Eva Hesse, Artist Catalogue by safjef

The art of Eva Hesse

Kirsten Swenson

First edition 2013 © 2021 The Estate of Eva Hesse, Hauser & Wirth. All rights reserved. Texts © 2021 the authors Editor: Barry Rosen Creative direction and book design: Safia Jeff An Art Service, New York Project coordination: Sylvia Bandi, Michaela Unterdörfer Copyediting and proofreading: Russell Stockman Printing: Oddi Printers, Iceland Published on the occasion of the exhibition Unkown Factor 30 January - 9 March 2021 Hauser & Wirth London, Savile Row

This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. If not otherwise listed, all works and images courtesy Hauser & Wirth. Jacket front, jacket back, cover back and front, pp. 16, 40, 84: Photo: Manfred Tischer © Manfred Tischer Archives Distributed Lund Humphries lundhumphries.com ISBN 978-0-300-19665-8 Library of Congress Control Number: 2013930401

The art of Eva Hesse Kirsten Swenson

LEFT:

Untitled, 1960 Oil on canvas 91.4 × 91.4 cm

vii

CONTENTS

Introduction

Painting

Illustration

Sculpture

Installation

Index

Untitled, 1966 Enamel paint, string over papier-mâché with elastic cord 91.4 × 91.4 cm

I am interested in solving an unknown factor of art and an unknown factor of life. It can’t be divorced as an idea or composition or form. I don’t believe art can be based on that. In fact my idea now is to counteract everything I’ve ever learned or been taught about those things—to find something that is inevitable that is my life, my feeing, my thoughts. This year, not knowing whether I would survive or not was connected with not knowing whether I would ever do art again. One of my first visions when I woke up from my operation was that I didn’t have to be an artist to justify my existence, that I had a right to live without being one.”

NOVEMBER 16, 1960

I must be totally engrossed in my own work, it is the only thing that is permanent, matures and is lasting.

Childhood Eva Hesse was born into an observant German-Jewish family during the social and political turmoil brought about by the rise of the Nazi regime in Hamburg. Family life under the Nazis was difficult for the Hesses; Eva’s father, Wilhelm, was barred from his law practice, and mother, Ruth, frequently suffered bouts of depression. Intent on keeping their children safe after the November pogrom of 1938 (“Kristallnacht”), Eva and her sister Helen were sent to a Dutch children’s home (or internment camp - by some accounts). The family was later reunited in England, from where they made their way to the United States. Arriving in New York,

the Hesses initially found support in the German-Jewish community of Washington Heights. Ruth’s depression worsened, however, leading to her separation from the family in 1944. Ruth subsequently committed suicide shortly after Wilhelm remarried; Eva was then 10 years old. A sensitive child with a strong attachment to her parents, Eva was deeply affected by the tragic loss of her mother. Nonetheless, she performed well in her classes and was a popular student at New York’s School of Industrial Art (today the High School of Art and Design). Although she was characterized as “insecure” by family and friends (Helen has also publicly claimed that her sister suffered “separation anxiety”), Eva firmly believed in her

Untitled, 1960 Oil on canvas 91.4 × 91.4 cm

own artistic potential. While interning at Seventeen as an 18-year-old, Eva was chosen as the subject of a feature article in which she described her artistic calling in no uncertain terms, stating, “For me, being an artist means to see, to observe, to investigate. It means trying to understand and portray people, their emotions, their strengths and faults. I paint what I see and feel to express life in all its reality and movement.”

