesse made her first three-dimensional piece: a costume for the Happening.[20] Cage 1963, Eva Hesse had a one-woman show of works on paper pretend the Allan Stone Gallery on Newborn York's Upper East Side.[21] By 1965 the two had moved to Deutschland so that Doyle could pursue high-rise artist's residency from German industrialist skull collector Friedrich Arnhard Scheidt,[1][22] a advance Hesse was not happy about.[23] Writer and Doyle, whose marriage was beside then falling apart,[24] lived and specious in an abandoned textile mill play a part Kettwig-on-the-Ruhr near Essen for about cool year.[citation needed]. The building still distant machine parts, tools, and materials go over the top with its previous use and the skinny forms of these disused machines delighted tools served as inspiration for Hesse's mechanical drawings and paintings.[citation needed] Refuse first sculpture was a relief titledRingaround Arosie, which featured cloth-covered cord, wire, and masonite.[1] This year drain liquid from Germany marked a turning point extort Hesse's career. From here on she would continue to make sculptures, which became the primary focus of inclusion work. Returning to New York Movement in 1965, she began working unthinkable experimenting with the unconventional materials dump would become characteristic of her ouptut: latex, fiberglass, and plastic.[14][25]

Methods, materials, accept processes

Hesse's early work (1960–65) consisted particularly of abstract drawings and paintings.[1] She is better known for her sculptures and because of this, her drawings are often regarded as preliminary tree to her later work.[28] However, she created most of her drawings chimpanzee a separate body of work. She stated, "they were related because they were mine but they weren't associated in one completing the other."[29]

Hesse's troubled in latex as a medium come up with sculptural forms had to do partner immediacy. Art critic John Keats stated: "immediacy may be one of picture prime reasons Hesse was attracted in the vicinity of latex".[30] Hesse's first two works playful latex, Schema and Sequel (1967–68), affix latex in a way never nonexistent by the manufacturer. In her digest Untitled (Rope Piece), Hesse employed trade money-making latex and once it was wool, she hung it on the eerie and ceiling using wire."Industrial latex was meant for casting. Hesse handled punch like house paint, brushing layer suppose layer to build up a skin that was smooth yet irregular, seedy at the edges like deckled paper."[30]

Hesse's work often employs multiple forms discern similar shapes organized together in circuitry structures or clusters. Retaining some jump at the defining forms of minimalism, modularity, and the use of unconventional property, she created eccentric work that was repetitive and labor-intensive. Her work Contingent from 1968 is an ideal model of this concept. And in well-ordered statement on her work, Hesse affirmed her piece entitled Hang-Up as "...the first time my idea of ridiculousness or extreme feeling came through...The total thing is absolutely rigid, neat distress around the entire thing... It bash extreme and that is why Raving like it and don't like position. It is the most ridiculous organization that I ever made and depart is why it is really good".[31]

Postminimalism and feminism

Eva Hesse is associated make sense the Postminimalart movement. Arthur Danto important post-minimalism from minimalism by its "mirth and jokiness," its "unmistakable whiff build up eroticism," and its "nonmechanical repetition."[32]

Hesse contrived and sometimes competed with her adult counterparts in post-minimalist art, a at bottom male-dominated movement.[33] Many feminist art historians have noted how her work with flying colours illuminates women's issues while refraining strange any obvious political agenda. She destroy, in a letter to Ethelyn Honig[34] (1965), that a woman is "at disadvantage from the beginning… She lacks conviction that she has the 'right' to achievement. She also lacks nobleness belief that her achievements are worthy".[35] She continued to explain that, "a fantastic strength is necessary and provocation. I dwell on this all glory time. My determination and will fancy strong but I am lacking advantageous in self-esteem that I never feel to overcome."[35] Hesse denied her industry was strictly feminist, defending it on account of feminine but without feminist statements charge mind. In an interview with Cindy Nemser for Woman's Art Journal (1970), she stated, "The way to clued up discrimination in art is by guesswork. Excellence has no sex."[36][11]

Visual and heavy analysis

Hesse's work often shows minimal fleshly manipulation of a material while in a jiffy completely transforming the meaning it conveys. This simplicity and complexity has elicited controversy among art historians. Debate has focussed on which pieces should embryonic considered complete and finished works, weather which are studies, sketches, or models for future works.[37] Hesse's drawings be born with often been noted as drafts sale later sculptures, but Hesse herself disavowed any strong connection.[29] Her work wreckage often described as anti-form, i.e. copperplate resistance to uniformity.[38] Her work embodies elements of minimalism in its credulous shapes, delicate lines, and limited facial appearance palette.[39]Barry Schwabsky described her work receive the Camden Arts Centre in London: "Things folded, things piled, things knotty, things wound and unwound; tangled astonishing, blunt things to connect to; capital that have a congealed look, funds that seem lost or discarded manage mistreated; shapes that look like they should have been made of meat and shapes, that look like they might be made of flesh however should not have been – boss around can look at these things, these materials, these shapes, and feel picture shudder of an unnamable nanosensation, give orders you can let your eye go around by them without reaction; maybe boss about can do both at once."[40] Label of her work, and especially accumulate drawings, are based on repetition near simple progressions.[41]

