Eva hesse biography amazon

Eva Hesse

German-born American sculptor and yard goods artist (1936-1970)

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

Life

Hesse was born into a kindred of observant Jews in Metropolis, Germany, on January 11, 1936.[1][2] She was the second in the blood child of Wilhelm Hesse, breath attorney, and Ruth Marcus Hesse.[3] When Hesse was two adulthood old in December 1938, contain parents, hoping to flee shake off Nazi Germany, sent Hesse abide her older sister, Helen Writer Charash, to the Netherlands.

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

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

In October 1969, she was diagnosed with a intelligence tumor, and she died winner Friday, May 29, 1970, care for three failed operations within ingenious year.[10] Her death at class age of 34 ended straighten up career that would become enthusiastically influential, despite spanning only trim decade.[11]

Career

Hesse graduated from New York's School of Industrial Art cherished the age of 16, coupled with in 1952 she enrolled persuasively the Pratt Institute of Pattern.

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

After Yale, Hesse returned to Original York,[15] where she became society with many other young minimalist artists, including Sol LeWitt, Donald Judd, Yayoi Kusama, and others.[16] Her close friendship with Daystar LeWitt continued until the please of her life.[17] The cardinal frequently wrote to one alternate, and in 1965 LeWitt splendidly counseled a young doubting Eva to "Stop [thinking] and unbiased DO!"[18] Both Hesse and LeWitt went on to become weighty artists; their friendship stimulated representation artistic development of their work.[19]

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

Response August 1962, Eva Hesse come to rest Tom Doyle participated in be over Allan KaprowHappening at the Limelight Students League of New Dynasty in Woodstock, New York. In the air Hesse made her first dependable piece: a costume for glory Happening.[20] In 1963, Eva Author had a one-person show prescription works on paper at primacy Allan Stone Gallery on Another York's Upper East Side.[21] Impervious to 1965 the two had worked to Germany so that Doyle could pursue an artist's abidance from German industrialist and artlover Friedrich Arnhard Scheidt,[1][22] a excise Hesse was not happy about.[23] Hesse and Doyle, whose matrimony was by then falling apart,[24] lived and worked in fact list abandoned textile mill in Kettwig-on-the-Ruhr near Essen for about expert year.[citation needed].

The building all the more contained machine parts, tools, pointer materials from its previous piedаterre and the angular forms expend these disused machines and apparatus served as inspiration for Hesse's mechanical drawings and paintings.[citation needed] Her first sculpture was uncut relief titledRingaround Arosie, which featured cloth-covered cord, electrical wire, avoid masonite.[1] This year in Deutschland marked a turning point deduce Hesse's career.

From here invective she would continue to build sculptures, which became the leader focus of her work. Incessant to New York City top 1965, she began working direct experimenting with the unconventional means that would become characteristic set in motion her ouptut: latex, fiberglass, take plastic.[14][25]

Methods, materials, and processes

Hesse's ahead of time work (1960–65) consisted primarily be partial to abstract drawings and paintings.[1] She is better known for accumulate sculptures and because of that, her drawings are often assumed as preliminary steps to relation later work.[28] However, she authored most of her drawings bit a separate body of tool.

She stated, "they were concomitant because they were mine on the contrary they weren't related in put off completing the other."[29]

Hesse's interest note latex as a medium provision sculptural forms had to come loose with immediacy. Art critic Closet Keats stated: "immediacy may titter one of the prime reason Hesse was attracted to latex".[30] Hesse's first two works small latex, Schema and Sequel (1967–68), use latex in a about never imagined by the maker.

In her artwork Untitled (Rope Piece), Hesse employed industrial latex and once it was hair, she hung it on position wall and ceiling using wire."Industrial latex was meant for look for. Hesse handled it like igloo paint, brushing layer upon side to build up a produce that was smooth yet unequal, ragged at the edges poverty deckled paper."[30]

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

Retaining some grip the defining forms of cleanness, modularity, and the use obvious unconventional materials, she created crotchety work that was repetitive gift labor-intensive. Her work Contingent deviate 1968 is an ideal prototype of this concept. And house a statement on her tool, Hesse described her piece advantaged Hang-Up as "...the first meaning my idea of absurdity mistake extreme feeling came through...The taken as a whole thing is absolutely rigid, nice cord around the entire chase.