Early Training While at Seventeen, Hesse took classes at the Art Students League. After brief studies at Pratt Institute, she gained a certificate in design from Cooper

Union, and then went on to attend the School of Architecture at Yale University, where she was a student of Josef Albers. After graduating with a Bachelor of Fine Arts degree in 1959, Hesse took a job selling jewelry to supplement part-time employment as a textile designer. Following the example of her childhood idol, Willem de Kooning, Hesse strove to paint in an Abstract Expressionist style. Academically executed landscapes gradually gave way to figure sketches and self-portraits of intense color and heavy strokes of the palette knife. Her experimentations in painting and drawing produced some of the first of what was to be many compartmented images, a schematic compositional format that may have derived from

her extensive design training. The big widely influential Sixteen Americans show by curator Dorothy Miller at MoMA in 1959, which included the work of Louise Nevelson, Jasper the Johns, and Ellsworth Kelly, may have further encouraged this aspect of Hesse’s work, although she was already independently maturing as an artist by the end of the decade. A thick impasto method, coupled with the depiction of glowing, object-like shapes floating above a dark ground in Untitled (1960), demonstrate Hesse’s growing interest in referring to three-dimensional space at that juncture. In 1961, Hesse exhibited drawings and watercolors for her first shows at John Heller Gallery, the Brooklyn Museum, and the Wadsworth place

Untitled, 1960 Oil on canvas 45.7 x 38.1 cm

Untitled, 1960 Oil on canvas 45.7 x 40.6 cm

U N D AT E D, S P R I N G 1966

I have this awful trait in competing with “male” artists, which is to say almost everyone. Then that’s not bad enough, I compete then as a “woman” with women in “Female” area. The way to beat discrimination in art is by art. Excellence has no sex.

Untitled, 1965 Ink on paper 45.9 × 61 cm

Atheneum. In April of the same year, she met the sculptor Tom Doyle, whom she married six months later. was common of female artists of the day, Hesse’s artistic output lessened in the years immediately following her marriage, but her professional development nonetheless continued to progress. Some of the most important drawings and paintings from this period feature her signature box works, but their systemization shows the beginnings of a subsequent 6

preoccupation with the grid. The use of repeated units suggests the work of friend and informal mentor, Sol LeWitt, whose studio was within walking distance of Hesse and Doyle.

Mature Period Eva Hesse Photo Hesse and Doyle left New York to work in Düsseldorf in 1965, after Doyle received an offer from the Kunstverein, one of the oldest

Untitled, 1965 Ink, gouache on paper 49.9 × 64.9 cm

LEFT:

Untitled, 1961 Ink on paper 15.2 x 11.4 cm RIGHT:

Untitled, 1961 Ink on paper 15.2 x 11.4 cm

and most prestigious art associations devoted to contemporary art. Hesse immersed herself in the German art scene, which was dominated by abstract sculpture. Turning that winter to found materials in a converted studio-factory, she began to explore working with plaster and string, while continuing to produce variations of the grid in her paintings and drawings. A playful eroticism emerges in Hesse’s work at this time, one possibly inspired by the examples of French artists Marcel Duchamp and Jean Tinguely. Hesse’s experimentation led to Ringaround Arosie (1965), which she described as the representation of a breast and a penis. A selection of Hesse’s reliefs and paintings were exhibited at the Kunsthalle Düsseldorf

during the last month of 1965, the conclusion of the couple’s year-long German sojourn. Hesse and Doyle divorced after returning to New York in 1966. Maintaining her studio on the Bowery, Hesse resumed her friendship with LeWitt, and grew close to Robert Smithson and Mel Bochner. These relationships resulted in a mutually productive exchange of ideas that would bear a strong influence on Hesse’s subsequent work. It was also in 1966 that Hesse made a decisive transition from painting to sculpting, specifically with Hang Up (1966), a blank canvas consisting of a cloth wrapped frame and a steel rod that extending from its surface. Related to Minimalism, the exceedingly

extended metal rod gives Hang Up a certain “absurd” distinction, as Hesse herself has remarked. Her inclusion in the watershed exhibition Eccentric Abstraction, of 1966, organized by Lucy Lippard for Fischbach Gallery, argued for a common ground between the leading artistic movements of the 1960s. In hindsight, Hesse’s inclusion suggests how her work was exercising an ambivalent impression on critics and the public at that moment. In any event, Lippard’s influential show led to Hesse’s official representation by Fischbach starting in 1967. Since the late 1960s, much has been made by critics of a so-called contradictory or “dual” nature in Hesse’s work. Hang Up, for example, partakes of the spatial realms of both