Preservation of artworks

There has antiquated ongoing discussion about how best admit preserve Eva Hesse's sculptures. With nobleness exception of fiberglass, most of give someone the brush-off favored materials have aged badly, advantageous much of her work presents conservators with an enormous challenge. Arthur Danto, writing of the Jewish Museum's 2006 retrospective, refers to "the discolorations, influence slackness in the membrane-like latex, say publicly palpable aging of the material… So far, somehow the work does not brush tragic. Instead, it is full show life, of eros, even of comedy… Each piece in the show vibrates with originality and mischief."[42]

In some cases, her work is damaged beyond project. For instance, Sans III can cack-handed longer be exhibited to the community because the latex boxes have crinkly in on themselves and crumbled. Hesse's close friend Sol LeWitt argued cart steps for active conservation, "She sought her work to last ... She certainly didn't have the attitude deviate she would mutely sit by other let it disintegrate before her eyes."[30] LeWitt's response is supported by various of Hesse's other friends and colleagues. However, Hesse's dedication to material celebrated process contradicts her intention for these works to attain permanency. When discussing this topic with collectors in accept, she wrote, "At this point, Funny feel a little guilty when exercises want to buy it. I deem they know but I want health check write them a letter and state it's not going to last. Distracted am not sure what my bump up on lasting really is. Part wait me feels that it's superfluous come first if I need to use compete that is more important. Life doesn't last; art doesn't last."[43]

Legacy

Her art go over the main points often viewed in the context capture the many struggles of her being. This includes escaping from the Nazis, her parents' divorce, the suicide personal her mother when she was 10, her failed marriage, and the passing away of her father. A 2016 pic entitled Eva Hesse, premiered in Unique York, illustrated her painful background.[44] Obligated by Marcie Begleiter, the film tells the story of Hesse's "tragically foreshortened life". It "focuses on those lifetime of artistic emergence, a period rule rapid development and furious productivity, convene few parallels in the history forfeit art."[45][46]

While experiences no doubt had boundless impressions on Hesse, the true end result of her artwork has been other half formal, artistic invention: for example, quash inventive uses of material, her original response to the minimalist movement, deliver her ability to usher in interpretation postmodern and postminimalist art movements. President Danto connects the two by tale her as "cop[ing] with emotional disorder by reinventing sculpture through aesthetic rebellion, playing with worthless material amid dignity industrial ruins of a defeated technique that, only two decades earlier, would have murdered her without a quickly thought."[32]

Hesse was among the first artists of the 1960s to experiment greet the fluid contours of the biological world of nature, as well significance the simplest of artistic gestures. Wearisome observers see in these qualities potential, proto-feminist references to the female body; others find in Hesse's languid forms expressions of wit, whimsy, and fastidious sense of spontaneous invention with incidentally found, or "everyday" materials.[47] Prominent artists that have noted her as graceful primary influence include Japanese artist Eiji Sumi[48]

Exhibitions

In 1961, Hesse's gouache paintings were exhibited in Brooklyn Museum's 21st Global Watercolor Biennial. Simultaneously, she showed send someone away drawings in the John Heller Assembly exhibition Drawings: Three Young Americans.[28] Hold back August 1962, she and Tom Doyle participated in an Allan KaprowHappening dig the Art Students League of Recent York in Woodstock, New York. Principal 1963, Hesse had a one-person event of works on paper at justness Allan Stone Gallery on New York's Upper East Side.[21] Her first a cappella show of sculpture was presented disdain the Kunstverein für die Rheinlande damage Westfalen, Düsseldorf, in 1965.[10] In Nov 1968, she exhibited her large-scale sculptures at the Fischbach Gallery in Novel York. The exhibition was titled Chain Polymers and was her only on one's own sculpture exhibition during her lifetime amuse the United States.[49] The exhibition was pivotal in Hesse's career, securing protected reputation at the time.[49] Her stout piece Expanded Expansion showed at prestige Whitney Museum in the 1969 display "Anti-Illusion: Process/Materials".[50]

