‘Perhaps I am the bones of the body of sculpture and perhaps Richard Serra is the muscle, but Eva Hesse is the brain and the nervous system extending far into the future.’ – Carl Andre on the future of sculpture (1996)
Eva Hesse’s ten year career has undoubtably left a mark on the art world. Hesse was a Jewish German-born American sculptor, known for her pioneering work in materials such as latex, fiberglass, and plastics. She is one of the artists who ushered in the postminimal art movement in the 1960s.
‘Accession II’ 1969Hesse assembled a non-solid form from light-industrial materials (galvanised steel mesh and plastic tubing), where the outside is just as visible as the inside. There is an obsessive-repetition to this work: the several thousand short lengths of tube were hand-threaded through the mesh. Hesse’s works often have bodily connotations, in this case the tubes appear to grow inward from the outside metal skin
‘Untitled (Rope Piece) 1967Latex filler over rope and string with metal hooks. This work also has a sense of repetition, due to the multiple knots and lengths of draping rope.
‘Right After’ 1969This was one of the last pieces Hesse made before she died. It refers back to Pollock’s drop painting. She harnessed the weight of gravity, by literally allowing the fibreglass covered strings to be pulled down.
‘Addendum’ 1967‘Seventeen light grey papier mâché hemispheres are systematically arranged at increasing intervals on a wooden bar coated in the same material. Long pieces of painted rope issue from the centre of each hemisphere and fall to the ground, coiling in unpredictable loops. The horizontal, organised rhythm of the bar and hemispheres contrasts with the vertical cascade of the cords. The hemispheres are textured and the paint on them has become cracked and discoloured. Due to the contrast between the organic-looking hemispheres and the manufactured rope, the sculpture seems to represent a mixture of natural and manmade forms. The size and height of the sculpture, coupled with the chaotic coils entering the viewing space, give this sculpture an imposing presence.’ http://www.tate.org.uk/art/artworks/hesse-addendum-t02394
‘Untitled’ 1967Hesse drew tiny circles within the miniature squares of the graph paper.
‘Sans II’ 1968
‘Expanded Expansion’ 1969
‘Repetition Nineteen III’ 1968