"Encountering Eva Hesse presents new writing on the work of Eva Hesse (1936-70) by international artists, curators, and art historians who examine the varied framings of exhibition, studio, and writing for their encounters with these still challenging works of art."--BOOK JACKET.
Throughout her career, Eva Hesse produced a significant number of small, experimental works which she renamed 'studiowork'. This title contains a comprehensive catalogue of the studiowork, including many new works that have never before been seen in public.
The first two volumes of a highly anticipated four-volume catalogue raisonné of all known works by Eva Hesse The work of Eva Hesse (1936-1970) 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.
Eva Hesse’s later works are fascinating—not least because of her unusual materials Eva Hesse (1936–1970) is one of the foremost artists of the twentieth century. Born in Hamburg, she immigrated to New York via the Netherlands in 1938. Even though Hesse died of a brain tumor at the age of just thirty-four, she left behind a fascinating, highly individual body of work. In the mid-sixties she began experimenting with new materials that had never before been used to produce art objects, such as polyester, fiberglass, and latex. Hesse’s sculptures, which are now included in the collections of major museums around the world, are unique combinations of complex and occasionally contradictory qualities, such as hard and soft, fragile and substantial, abstract and figuratively evocative. This lavishly illustrated book concentrates on sculptures and drawings from the years 1966 to 1970, the last phase of the American artist’s work. -- Publisher’s description.
In 1964 the industrialist Friedrich Arnhard Scheidt invited Eva Hesse (1936–1970) and her husband, Tom Doyle, to a residency in Kettwig an der Ruhr, Germany. The following fifteen months marked a significant transformation in Hesse’s practice. The artist’s studio space was located in an abandoned textile factory that contained machine parts, tools, and materials that served as inspiration for her complex, linear mechanical drawings and paintings. In 1965 Hesse expanded on this theme and began using objects found in the factory and papier-mâché to produce a series of fourteen vibrantly colored reliefs that venture into three-dimensional space with such materials as wood, metal, and cord protruding from the picture plane. With dynamic new scholarship and previously unpublished illustrations, Eva Hesse 1965 highlights key drawings, paintings, and reliefs from this pivotal time and demonstrates how the artist was able to rethink her approach to color, materials, and dimensional space and begin moving toward sculpture, preparing herself for the momentous strides that she would take upon her return to New York.
In the ten years between 1960 and 1970, German-born American artist Eva Hesse produced one of the most compelling art practices of the twentieth century. Her death in 1970 has been a profound loss for contemporary art but the creative legacies of her practice continue to impact upon today's artists. In this book, Vanessa Corby presents a fascinating new analysis that starts from the position of a painter, the book develops a novel art historical method to consider the manner in which artistic protocols and processes negotiate and transform culturally mediated historical experience. Hesse's encounters with the work of Rico Lebrun, the growing cultural significance of The Diary of Anne Frank, and the capture and trial of Adolf Eichmann are each situated in relation to the artist's processes of picturing in order to supplement and shift current understanding of Hesse's art practice. Corby aims to show that the artist's work emerged in parallel with the recognition of the event now --
The long-awaited publication of the personal diaries of pioneering American artist Eva Hesse Eva Hesse (1936-1970) is known for her sculptures that made innovative use of industrial and everyday materials. Her diaries and journals, which she kept for the entirety of her life, convey her anxieties, her feelings about family and friends, her quest to be an artist, and the complexities of living in the world. Hesse's biography is well known: her family fled Nazi Germany, her mother committed suicide when Hesse was ten years old, her marriage ended in divorce, and she died at the age of thirty-four from a brain tumor. The diaries featured in this publication begin in 1955 and describe Hesse's time at Yale University, followed by a sojourn in Germany with her husband, Tom Doyle, and her return to New York and a circle of friends that included Sol LeWitt, Mel Bochner, Lucy Lippard, Robert Mangold and Sylvia Plimack Mangold, Robert Ryman, Mike Todd, and Paul Thek. Poignant, personal, and full of emotion, these diaries convey Hesse's struggle with the quotidian while striving to become an artist.
Issued in connection with an exhibition held Sept. 25, 2010-Jan. 3, 2011, Hammer Museum, Los Angeles, Jan. 28-May 22, 2011, University of New Mexico Art Museum, Albuquerque, and Sept. 16, 2011-Jan. 8, 2012, Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum, New York.
Cet ouvrage examine l'amitié et l'échange significatif d'idées entre Eva Hesse et Sol LeWitt à New York pendant les années 1960. Ce livre examine les percées des carrières entrelacées des artistes, offrant une nouvelle compréhension de l'art minimal, post-minimal et conceptuel parmi les bouleversements politiques et sociaux de l'époque.