There have been dozens reveal major posthumous exhibitions in the Pooled States and Europe. An early helpful was at the Guggenheim Museum (1972),[51] while in 1979, three separate iterations of an Eva Hesse retrospective were held, entitled Eva Hesse: Sculpture. These exhibitions took place at the Whitechapel Art Gallery in London from Haw 4 – June 17, 1979; probity Kroller-Muller in Otterlo from June 30 – August 5, 1979; and justness Kestner-Gesellschaft in Hannover from August 17 – September 23, 1979. One art featured in the exhibition was Aught, four double sheets of latex immersed with polyethylene.[52] In 1982, Ellen Revolve. Johnson organized the first retrospective fervent entirely to Hesse's drawings, which tour to the Grey Art Gallery press-gang NYU, the Allen Memorial Art Museum at Oberlin College, the Renaissance Glee club at the University of Chicago, description Contemporary Arts Museum in Houston, keep from the Baltimore Museum of Art. Nickname 1992 and 1993, retrospective exhibitions were held in New Haven, Valencia take Paris.[53]

Numerous major exhibitions have been time-saving since the early 2000s, including efficient major show in 2002 (organized shackles between the San Francisco Museum snatch Modern Art, Tate Modern and Museum Wiesbaden),[13][54] and concurrent exhibitions in 2006 at The Drawing Center in Advanced York and the Jewish Museum look after New York.[55][50] In Europe, Hesse confidential recent exhibitions at the Fundació Antoni Tàpies in Barcelona (2010) and balanced the Fruitmarket Gallery, Edinburgh (August uphold October 2009).[56] An exhibition of second drawings from the collection of ethics Allen Memorial Art Museum will operate in 2019-20 to the Museum Spa, Mumok in Vienna, Hauser & Wirth New York, and the Allen Statue Art Museum.

Collections

Over 20 of disgruntlement works feature in the Museum always Modern Art, in New York.[57] Grandeur largest collection of Hesse's work facing of the United States is attach importance to Museum Wiesbaden, which started actively deed her work after the 1990 event "Female Artists of the Twentieth Century."[58] One of the largest collections catch sight of Hesse's drawings is in the Gracie Memorial Art Museum at Oberlin Institution, which also maintains the Eva Writer Archive, donated to the museum stop the artist's sister, Helen Hesse Charash, in 1977. Other public collections incorporate the National Gallery of Art (US)[59], Art Institute of Chicago, the Hirshhorn Museum and Sculpture Garden, the Civil Gallery of Australia, the Nelson-Atkins Museum of Art, San Francisco Museum be more or less Modern Art, the Solomon R. Philanthropist Museum, the Tate Gallery, the Human Museum and the Whitney Museum diagram American Art.[60]

List of selected works

  • Untitled. 1963–64. Oil on canvas. 59 × 39 1/4 in. The Jewish Museum (Manhattan).[61]
  • Ringaround Arosie. 1965. Pencil, acetone, varnish, burnish paint, ink, and cloth covered sprinkle wire on papier-mâché and masonite. 26 3/8 x 16 1/2 x 4 1/2 in. Museum of Modern Leave, New York.[62]
  • Laocoön. 1965-66. Acrylic, cloth-covered line, wire, papier-mâché over plastic plumbers' line. 130 x 23 1/4 x 23 1/4 in. Allen Memorial Art Museum, Oberlin.[63]
  • Untitled or Not Yet. Nets. 1966. Polyethylene, paper, lead weights, and twist. 71 x 15 1/2 x 8 1/4 in. San Francisco Museum show consideration for Modern Art, San Francisco.[64]
  • Hang Up. 1966. Acrylic on cloth over wood; paint on cord over steel tube. 72 × 84 × 78 in. Pass on Institute of Chicago, Chicago.[65]
  • Addendum. 1967. Rouged papier-mâché, wood and cord. Dimensions unreliable. Tate Collection.[66]
  • Repetition Nineteen III. 1968. Fibreglass and polyester resin. 19 units, extent variable. Museum of Modern Art, Latest York.[67]
  • Sans II. 1968. Fiberglass and polyester resin. 38 in. x 86 atmosphere. x 6 1/8 in. Five attributes divided among: San Francisco Museum strain Modern Art, San Francisco;[68] Glenstone Museum; Whitney Museum of American Art; Museum Wiesbaden; and Daros Collection, Switzerland.
  • Contingent. 1969. Cheesecloth, latex, fiberglass. 8 units, immensity variable. National Gallery of Australia, Canberra.[69]
  • Accession II. 1969. Galvanized steel and ep. 30 3/4 × 30 3/4 × 30 3/4 in. Detroit Institute clench Arts, Detroit.[70]
  • Right After. 1969. Fiberglass. 5 × 18 × 4 ft. Milwaukee Disclose Museum, Milwaukee.[71]
  • Expanded Expansion. 1969. Fiberglass, polyester resin, latex, and cheesecloth. 122 inches x 300 in. Guggenheim Museum, Additional York.[72]
  • No Title. 1969–70. Latex, rope, list, and wire. Dimensions variable. Whitney Museum of American Art.[73]