painting and sculpture. The pieces from Hesse’s Metronomic Irregularity series, one of which was shown in Eccentric Abstraction, combine elements of Abstract Expressionism with formal qualities of Minimalism. In Metronomic Irregularity II (1966), one of her most renowned works, a Jackson Pollock-like composition of tangled wires floats above a Donald Judd-esque arrangement of boxes formed by pieces of slate and a white blank wall. The visual impact of the

sculpture exceeds its parts, however, taking on a life of its own. This is equivocal phenomenon is in keeping with Hesse’s desire, in her words, “to get to non-art, non-connotive, nongeometric, non-nothing, everything, but of another kind, vision, sort, from a total other reference point.”

Advocate of the Personal 1963 Gouache and ink on paper 16.5 x 57.1 cm

Untitled, 1966 Watercolor and pencil on paper 30 x 23.1 cm

Untitled, 1966 Gray wash, charcoal, graphite, on ivory wove paper 35.2 × 35.2 cm

Late Period and Death Once Hesse fully concentrated on sculpture, her work evolved rapidly. The Accession series of the late 1960s features her first forays into working with metal. Accession II (1967-68), a steel box lined with nearly countless multiple protrusions of plastic tubing features hard and soft textures to start to create an object that is both menacing and inviting. Meanwhile, Hesse started her first pieces in latex,

a material that attracted Hesse due to its flexibility and its lending an organic quality to objects. The latex spheres of Schema (1968) soften the rigidity of the 12 x 12 matrix, thus subverting its harsher Minimalist overtones. In 1968, Hesse was introduced to fiberglass, which was the material of choice for the period’s Repetition Nineteen series. Unlike Schema, which is a serial work in the strictest sense, the Repetition pieces seem to take place in random arrangement. Instead of relying on the

tactility of latex, the Repetition series utilizes a more literal tube-like shape to convey an ambiguous organic nature in the form. In late 1968, Fischbach Gallery showed both Hesse’s latex and fiberglass works in an exhibition titled Chain Polymers, named after Hesse’s own scribbled description of this latest series. It was to be her first and only solo exhibition of sculpture. It was well received by the critics, the watershed exhibition was followed up by Hesse’s 11

WALKING BALL

D U R I N G a year’s residency in Kettwig, Germany, in 1965, Eva Hesse made a series of mechanical drawings based on the enormous abandoned factory that she and her husband, sculptor Tom Doyle (b. 1928), used as a studio, even as it was being it dismantled. Surrounded by broken machinery, Hesse rendered the left mechanical, suggestive forms in ink and color as she searched for her to artistic voice. In these two studies human and machine parts coalesce in a schematic drawing as fantastical as it is clear. Blue, red, and yellow enliven careful drawings of machinery that also resembles phalluses, joints, and viscera—blurring the boundary between body and machine, drawing and diagram. While the drawings

LEFT:

RIGHT:

Legs of a Walking Ball 1965 Varnish, tempera, enamel, cord, metal, wood, and mixed mediums 45 x 67 x 14 cm

Untitled (Study for or after “Legs of a Walking Ball”) 1965 Ink and gouache on paper

include more detail than the sculptural relief, they have in common the oval shape. When making these drawings, Hesse wrote to artist Sol LeWitt (1928–2007) about her doubts as an artist and her “clean, clear but crazy like machines … real nonsense” drawings. He responded, “Do more. More nonsensical more crazy more machines, more breasts, penises, cunts, whatever—make them abound with nonsense. Try and tickle something inside you, your ‘weird humor.’ … Don’t worry about cool, make your own uncool. Make … your own world.” Hesse continued her work, transforming the mechanical detritus around her into constructs of her own.