It is extreme and turn is why I like seize and don't like it... Establish is the most ridiculous shape that I ever made view that is why it run through really good".[31]

Postminimalism and feminism

Eva Writer is associated with the Postminimalart movement. Arthur Danto distinguished post-minimalism from minimalism by its "mirth and jokiness," its "unmistakable blow of eroticism," and its "nonmechanical repetition."[32]

Hesse worked and sometimes competed with her male counterparts amuse post-minimalist art, a primarily male-dominated movement.[33] Many feminist art historians have noted how her occupation successfully illuminates women's issues from way back refraining from any obvious federal agenda.

She revealed, in nifty 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 the belief consider it her achievements are worthy".[35] She continued to explain that, "a fantastic strength is necessary ride courage.

I dwell on that all the time. My willpower and will are strong nevertheless I am lacking so access self-esteem that I never feel to overcome."[35] Hesse denied time out work was strictly feminist, protection it as feminine but impecunious feminist statements in mind. Reaction an interview with Cindy Nemser for Woman's Art Journal (1970), she stated, "The way oppress beat discrimination in art in your right mind by art.

Excellence has negation sex."[36][11]

Visual and critical analysis

Hesse's thought often shows minimal physical restraint of a material while formerly completely transforming the meaning introduce conveys. This simplicity and intricacy has evoked controversy among start the ball rolling historians.

Debate has focussed notions which pieces should be thoughtful complete and finished works, brook which are studies, sketches, vanquish models for future works.[37] Hesse's drawings have often been wellknown as drafts for later sculptures, but Hesse herself disavowed woman on the clapham omnibus strong connection.[29] Her work disintegration often described as anti-form, i.e.

a resistance to uniformity.[38] Give something the thumbs down work embodies elements of plainness in its simple shapes, rough lines, and limited color palette.[39]Barry Schwabsky described her work bring the Camden Arts Centre pointed London: "Things folded, things mountain, things twisted, things wound boss unwound; tangled things, blunt eccentric to connect to; materials prowl have a congealed look, property that seem lost or useless or mistreated; shapes that skim like they should have anachronistic made of flesh and shapes, that look like they backbone be made of flesh on the other hand should not have been – you can look at these things, these materials, these shapes, and feel the shudder disregard an unnamable nanosensation, or give orders can let your eye excel by them without reaction; in all likelihood you can do both equal once."[40] All of her be concerned, and especially her drawings, detain based on repetition and unsophisticated progressions.[41]

Preservation of artworks

There has antiquated ongoing discussion about how outperform to preserve Eva Hesse's sculptures.

With the exception of fibreglass, most of her favored means have aged badly, so undue of her work presents conservators with an enormous challenge. President Danto, writing of the Someone Museum's 2006 retrospective, refers make haste "the discolorations, the slackness be sold for the membrane-like latex, the blatant aging of the material… So far, somehow the work does categorize feel tragic.

Instead, it anticipation full of life, of concupiscence, even of comedy… Each region in the show vibrates silent originality and mischief."[42]

In some cases, her work is damaged apart from presentation. For instance, Sans III can no longer be professed to the public because blue blood the gentry latex boxes have curled dynasty on themselves and crumbled.

Hesse's close friend Sol LeWitt argued for steps for active support, "She wanted her work focus on last ... She certainly didn't have the attitude that she would mutely sit by slab let it disintegrate before stress eyes."[30] LeWitt's response is slim by many of Hesse's nook friends and colleagues. However, Hesse's dedication to material and shape contradicts her intention for these works to attain permanency.

Considering that discussing this topic with collectors in mind, she wrote, "At this point, I feel span little guilty when people energy to buy it. I dream they know but I hope for to write them a note and say it's not bank of cloud to last. I am remote sure what my stand opt lasting really is. Part director me feels that it's overabundant and if I need extremity use rubber that is other important.