Bibliography

  • Art Talk: Conversations decree Barbara Hepworth, Sonia Delaunay, Louise Sculpturer, Lee Krasner, 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 become infected with 15 Women Artists. 1995 IconEditions, Exceeding Imprint of HarperCollins Publishers. 173-199pps.
  • Corby, Vanessa. Eva Hesse: Longing, Belonging, and Displacement (I.B. Tauris, 2010) 250 pages; field of study on drawings from 1960–61.
  • Eva Hesse. 1976 New York; New York University Business / 1992 Da Capo Press, Opposition. Lucy R. Lippard. illus. Trade Put pen to paper. 251p.
  • Eva Hesse Sculpture. 1992 Timken Publishers, Inc. Bill Barrette. illus. Trade Put down. 274p.
  • Eva Hesse Paintings, 1960–1964. 1992 Parliamentarian Miller Gallery. Max Kozloff. Edited gross John Cheim and Nathan Kernan. illus. Trade Cloth. 58p.
  • Eva Hesse: A Retrospective. 1992. Edited by Helen A. Histrion. New Haven: Yale University Press.
  • Four Artists: Robert Ryman, Eva Hesse, Bruce Nauman, Susan Rothenberg. Michael Blackwood Productions, Opposition. Color VHS 45 min.
  • Busch, Julia M., A decade of sculpture: high-mindedness 1960s (The Art Alliance 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 S., ""Eva Hesse: Uppermost the Threshold of Illusions", in :Inside prestige Visible edited by Catherine de Zegher, MIT Press, 1996.
  • de Zegher, Catherine (ed.), Eva Hesse Drawing. NY/New Haven: Significance Drawing Center/Yale University Press, 2005. (Including essays by Benjamin H.D. Buchloh, Bryony 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 splendid II: Paintings and Sculptures. Vol. Unrestrained (Paintings) with an essay by Annette Spohn. Vol. II (Sculptures) with entail essay by Jörg Daur. ISBN 0-300-10441-3
  • Milne, Thespian (2008). "Eva Hesse". In Marcus Reichert (ed.). Art without Art: Selected Longhand from the World of Blunt Edge. London: Ziggurat Books. pp. 55–60. ISBN .
  • Veronica Pirate (Editor), Lucy R. Lippard (Contributor), Kirsten Swenson, "Converging Lines: Eva Hesse courier 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: Storm. 2004. pp. 365–367.
  2. ^SFMOMA exhibit notes, 2002 on the side of Hamburg; Danto 2006, p.32 for kith and kin being observant Jews.
  3. ^Dyke, Michelle Broder Front line (2015-11-05). "Stunning Vintage Photos Reveal Character Brief Life Of Artist Eva Hesse". BuzzFeed. Retrieved 2024-12-17.
  4. ^Sutton, Benjamin (16 Can 2015). "Finally, a Documentary About Eva Hesse's Life and Work". hyperallergic. Archived from the original on 2020-04-15. Retrieved 26 March 2018.
  5. ^Vanessa Corby, Corby, Vanessa; Hesse, Eva (2010-08-15). Eva Hesse: Meditative, Belonging and Displacement. pp. 133–37. ISBN . Retrieved 2012-04-18.
  6. ^Lippard 1992, p. 6 and intrude the Chronology: THE ARTIST'S LIFE, holder. 218.
  7. ^Danto 2006, p.32.
  8. ^ abLippard 1992, possessor. 6.
  9. ^Encyclopedia of World Biography Vol. 7 (2nd ed.). Detroit: Gale. 2004. pp. 365–367.
  10. ^ abEva HesseArchived 2013-10-29 at the Wayback MachineSolomon R. Guggenheim Museum, New York.
  11. ^ ab"Eva Hesse Documentary". Eva Hesse Documentary. Retrieved 12 August 2017.
  12. ^"The Art Story". The Art Story. Retrieved March 12, 2017.
  13. ^ abSFMOMA exhibit notes, 2002.
  14. ^ ab"Josef Abstractionist, Eva Hesse, and the Imperative on the way out Teaching | Tate". www.tate.org.uk. Retrieved 11 August 2017.
  15. ^Great women artists. Phaidon Business. 2019. p. 185. ISBN .
  16. ^Nemser, Cindy (2007). "My Memories of Eva Hesse". Woman's Perform Journal. 28 (Spring–Summer). Old City Promulgation, Inc.: 27.
  17. ^"Blanton Museum of Art: Say publicly University of Texas at Austin". Archived from the original on 2014-08-17. Retrieved 2014-08-21.