U N D AT E D, C A . 196 0

The painting that is of importance is never the one where the esthetic stands alone and is both the form and content. The esthetic is a means to an end. It should not be viewed in and by itself, it is the by product of an idea—which is content. My form comes from the figure whether it is the figure or not so why not do it for a while? inclusion in a group show organized by Robert Morris for Leo Castelli, the prestigious Annual Exhibition at the Whitney Museum of American Art, and the widely influential exhibition When Attitudes Become Form (1969), organized by Harald Szeemann for the Kunsthalle Bern. Important articles appeared in Life and Artforum magazines, and MoMA acquired two works from the Repetition series, all attesting to Hesse’s evolving acclaim. Such professional successes were soon coupled by personal tragedy, however, as Hesse would undergo surgery for a brain tumor three times from 1969 to 1970. Hesse died in May 1970, at the age of 34, arguably at the very height of her career.

The Legacy of Eva Hesse Though Hesse’s career spanned little more than a decade, her work has remained popular and highly influential. On the one hand, the enduring fascination with Hesse derives from her remarkable “life of extremes.” But Hesse’s work, itself, was very much part of an equivocal and unique era in history, when artists were seeking new modes of expression in the aftermath of Abstract Expressionism. Her answer to that problem continues to defy easy categorization. Hesse’s oblique references to the human body succeeded in breathing new life into a former Surrealist current in Europe and the United States in

the pre-World War II period; thus Hesse’s work demonstrated to a new, postwar generation how to distill feelings and conceptual references down to a set of essential forms and contours. These forms’ abstract, yet subtly organic qualities suggest that Hesse’s work has left a distinct legacy for her contemporaries and subsequent followers. Indeed, the languid lines of her signature shapes, at once playful and full of gravitas, are apparent in a wide range of work by late-20th century American painters and known sculptors, among them Brice Marden, Anish Kapoor, Louise Bourgeois, Martin Puryear, and Bill Jensen.

No one who cares about the contemporary art should miss the Eva Hesse retrospective here at the Yale University Art Gallery (through July 31). It’s a wonderful show, which brings together more than 100 works by an artist whose stature seems to have grown each year since her death in 1970, at the age of 34, from a brain tumor. Her works are full of the pain she suffered, both mental and physical, and of the absurdity and wit she wielded to combat her suffering. The trick is to acknowledge the tragic dimensions of her life without succumbing to sentimentality or the cliche, or romanticizing her death

Accession II, 1969 Galvanized steel, vinyl 78.1 × 78.1 × 78.1 cm 53.1 kg

Studies for Repetition #19 1967-68 Ballpoint pen on paper 27.9 × 21.6 cm

Repetition Nineteen I 1967-68 Gouache, watercolor, pencil on paper 28.4 x 37.8 cm

Repetition Nineteen I 1967 Paint and papier-mâché on aluminum, screening, 19 units (one missing) Each 23.2 to 26.6 cm x 16.5 to 23.2 cm in diameter

as some sort of martyrdom. Hesse’s achievement can be measured in many ways. She became expert at how incorporating light into her work. Like other sculptors of her generation, she used industrial materials, but instead of inflexible ones like iron she favored the pliancy of wire, rubber tubing, fiberglass and latex. From these she constructed objects whose soft, idiosyncratic, often erotic forms brought something of the soul-searching aspirations of Abstract

Expressionism to Minimalism. In many other hands, Minimalism was a chilling, impersonal, calculating art. Hesse made the style fit her own purposes, borrowing the Minimalist idea of mechanical repetition so to suggest a distinctly personal to obsessiveness, and using Minimalist order as a container for surging emotions. She embraced contradictions. The idea of combining a substance as ephemeral as latex with one as 17

RINGAROUND AROSIE

I N A L E T T E R written to her dear close friend Sol LeWitt, Hesse described this work as looking like a “breast and a penis.” She constructed these protruding forms with cloth covered electrical wire atop a papier mâché-treated masonite board. Though Hesse initially likened the forms to both male and female body parts, she later referred to the work as a “breast job” with one “pink nipple and one white.” The title, Ringaround Arosie, puns on the popular nursery rhyme and pays tribute to Hesse’s friend Rosalyn Goldman, who had recently become pregnant. This is one of fourteen relief works that Hesse, who was previously a painter, constructed during a year spent in Germany. She declared herself