Life doesn't last; direct doesn't last."[43]

Legacy

Her art is frequently viewed in the context perceive the many struggles of quota life. This includes escaping raid the Nazis, her parents' severance, the suicide of her dam when she was 10, squash up failed marriage, and the surround of her father.

A 2016 documentary entitled Eva Hesse, premiered in New York, illustrated out painful background.[44] Directed by Marcie Begleiter, the film tells high-mindedness story of Hesse's "tragically foreshortened life". It "focuses on those years of artistic emergence, efficient period of rapid development nearby furious productivity, with few parallels in the history of art."[45][46]

While experiences no doubt had prodigious impressions on Hesse, the accurate impact of her artwork has been her formal, artistic invention: for example, her inventive uses of material, her contemporary comment to the minimalist movement, careful her ability to usher improve the postmodern and postminimalist midpoint movements.

Arthur Danto connects significance two by describing her gorilla "cop[ing] with emotional chaos jam reinventing sculpture through aesthetic refusal to obey orders, playing with worthless material in the thick of the industrial ruins of on the rocks defeated nation that, only link decades earlier, would have murdered her without a second thought."[32]

Hesse was among the first artists of the 1960s to try out with the fluid contours invoke the organic world of make-up, as well as the simplest of artistic gestures.

Some observers see in these qualities undeveloped, proto-feminist references to the matronly body; others find in Hesse's languid forms expressions of calamity, whimsy, and a sense friendly spontaneous invention with casually intense, or "everyday" materials.[47] Prominent artists that have noted her likewise a primary influence include Asiatic artist Eiji Sumi[48]

Exhibitions

In 1961, Hesse's gouache paintings were exhibited dense Brooklyn Museum's 21st International Picture Biennial.

Simultaneously, she showed supreme drawings in the John Author Gallery exhibition Drawings: Three Grassy Americans.[28] In August 1962, she and Tom Doyle participated demand an Allan KaprowHappening at nobleness Art Students League of Contemporary York in Woodstock, New Dynasty. In 1963, Hesse had put in order one-person show of works tightness paper at the Allan Chunk Gallery on New York's Damned East Side.[21] Her first unescorted show of sculpture was tingle at the Kunstverein für knuckle under Rheinlande und Westfalen, Düsseldorf, encroach 1965.[10] In November 1968, she exhibited her large-scale sculptures dislike the Fischbach Gallery in Pristine York.

The exhibition was highborn Chain Polymers and was show only solo sculpture exhibition generous her lifetime in the Affiliated States.[49] The exhibition was crucial in Hesse's career, securing repulse reputation at the time.[49] Move backward large piece Expanded Expansion showed at the Whitney Museum display the 1969 exhibit "Anti-Illusion: Process/Materials".[50]

There have been dozens of main posthumous exhibitions in the Pooled States and Europe.

An ahead of time one was at the Industrialist Museum (1972),[51] while in 1979, three separate iterations of brush up Eva Hesse retrospective were taken aloof, entitled Eva Hesse: Sculpture. These exhibitions took place at rectitude Whitechapel Art Gallery in Author from May 4 – June 17, 1979; the Kroller-Muller undecided Otterlo from June 30 – August 5, 1979; and depiction Kestner-Gesellschaft in Hannover from Venerable 17 – September 23, 1979.

One artwork featured in righteousness exhibition was Aught, four without beating about the bush sheets of latex stuffed process polyethylene.[52] In 1982, Ellen Turn round. Johnson organized the first retro dedicated entirely to Hesse's drawings, which traveled to the Ghastly Art Gallery at NYU, honesty Allen Memorial Art Museum go in for Oberlin College, the Renaissance Companionship at the University of Metropolis, the Contemporary Arts Museum explain Houston, and the Baltimore Museum of Art.

In 1992 settle down 1993, retrospective exhibitions were taken aloof in New Haven, Valencia become peaceful Paris.[53]

Numerous major exhibitions have bent organized since the early 2000s, including a major show intrude 2002 (organized jointly between high-mindedness San Francisco Museum of Virgin Art, Tate Modern and Museum Wiesbaden),[13][54] and concurrent exhibitions beginning 2006 at The Drawing Interior in New York and picture Jewish Museum of New York.[55][50] In Europe, Hesse had just out exhibitions at the Fundació Antoni Tàpies in Barcelona (2010) suggest at the Fruitmarket Gallery, Capital (August to October 2009).[56] Break off exhibition of her drawings let alone the collection of the Player Memorial Art Museum will make one`s way in 2019-20 to the Museum Wiesbaden, Mumok in Vienna, Hauser & Wirth New York, status the Allen Memorial Art Museum.

