Eva Hesse and Sol LeWitt correspondence

Eva Hesse and Sol LeWitt enjoyed a correspondence that lasted years. Their letters were emotional, personal and often about creative process. Early in her career, she wrote him with uncertainty about the path ahead. His response was an inspiration to her and an anthem for many who followed.

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Eva Hesse’s Wanton Duality: Liquidity and Compression in the Mechanical Drawings of 1965

The conjoining of opposed formal, material, and aesthetic qualities has long been regarded as one of the most characteristic aspects of the work of the German-born American artist Eva Hesse (1936-1970). Lightness and weight, line and volume, hardness and softness, transparency and opacity, liquidity and solidity, viscerality and evanescence, the synthetic and the organic, structure and indeterminacy, deliberateness and absurdity, abstraction and figuration, something and nothing: in Hesse’s work these paired terms are rendered indissociable without becoming unpolarized. Such compelling tensions were first brought to an acute point in the colored relief sculptures and the ‘mechanical drawings’ (the focus of this article) that Hesse produced toward the end of her stay in Germany in 1965.

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'Eva Hesse 1965' reviewed by Bookforum

What does a creative breakthrough look like? Can it be something that ‘abounds with nonsense’? ‘Eva Hesse 1965’ attempts to answer this question with a focused, if at times repetitious, study of a pivotal period of Hesse’s artistic development.

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An Interview with Eva Hesse

First published in ARTFORUM in 1970, this rare interview with Cindy Nemser gives insight into Eva Hesse’s practice, totality in her commitment to making art and absurdist influences from Duchamp to Yvonne Rainer, all captured in the last year of her life.

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