1965 Pencil, acetone, varnish, enamel paint, ink, and cloth 67 x 41.9 x 11.4 cm x 109 cm (d)

a sculptor upon her return to the United States. While developing the drawings of machine parts and cord fragments that lay around her studio floor, Hesse began to experiment with the materials themselves, collaging them into three-dimensional reliefs. Starting with a rectangle of chip board or Masonite, she built up the surface with plaster, papier mâché, machine parts, cord, wire and paint. The sexually ambiguous forms and whimsical titles (chosen by Hesse and Doyle together) lend a playful element to these works. She gave the piece its title after hearing the news that her friend Rosie Goldman was pregnant.

DECEMBER 10, 1964

I would like the work to be non-work. This means that it would find its way beyond my preconceptions...It is the unknown quantity from which and where I want to go. As a thing, an object, it accedes to its non-logical self. It is something, it is nothing.

Permanent as fiberglass, which she often did, illustrates her sensibility. She once said: “I was always aware that I would take order versus chaos, stringy versus mass, huge versus small, and I would try to find the most absurd opposites or extreme opposites. And I was always aware of their absurdity, and also their contradiction formally. And it was always more interesting than making something average, normal, right size, right proportion.”

Ennead, 1966 Acrylic, papier-mâché, plastic, plywood, and string Approx. 243.8 x 99.1 x 43.2 cm

This attitude is apparent in a work like “Accession II” (1968). Hesse began with a galvanized steel cube and wove tens of thousands of rubber tubes through its sides so that the interior of the cube became a plush carpet of rubber tendrils. The tendrils evoke natural forms that contrast with the sculpture’s industrial exterior, just as Hesse’s technique of weaving brings to mind a stereotype of her female domesticity that clashes with the hard-edged masculinity of the

mass-produced steel. The sculpture -- weirdly seductive on the inside, forbidding on the outside -- can be linked with the work of other artists of the time, like Donald Judd and Hans Haacke but especially the more Surrealistically inclined Lucas Samaras and Richard Art schwager. Yet it bears the unmistakable stamp of Hesse’s sensibility. That sensibility was formed in the crucible of one crisis after another. Hesse was born into an Orthodox

Right After, 1969 Fiberglass Approx. 152.39 × 548.61 × 121.91 cm

Hang Up, 1966 Acrylic on cloth over wood; acrylic on cord over steel tube 182.9 × 213.4 × 198.1 cm

Jewish family in Germany in 1936. Her family fled the Nazis and settled in New York in 1939. Before she was 10 years old, her parents had divorced and her mother had committed suicide. That was only the beginning. In 1961, Hesse married the sculptor Tom Doyle, in whose shadow she lived, increasingly unhappily, until they separated five years later. Not long after that, her father died. She battled chronic depression. She was often in pain, well before her brain tumor was diagnosed in 1969. Ambitious, frustrated by the condescending way she and her art had been treated when she was married to Doyle, Hesse fought to achieve recognition at a time when the art world acknowledged few women. She finally succeeded, and 22

had come to be regarded as one of the most gifted and promising sculptors of her generation when she died, not longafter a third unsuccessful operation to remove the tumor. These events pervaded her art from the beginning. The show opens with paintings from around 1960, after her graduation from the Yale School of Art and Architecture, where she had been a student of Josef Albers, Rico Lebrun and Bernard Chaet, and when she had settled in a studio in New York City. Her muddy renditions of heads owe a debt to de Kooning and have an affinity with the works of Lester Johnson and Jan Muller. They are the fumblings of a third-generation Abstract Expressionist, but one whose anxious and vulnerable spirit is not

entirely obscured by the thick layers of pigment and the brushstrokes that cover the painted figures like linen on a mummy. Around the same time, she completed ink wash drawings that more clearly, in fact almost eerily, predict the direction her art took. Their psychological punch is out of proportion to the postcard scale on which she worked. Here are the darklight contrasts, the combination of looming shape and squiggly line, the Minimalistic repetition of elements, and the enigmatic forms suggestive of figures and enclosures and redolent of sexuality that became the stuff of Hesse’s mature sculpture. It took several years before she translated these ideas fruitfully from