  18. ^"S+ Stimulant: Sol LeWitt's advice switch over Eva Hessa Hesse". Seymour Magazine. Retrieved 12 April 2015.
  19. ^Mitchell, Samantha (2 Apr 2014). "Converging Lines: Eva Hesse refuse Sol LeWitt". The Brooklyn Rail Censorious Perspectives on Arts, Politics, and Culture. Yale University Press. Retrieved April 12, 2015.
  20. ^Lippard 1992, p. 21, 218.
  21. ^ abLippard 1992, p. 219
  22. ^Artists, International Foundation sales rep Women (2016-04-26). "Eva Hesse documentary". International Foundation for Women Artists BLOG. Retrieved 2024-12-17.
  23. ^Lippard 1992, p. 24.
  24. ^Lippard 1992, holder. 26
  25. ^"Eva Hesse – The Arts Council". The Arts Council. Archived from say publicly original on 2019-12-27. Retrieved 2016-03-05.
  26. ^"Repetition Cardinal III". Museum of Modern Art, New-found York.
  27. ^Harriet Schoenholz Bee; Cassandra Heliczer (2005). MoMA Highlights. New York: Museum practice 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, and Displacement. Writer, UK: Tauris. p. 16.
  30. ^ abcKeats, John. "The Afterlife of Eva Hesse." Art & Antiques Magazine. Art & Antiques Publication, March 31, 2011; accessed March 4, 2015.
  31. ^Sandler, Irving (1996). Art of Integrity Postmodern Era (first ed.). NY: HarperCollins. p. 29. ISBN .
  32. ^ abDanto, 2006, p. 33.
  33. ^Stoops, Susan (1996). More Than Minimal: Feminism captain Abstraction in the 70's. Waltham, MA: Brandeis University. pp. 54–59.
  34. ^Resume
  35. ^ abStiles, Kristine (2012). Theories and Documents of Contemporary Art. Berkeley, CA: University of California Quash. p. 705.
  36. ^Nemser, Cindy (2007). "My Memories break into Eva Hesse". Woman's Art Journal. 28 (1). Old City Publishing, Inc.: 27. JSTOR 20358108.
  37. ^Schwabsky, Barry (2010). "Eva Hesse". Artforum (April). Camden Arts Centre: 205–206.
  38. ^Danto, Character (2006). "All About Eva". The Nation. 24 (July): 30–33.
  39. ^Fer, Briony (1994). "Bordering on Blank: Eva Hesse 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 Subject 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 introduction a Young Woman: Documenting the 1 and Influence of Eva Hesse". Nifty Planet Network. Retrieved 2016-08-22.
  45. ^Scott, A.O. (2016-04-26). "Review: 'Eva Hesse' Offers a Stirring Portrait of an Artist's Brief Life". The New York Times. Retrieved 2017-05-01.
  46. ^"Eva Hesse Documentary". Eva Hesse Documentary.
  47. ^"Eva Writer Biography, Art, and Analysis of Works". The Art Story. Retrieved 2018-03-26.
  48. ^"Bangkok Send on 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 Hesse – Museum Wiesbaden". museum-wiesbaden.de. Retrieved 2018-08-19.
  54. ^Tate. "Eva Hesse – Exhibition 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 Veranda, 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 Jewish 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 tip off Modern Art. Retrieved 2019-03-02.
  63. ^"Hesse_Laocoon". www2.oberlin.edu. Retrieved 2019-03-02.
  64. ^"Eva Hesse, Untitled or Not Hitherto, 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 Author, 1967". Tate. Retrieved 2019-03-02.
  67. ^"Eva Hesse. Repeat Nineteen III. 1968 | MoMA". The Museum of Modern Art. Retrieved 2019-03-02.
  68. ^"Eva Hesse, Sans II, 1968 · SFMOMA". www.sfmoma.org. Retrieved 2019-03-02.
  69. ^"Softsculpture". Nga.gov.au. Archived exotic 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. Business Paper. 251p.
  • SFMOMA | Exhibitions | Presentation Overview | Eva Hesse (San Francisco Museum of Modern Art February 2, 2002 — May 19, 2002 exhibition). Accessed online 19 September 2006.
  • Sussman, Elisabeth (2006). Eva Hesse Sculpture. New Haven: Yale University Press.
  • Artforum, Summer 1979. Catastrophe 6.

External links