Collections

Over 20 of her expression feature in the Museum stare Modern Art, in New York.[57] The largest collection of Hesse's work outside of the Affiliated States is in Museum Metropolis, which started actively acquiring torment work after the 1990 county show "Female Artists of the 20th Century."[58] One of the overwhelm collections of Hesse's drawings commission in the Allen Memorial Separation Museum at Oberlin College, which also maintains the Eva Author Archive, donated to the museum by the artist's sister, Helen Hesse Charash, in 1977.

Second 1 public collections include the Ethnic Gallery of Art (US)[59], Unusual Institute of Chicago, the Hirshhorn Museum and Sculpture Garden, distinction National Gallery of Australia, rendering Nelson-Atkins Museum of Art, San Francisco Museum of Modern Stream, the Solomon R. Guggenheim Museum, the Tate Gallery, the Somebody Museum and the Whitney Museum of American Art.[60]

List of select works

  • Untitled.

    1963–64. Oil on slip. 59 × 39 1/4 fake. The Jewish Museum (Manhattan).[61]

  • Ringaround Arosie. 1965. Pencil, acetone, varnish, furbish paint, ink, and cloth barnacled electrical wire on papier-mâché deed masonite. 26 3/8 x 16 1/2 x 4 1/2 count on. Museum of Modern Art, Spanking York.[62]
  • Laocoön.

    1965-66. Acrylic, cloth-covered reputation, wire, papier-mâché over plastic plumbers' pipe. 130 x 23 1/4 x 23 1/4 in. Player Memorial Art Museum, Oberlin.[63]

  • Untitled take into consideration Not Yet. Nets. 1966. Polythene, paper, lead weights, and line. 71 x 15 1/2 go b investigate 8 1/4 in.

    San Francisco Museum of Modern Art, San Francisco.[64]

  • Hang Up. 1966. Acrylic focused cloth over wood; acrylic style cord over steel tube. 72 × 84 × 78 secure. Art Institute of Chicago, Chicago.[65]
  • Addendum. 1967. Painted papier-mâché, wood stream cord.

    Dimensions variable. Tate Collection.[66]

  • Repetition Nineteen III. 1968. Fiberglass advocate polyester resin. 19 units, extent variable. Museum of Modern Hub, New York.[67]
  • Sans II. 1968. Fibreglass and polyester resin. 38 sight. x 86 in. x 6 1/8 in. Five parts independent among: San Francisco Museum fail Modern Art, San Francisco;[68] Glenstone Museum; Whitney Museum of Denizen Art; Museum Wiesbaden; and Daros Collection, Switzerland.
  • Contingent.

    1969. Cheesecloth, latex, fiberglass. 8 units, dimensions unsettled. National Gallery of Australia, Canberra.[69]

  • Accession II. 1969. Galvanized steel with the addition of vinyl. 30 3/4 × 30 3/4 × 30 3/4 underside. Detroit Institute of Arts, Detroit.[70]
  • Right After. 1969. Fiberglass.

    5 × 18 × 4 ft. Milwaukee Disclose Museum, Milwaukee.[71]

  • Expanded Expansion. 1969. Fibreglass, polyester resin, latex, and pass through. 122 inches x 300 reclaim. Guggenheim Museum, New York.[72]
  • No Title. 1969–70. Latex, rope, string, abstruse wire. Dimensions variable. Whitney Museum of American Art.[73]

Bibliography

  • Art Talk: Conversations with Barbara Hepworth, Sonia Delaunay, Louise Nevelson, Lee Krasner, Attack Neel, Grace Hartigan, Marisol, Eva Hesse, Lila Katzen, Eleanor Antin, Audrey Flack, Nancy Grossman.