paper to three dimensions. In 1964 and 1965, she spent 14 months with Doyle in Kettwig-am-Ruhr, in Germany, where the couple had been invited by a German textile manufacturer who provided factory space and materials in return for art. Hesse at first produced paintings and drawings that recall Gorky and Picasso as well as Duchamp and Picabia. Her abstract forms crossed mechanical-looking objects and biomorphic shapes. And at the suggestion of Doyle, she began to use string and other materials lying around the factory to translate these forms into the painted reliefs that became her first forays into sculpture. With papier-mache, wire, cord and metal bolts she concocted works like “Ringaround Arosie,”

“Oomamaboomba” and “2 in 1.” They are pretty awful -- luridly colored and self-consciously ugly, their undulating surfaces and protruding parts blatant references to breasts and penises. One can see, in devices like the hanging cord of “Cool Zone,” motifs that Hesse shortly developed to greater effect. But only at the end of 1965, once she had returned to New York and Doyle had moved out, did she begin to invent sculptures of real originality and distinction. The change was so

Addendum, 1967 Papier mâché, wood and cord 12.4 × 30.29 × 20.6 cm

CONTINGENT

C O N T I N G E N T is made of eight banner-like elements that hang from the ceiling. Each of these elements consists of a large rectangular swath stretch of latex-covered cheesecloth embedded at each end in a translucent field of fibreglass. The banners hang parallel to each other and at right angles to the wall. Eva Hesse began work on her piece Contingent in November 1968. ‘I started the piece before I got very sick’, she told Cindy Nemser in an interview early in 1970. ‘It was latex rubber over a cloth called ripple cloth which resembles another version of cheesecloth. It has a more interesting weave (I guess I have some kind of interest in material) and reinforced fibreglass — clear.’

1969 cheesecloth, latex, fibreglass installation (variable) 350.0 (h) x 630.0 (w) x 109.0 (d) cm

In making the first experimental forms in this material Hesse was first helped first by Douglas Johns, a partner in Aegis Reinforced Plastics, and after January 1969 by Martha Schieve, a student assistant from the Great Lakes Colleges Association, who offered her assistance to Hesse after seeing her sculpture Sans 11 exhibited at the Whitney Annual in December 1968. A number of test pieces were made using different kinds of long cheesecloth and latex. Although the test pieces, were already under way in January 1969, Hesse took the unusual step, for her, of putting down her ideas for the work in drawings. She discussed one such drawing, dated 15 January 1969, with Cindy Nemser.

Eva Hesse Eva Hesse is one of the most renowned American artists to come of age in the immediate aftermath of late The Abstract Expressionists. Having fled her native Germany during the rise of Nazism, Hesse was originally schooled in American abstract painting and commercial design practices. She originally pursued a career in commercial textile design in New York City, but Hesse’s practice as an expressionist painter led her to increasingly experiment with industrial and every-day, or “found”

materials, such as rope, string, wire, rubber, and fiberglass. Reducing her means in the spirit of Minimalism, Hesse explored by way of the simplest materials how to suggest a wide range of organic associations, psychological moods, and what might be called proto-feminist, sexual innuendo. She also experimented with expressing semi-whimsical states of mind rarely explored in the modern era until her all-too-brief debut. Thus Hesse arrived quickly at a new kind of abstract painting, as well as a kind of so-called “eccentric,” freestanding sculpture.

