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Hesse Eva
Eva Hesse: Sculpture (Jewish Museum)
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The work of Eva Hesse (19361970), one of the greatest American artists of the 1960s, continues to inspire and to endure in large part because of its deeply emotional and evocative qualities. Her latex and fiberglass sculptures in particular have a resonance that transcends the boundaries of minimalist art in which she had her roots. Hesse’s breakthrough solo exhibitionChain Polymers at the Fischbach Gallery in New York in 1968was a turning point in postwar American art.
Eva Hesse: Sculpture focuses on the artist’s large-scale sculptures in latex and fiberglass and provides a rare opportunity to look at Hesse’s artistic achievement within the historical context of her life in never-before-seen family diaries and photographs. Essays consider Hesse’s art from a variety of angles: Elisabeth Sussman discusses the sculptures shown in the 1968 solo exhibition; Fred Wasserman delves into the Hesse family’s life in Nazi Germany and in the German Jewish community in New York in the 1940s; Yve-Alain Bois examines Hesse’s works within the context of the art and aesthetic theories of the 1960s; and Mark Godfrey analyzes the importance of Hesse’s celebrated hanging sculptures of 196970. In addition to color reproductions of the artist’s sculpture, the book features a copiously illustrated chronology of the artist’s life.
Eva Hesse
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As Lippard points out, Hesse’s use of obsessive repetition in her works served to increase and exaggerate the absurdity she saw in her life. In many ways, her works were ”psychic models,” as Robert Smithson has said, of ”a very interior person.” In pioneering the use of ”soft” materials, her sculptures betrayed her awareness of the manner in which her experience as a woman altered her art and career. Although she died before feminism affected the art world to any great extent, her major works have since become talismans for succeeding generations of women artists.Eva Hesse was designed by Hesse’s friends and colleagues Sol LeWitt and Pat Stier; her sculptures, drawings, and paintings are reproduced and discussed; and the text includes numerous quotations from her diaries. First published in 1976 but long out-of-print, this classic text is both an insightful critical analysis and a tribute to an artist whose genius has become increasingly apparent with the passage of time.
Datebooks, 1964/65: A Facsimile Edition
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Sunday, June 21, 1964
“Studio—To date have again done mainly drawings. Coming along. Sometimes I feel they’re good, often I get discouraged. Staying at studio gets a little easier + more pleasant. I usually take break + come home. Tom stays.”---Eva Hesse
In 1964--65, Eva Hesse lived with her husband, sculptor Tom Doyle, in Kettwig-on-the-Ruhr, Germany, at the invitation of a European art collector. During this time, as she did throughout most of her life, Hesse kept diaries and made extensive notations in datebook calendars. These two datebooks, published for the first time as facsimile editions, are accompanied by a third volume that includes an essay on their significance in the artist’s career as well as full transcriptions and annotations.
The 1964/65 datebooks impart astonishingly rich personal details about the artist’s life: whom she met and where she traveled, which books she read, and which films and exhibitions she saw and what impression they made on her. Hesse’s notations also reveal invaluable insights into the German art scene of the mid-1960s, her transition from a painter to a sculptor and her often conflicted artistic ambitions, the stresses of her marriage, and the difficulties of returning to Germany, the country that in 1938 she fled with her family to escape Nazi persecution.
Eva Hesse
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Eva Hesse, a pivotal figure in the development of postwar international art, created paintings, sculpture, and works on paper that were striking in their beauty and playful sensibility. Although much has been written about Hesse's dramatic life - her childhood flight from Nazi Germany, her struggles to gain acceptance as a young female artist, her battle with cancer, and her tragic death in 1970 at the age of 34 - her art has yet to receive the critical attention it deserves. This lavishly illustrated catalogue redresses that omission, focusing on Hesse's innovative working methods and choices of materials as well as on the larger aesthetic and philosophical questions raised by her artistic practice. The book presents and documents over two hundred works by Hesse in all media. Particular attention is devoted to the degradation and ageing of her sculptures over the past three decades. Essays by a distinguished team of writers deal with themes of mutability and decay in Hesse's art; discuss her little-known early career in New York and Germany; explore her innovative use of translucent materials; and examine the role of drawing and collage in her creative process. This catalogue accompanies an exhibition that will be on view at the San Francisco Museum of Modern Art from February to May 2002; the Museum Wiesbaden, Germany, from July to September 2002; and the Whitney Museum of American Art, New York, from September to December 2002.