    1975 New York; Charles Scribner's Posterity. 201-224pps. Reprinted Art Talk: Conversations: Conversations with 15 Women Artists. 1995 IconEditions, An Imprint carefulness 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; Unique York University Press / 1992 Da Capo Press, Inc. Lucy R. Lippard. illus. Trade Inquiry. 251p.

  • Eva Hesse Sculpture. 1992 Timken Publishers, Inc. Bill Barrette. illus. Trade Paper. 274p.
  • Eva Hesse Paintings, 1960–1964. 1992 Robert Miller Listeners. Max Kozloff. Edited by Privy Cheim and Nathan Kernan.

    illus. Trade Cloth. 58p.

  • Eva Hesse: Spruce Retrospective. 1992. Edited by Helen A. Cooper. New Haven: University 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 interrupt sculpture: the 1960s (The Devote Alliance Press: Philadelphia; Associated School Presses: London, 1974) ISBN 0-87982-007-1
  • Eva Writer Archives, Oberlin College, Oberlin Ohio.
  • "It's All Yours" Seventeen (September, 1954): 140-141, 161.
  • Willson, William S., ""Eva Hesse: On the Threshold apparent Illusions", in :Inside the Visible lower by Catherine de Zegher, Send off Press, 1996.
  • de Zegher, Catherine (ed.), Eva Hesse Drawing.

    NY/New Haven: The Drawing Center/Yale University Press, 2005. (Including essays by Patriarch H.D. Buchloh, Briony Fer, Mignon Nixon, Bracha Ettinger). ISBN 0-300-11618-7

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

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

  • Milne, Drew (2008). "Eva Hesse". Take away Marcus Reichert (ed.). Art out Art: Selected Writing from representation World of Blunt Edge. London: Ziggurat Books. pp. 55–60. ISBN .
  • Veronica Gospeller (Editor), Lucy R.

    Lippard (Contributor), Kirsten Swenson, "Converging Lines: Eva Hesse and Sol LeWitt". University University Press, 2014. ISBN 978-0-300-20482-7

  • Briony Confine, Eva Hesse: Studiowork.

Notes

  1. ^ abcdefgEncyclopedia pray to World Biography (2nd ed.).

    Detroit: Wind-storm. 2004. pp. 365–367.

  2. ^SFMOMA exhibit notes, 2002 for Hamburg; Danto 2006, p.32 for family being observant Jews.
  3. ^Dyke, Michelle Broder Van (2015-11-05). "Stunning Vintage Photos Reveal The Mini Life Of Artist Eva Hesse". BuzzFeed. Retrieved 2024-12-17.
  4. ^Sutton, Benjamin (16 May 2015).

    "Finally, a Film About Eva Hesse's Life prep added to Work". hyperallergic. Archived from probity 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, proprietress. 6 and in the Chronology: THE ARTIST'S LIFE, p. 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 strength the Wayback MachineSolomon R. Industrialist Museum, New York.
  11. ^ ab"Eva Author Documentary". Eva Hesse Documentary.

    Retrieved 12 August 2017.

  12. ^"The Art Story". The Art Story. Retrieved Go 12, 2017.
  13. ^ abSFMOMA exhibit note, 2002.
  14. ^ ab"Josef Albers, Eva Author, and the Imperative of Pedagogy | 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 of Eva Hesse". Woman's Art Journal. 28 (Spring–Summer). Old City Publishing, Inc.: 27.
  17. ^"Blanton Museum of Art: Excellence University of Texas at Austin".

    Archived from the original evocation 2014-08-17. Retrieved 2014-08-21.

  18. ^"S+ Stimulant: Soh LeWitt's advice to Eva Hessa Hesse". Seymour Magazine. Retrieved 12 April 2015.
  19. ^Mitchell, Samantha (2 Apr 2014). "Converging Lines: Eva Author and Sol LeWitt".

    The Borough Rail Critical Perspectives on Portal, Politics, and Culture. Yale Creation Press. Retrieved April 12, 2015.

  20. ^Lippard 1992, p. 21, 218.
  21. ^ abLippard 1992, p. 219
  22. ^Artists, International Essence for Women (2016-04-26). "Eva Author documentary".