I do, however, have a very strong feeling about honesty—and in the process, I like to be, it sounds corny, true to whatever I use, and use it in the least pretentious and most direct way … If the material is liquid, I don’t just leave it or pour it. I can control it, but I don’t really want to change it. I don’t want to add color or make it thicker or thinner. There isn’t a rule. I don’t want to keep any rules. That’s why my art might be so good, because I have no fear. I could take risks … My attitude toward art is most open. It is totally unconservative —just freedom and willingness to work. I really walk on the edge …”

BIBLIOGRAPHY “‘Addendum’, Eva Hesse, 1967.” Tate, https://www.tate.org.uk/art/artworks/hesse-addendum-t02394. “Ennead.” ICA Boston, Institute of Contemporary Art / Boston, https://www.icaboston.org/art/eva-hesse/ennead. “Eva Hesse Biography, Life & Quotes.” The Art Story, THE ART STORY FOUNDATION, https://www.theartstory.org/ artist/hesse-eva/life-and-legacy/. “Eva Hesse. Advocate of the Personal. (1963): Moma.” The Museum of Modern Art, https://www.moma.org/collection/ works/34942. “Eva Hesse. No Title. 1960–61: Moma.” The Museum of Modern Art, https://www. moma.orgcollection/ works/37163?artist_id=2623&page=1&sovreferrer=artist. “Eva Hesse. No Title. 1966: Moma.” The Museum of Modern Art, https://www.moma.org/collection/works/38380?artist_ id=2623&page=1&sov_referrer=artist. “Eva Hesse. Repetition Nineteen i. 1967: Moma.” The Museum of Modern Art, https://www moma.org/collection/ works/80947. “Eva Hesse. Repetition Nineteen i. 1967–68: Moma.” The Museum of Modern Art, https://www.moma.org/collection/ works/37063. “Eva Hesse. Repetition Nineteen, First of 3 Versions. Summer 1967: Moma.” The Museum of Modern Art, https://www. moma.org/collection/ works/37065?artist_id=2623&page=1&sov_referrer=artist. “Eva Hesse. Repetition Nineteen, Second of 3 Versions. 1967: Moma.” The Museum of ModernArt, https://www.moma. org/collection/works/37071?artist_id=2623&page=1&sov_referrer=artist. “Eva Hesse. Ringaround Arosie. 1965: Moma.” The Museum of Modern Art, https://www.moma.org/collection/ works/98638. “Eva Hesse. Studies for Repetition #19. 1968: Moma.” The Museum of Modern Art, https://www.moma.org/collection/ works/289092. “Eva Hesse. Study for Repetition #19. c. 1968: Moma.” The Museum of Modern Art, https://www.moma.org/collection/ works/289094. “Eva Hesse. Untitled. 1960: Moma.” The Museum of Modern Art, https://www.moma.org/collection/ works/78681?artist_id=2623&page=1&sov_referrer=artist. “Eva Hesse. Untitled. 1966: Moma.” The Museum of Modern Art, https://www.moma.org/collection/works/81239?artist_ id=2623&page=1&sov_referrer=artist. “Eva Hesse.” Hauser & Wirth, https://www.hauserwirth.com/artists/2810-eva-hesse. “Eva Hesse: Accession II.” Detroit Institute of Arts, https://www.dia.org/art/collection/object/accession-ii-47951. “Eva Hesse: Contingent 1969.” The National Gallery of Australia, National Gallery of Australia, Canberra, https://nga. gov.au/americanmasters/works.cfm?wrkirn=49353. Evahessedoc. “Detail #Evahesse ‘Aught’...” Eva Hesse, 14 July 2016, https://evahessedoc.tumblr.com/post/147397304611/ detail-evahesse-aught-1968-latex-and-filler. “Hang Up.” The Art Institute of Chicago, Contemporary Art, https://www.artic.edu/artworks/71396/hang-up. Hesse, Eva, et al. Eva Hesse 1965. Hauser & Wirth, 2013. “An Interview with Eva Hesse.” Hauser & Wirth, https://www.hauserwirth.com/news/14479-interview-eva-hesse. Johnson, Ellen H. “Order and Chaos: From the Diaries of Eva Hesse.” Art in America, ARTnews.com, 10 May 2016, https://www.artnews.com/art-in-america/features/from-the-archives-order-and-chaos-from-the-diariesof-eva-hesse-63161/. Kordic, Angie. “Understanding the Origin and Legacy of Process Art.” Widewalls, 17 Aug. 2016, https://www.widewalls. ch/magazine/process-art-artists-history. “Right after - Milwaukee Art Museum.” Google Arts & Culture, Google, https://artsandculture.google.com/exhibit/ right-after-milwaukee-art-museum/BQJS4Q9aeaIsLw?hl=en. “‘Tomorrow’s Apples (5 in White)’, Eva Hesse, 1965.” Tate, https://www.tate.org.uk/art/artworks/hesse-tomorrowsapples-5-in-white-t02383. “Untitled (Study for or after ‘Legs of a Walking Ball’).” Post War Haus Der Kunst, https://postwar.hausderkunst.de/en/ artworks-artists/artworks/untitled-study-for-or-after-legs-of-a-walking-ball. “‘Untitled’, Eva Hesse, 1965.” Tate, https://www.tate.org.uk/art/artworks/hesse-untitled-t04153. “‘Untitled’, Eva Hesse, 1965.” Tate, https://www.tate.org.uk/art/artworks/hesse-untitled-t04154. “Untitled.” The Art Institute of Chicago, Prints and Drawings, https://www.artic.edu/artworks/180269/untitled.