Eva Hesse Spectres 1960
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In 1960 Eva Hesse (1936–1970) created an unusual group of oil paintings that, when considered in contrast to her sculptural assemblages from 1965 to 1970, foretell her desire to embody emotional states in abstract form. Contrary to existing scholarship, which suggests that these works represent a form of self-deprecation, this book seeks to consider these “spectre” paintings as manifestations of a private, haunted interiority in the context of the artist’s burgeoning maturity. The paintings in the spectre campaign comprise two distinct categories. The first, a selection of small-scale oil on Masonite paintings, depicts two or three loosely rendered figures positioned in vacant pictorial spaces. These gaunt forms portray an apparent disconnection between one body and another; and yet, the pictorial drama of the works would be incomplete without the presence of each figure. The second group of paintings imbues a more perplexing psychological state, as characters alternately take on the forms of alien-like creatures or as close resemblances to the artist herself. Through an enlightening assessment of these underappreciated works, readers will gain new insight into their pivotal role in Hesse’s oeuvre.
Eva Hesse: Catalogue Raisonne (Vol. 1 & 2)) (v. 1)
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The work of Eva Hesse (19361970) has been the focus of growing attention over the past few decades. With recent major exhibitions in San Francisco, London, and Wiesbaden, Hesse’s tremendous contribution to the art world of the 1960s and '70s is now recognized by scholars and the general public alike.
These two lavishly produced volumes are the first in a major new publishing initiative: a four-volume catalogue raisonné of Hesse’s known artwork in all media: painting, sculpture, and works on paper. During her career, Hesse created 135 paintings and 176 sculptures, objects, and test pieces. As her paintings are less well known than her sculptures, Volume I will be a revelation to many. Revealed here are 28 previously unknown paintings, including works that date from her time as an art student at Yale University.
Hesse’s sculpture is more widely known but is presented here anew with many recently commissioned photographs and fascinating archival images. Twenty-one previously unknown sculptures are presented in Volume II, including two painted wooden boxes presumably made in New York in 1964, in which the first signs of Hesse’s shift from painting to sculpture occurred, and numerous previously unknown test pieces.
Hesse Eva News
Edinburgh Art Festival Unveils 2009 Exhibitions Programme - Art Daily
Art Daily, Maine - Feb 08, 3875
The ListEdinburgh Art Festival Unveils 2009 Exhibitions ProgrammeThe Fruitmarket Gallery is to show studiowork, several pieces of which have never been exhibited before, by the seminal German-born, American artist, Eva Hesse. Curated by Briony Fer and Barry Rosen, the exhibition offers a new interpretation of In the frame: Edinburgh Art Festival Art Festival ready for a brush with the unusual
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Hilary Harnischfeger in New York - ARTINFO
ARTINFO, NY - May 29, 2009
Hilary Harnischfeger in New YorkAll of the artworks in the show are very material-conscious, reminiscent of the work of American sculptor Eva Hesse. From a distance they look like rocks because of their use of plaster, but upon closer inspection they reveal delicate transitions in
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Hauser & Wirth to open in New York - Art Newspaper
Art Newspaper, UK - Feb 08, 1977
Hauser & Wirth to open in New YorkMr Wirth told The Art Newspaper: “Many of our artists, like Allan Kaprow, Paul McCarthy, Eva Hesse and Roni Horn, have no gallery representation in New York. We have great relationships in America and we want to shorten the distances.
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Hauser & Wirth To Open New York Gallery in September - Art Daily
Art Daily, Maine - May 23, 2009
New York TimesHauser & Wirth To Open New York Gallery in SeptemberFollowing 'YARD,' Hauser & Wirth New York will present the following exhibitions: November 2009: PAUL McCARTHY Snow White, January 2010: IDA APPLEBROOG Monalisa, March 2010: EVA HESSE Studio Works, May 2010: RONI HORN aka.Hauser & Wirth to Open NYC Gallery
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Great Estates - ARTINFO
ARTINFO, NY - May 21, 2009
Great EstatesA large amount of work may be available to sell, as in the case of Andy Warhol, or very little, as with Eva Hesse, who died in 1970 at just 36. By the time Hauser & Wirth took on Hesse's estate a decade ago, most of her major sculptural pieces were
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