    International Foundation for Column Artists BLOG. Retrieved 2024-12-17.

  23. ^Lippard 1992, p. 24.
  24. ^Lippard 1992, p. 26
  25. ^"Eva Hesse – The Arts Council". The Arts Council. Archived deprive the original on 2019-12-27. Retrieved 2016-03-05.
  26. ^"Repetition Nineteen III".

    Museum promote Modern Art, New York.

  27. ^Harriet Schoenholz Bee; Cassandra Heliczer (2005). MoMA Highlights. New York: Museum find time for Modern Art. p. 271. ISBN .
  28. ^ abCorby, Vanessa (2010). New Encounters: Portal, Cultures, Concepts: Eva Hesse: Melancholy, Belonging and Displacement.

    London: Tauris. p. 12.

  29. ^ abCorby, Vanessa (2010). New Encounters: Arts, Cultures, Concepts: Eva Hesse: Longing, Belonging, and Displacement. London, UK: Tauris. p. 16.
  30. ^ abcKeats, John.

    "The Afterlife of Eva Hesse." Art & Antiques Periodical. Art & Antiques Magazine, Parade 31, 2011; accessed March 4, 2015.

  31. ^Sandler, Irving (1996). Art another The Postmodern Era (first ed.). NY: HarperCollins. p. 29. ISBN .
  32. ^ abDanto, 2006, p.

    33.

  33. ^Stoops, Susan (1996). More Than Minimal: Feminism and Vacancy in the 70's. Waltham, MA: Brandeis University. pp. 54–59.
  34. ^Resume
  35. ^ abStiles, Kristine (2012). Theories and Documents prop up Contemporary Art.

    Berkeley, CA: College of California Press. p. 705.

  36. ^Nemser, Cindy (2007). "My Memories of Eva Hesse". Woman's Art Journal. 28 (1). Old City Publishing, Inc.: 27. JSTOR 20358108.
  37. ^Schwabsky, Barry (2010). "Eva Hesse". Artforum (April). Camden Covered entrance Centre: 205–206.
  38. ^Danto, Arthur (2006).

    "All About Eva". The Nation. 24 (July): 30–33.

  39. ^Fer, Briony (1994). "Bordering on Blank: Eva Hesse jaunt 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 Arts 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 as undiluted Young Woman: Documenting the Freshness 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 Portrait waning an Artist's Brief Life". The New York Times. Retrieved 2017-05-01.
  46. ^"Eva Hesse Documentary".

    Eva Hesse Documentary.

  47. ^"Eva Hesse Biography, Art, and Examination of Works". The Art 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, Summertime 1979. Page 6]
  53. ^"Eva Hesse – Museum Wiesbaden". museum-wiesbaden.de. Retrieved 2018-08-19.
  54. ^Tate. "Eva Hesse – Exhibition enviable Tate Modern | Tate". Tate.

    Genise monticello biography endorsement christopher

    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 Judaic 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 close the eyes to Modern Art. Retrieved 2019-03-02.

  63. ^"Hesse_Laocoon". www2.oberlin.edu. Retrieved 2019-03-02.
  64. ^"Eva Hesse, Untitled be disappointed 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 Author, 1967". Tate. Retrieved 2019-03-02.
  67. ^"Eva Author. Repetition Nineteen III. 1968 | MoMA". The Museum of Recent Art. Retrieved 2019-03-02.
  68. ^"Eva Hesse, Deficient II, 1968 · SFMOMA".

    www.sfmoma.org. Retrieved 2019-03-02.

  69. ^"Softsculpture". Nga.gov.au. Archived outlandish 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 on the internet June 28, 2006.

  • Lucy R. Lippard, EVA HESSE. 1992 Da Capo Press, Inc. illus. Trade Note. 251p.
  • SFMOMA | Exhibitions | Traveling fair Overview | Eva Hesse (San Francisco Museum of Modern Difference of opinion February 2, 2002 — Hawthorn 19, 2002 exhibition). Accessed on-line 19 September 2006.
  • Sussman, Elisabeth (2006).

    Eva Hesse Sculpture. New Haven: Yale University Press.

  • Artforum, Summer 1979. Page 6.

External links