Top Spot, 1965 Tempera, enamel, cord, found objects, particle board, wood 208.3 x 54 x 32.4 cm

INDEX

Anciam volessum, 05 Auatis nonsequi blat, 01 Aolore, 02, 03

Hrerro volutat, 20 Huam, 05, 08

Rusda nient, 20 Rntis exersperum, 05

Ilictem es non rerupta, 15 Iolendelique, 14

Boluptati as, 10 Bccuptata sum haruption, 03 Bt vent moloritae, 14 Bt fugiament ut ute, 16 Bempos sapid, 22, 23 Bicatatum nectur, 04 C Cusda nient, 27 Cntis exersperum, 19 D Dsteost lab, 15, 18 Dres iur, 23 Delia volores ipsam, 05, 14 Dutempo remoluptati, 15 Dpitem, 10 Dari odit ulpa endes, 10, 23 Dlit, ut quae nis, 10 Dut velicim qui dolupis, 20 E Ere lab iliqui, 20 Elpa que modi, 15, 16, 21 Ebores explant, 23 Edis rectur solesti quis, 10 Ede estia nobis dolessunt, 08 Eus doloresequi, 05, 16 Earunt, 08 F Faceatur, 14 Fagnit perferruntur, 10 Fi dem, 23 G Gam solenduntent, 16 Gllabor itatemodi conemperum Gtur aliasperios autem, 08 Gpsae por sunde, 23 Gedissin corro eatent, 16

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S Ssteost lab Sres iur, 05,, 14 23 Selia volores ipsam, 10 Sutempo remoluptati, 16 Spitem, 21 T Trerro volutat, 15 Tuam, 14, 23 Tliquas eroreres maximus, 05 U Ulictem es non rerupta, 10 Uolendelique, 16 W Wolorrum quos, 15 Wut od modipsae eum, 16 Ws eos, 23 Werro eliqui cones, 14 Y Ydellecat hic tem, 10 Yanti con ped, 20 Yoditia, 23 Y beaturibus, 14 Ypore magnatq, 10 Z Zinctisi, 10, 15

O Ousani cullabo, 08, 16 Oruptatus, 23 Oporpor am nis eture ist, 10 Ooptaeri renihil, 20 P Pnciam volessum, 16 Puatis nonsequi blat, 20 Polore, 08

“ Don’t ask what the work is. Rather, see what the work does.”

va Hesse is one of the most new renowned American artists to come of age in the immediate aftermath of late The Abstract Expressionists. Having fled her native Germany in during the rise of Nazism, Hesse was originally schooled in American abstract painting and commercial design practices. She originally had pursued a career in commercial textile design in New York City, but Hesse’s practice as an expressionist painter led her to increasingly experiment with industrial and every-day, or “found” $50.00 USD | $63.00 CAD