Accession II: Eva Hesse's Response to Minimalism
Author(s): Anne Swartz
Source: Bulletin of the Detroit Institute of Arts, Vol. 71, No. 1/2 (1997), pp. 36-47
Published by: Detroit Institute of Arts
Stable URL: http://www.jstor.org/stable/41504934
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1.
Figure
EvaHesse,
American,
Accession
1936-70,
//,
steel
and
1967;
galvanized
rubber
78.1x78.1
tubing,
x78.1cm(303/4
x303/4
x
Founders
303/4
in.).
Society
of
Friends
Purchase,
Modern
Art
Fund
and
Miscellaneous
Gifts
Fund
(79.34).
36
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Accession
II:
Eva
Hesse's
Response
to
Minimalism
AnneSwartz,TheSavannahCollegeofArtand Design, Savannah, Georgia
hersculptural
work,Eva Hesse
Throughout
of
to
the
(1936-70) responded
rigidity
Minimalism
complibytangling,
binding,
cating,andenclosingspacetounderscore
in
inherent
theexpressive
possibilities
nonconformist
abstract
Her
sculpture.
ofa
thedevelopment
approachfacilitated
she
introand
language,
uniquesculptural
and
newstrategies
ducedintosculpture
In
much
imitated.1
tacticsthathavebeen
used
the
Hesse
herseriesentitled
Accession
,
had
been
which
cubeform,
by
popularized
Minimalist
as an eroticandhumorartists,
ous device.Withthesecondworkinthe
series,Accession7/(1967;titlepageand
fig.1),nowinthecollectionoftheDetroit
Institute
ofArts,Hessewas reacting
against
butina positive
ofMinimalism,
theseverity
waythatallowedhertoexploreabsurdities
andthat
ofself,obsession,andfetishism
The
femalepresence.
asserteda dynamic
her
to
also reveals exposure textile
sculpture
andherconcernwithdomestic
manufacture
spaces.
AccessionII consistsofa five-sided,
madeof
fabricated
exterior
industrially
which
galvanizedsteelscreensthrough
Hessepoked30,670shortpiecesofsilverShe foldedthetubes
coloredrubber
tubing.
them
backthrough
thescreen,interlacing
The
theshellofthesculpture. result
through
is a humorous,
absurd,andtactilecontrast
cubeof
betweenthehardgeometric
framing
theexterior
andtherepetitive
soft,sensual,
oftheinterior.
infinite
contents
seemingly
Hessedefiedthesimplified
rigidformof
its
II
thegridinAccession bycomplicating
that
intersected
thiswas a defiance
interior;
withherrejection
ofcontemporary
Minimalism.
and
As a reaction
againsttheemotional
of
Abstract
excesses
Expressiongestural
American
artmoveism- thedominant
mentofthe1940sand 1950s,inwhichthe
orexpressive
processesofthe
painterly
- Minimalist
artist
areleftinevidence
oftheearlyandmid-1960semartists
formsto
geometric
ployedhard-edged,
reductive
createunified,
sculptures.
However,
beganintroducby 1965artists
such
varied
ing
propositions, as tension
the
intotheirart,signaling
andsoftness,
Minimalism.
Post
end
of
of
the
beginning
in
contrast
to
Minimalism,
Minimalism,
andits
tactilesensualsurfaces,
emphasized
with
Hesse's
been
associated
has
inception
reactedagainstthe
art.Thismovement
instead
of
celebrating
sterility Minimalism,
Its
artis
lines
and
forms.
curved,gestural
thanliteral;itinvadesthe
evocativerather
the
viewer'sexperience,
communicating
innersensibilities
artist's
tactility,
through
the
andcontent.
Mirroring
sensuality,
midof
the
and
social
rebellions
political
andlate1960s,Post-Minimalist
art,
Hesse's,foregrounded
including
infinity,
indeterminacy,
unpredictability,
chaos,heterogeneity,
disjuncmutability,
andpluralism.
tion,subjectivity,
diversity,
radical
Artists
suchas Hessepromoted
and
for
the
body theself.
spatialmetaphors
HowdidHessecometo sucha radically
conclusionwhentherestofthe
innovative
still
artworldwas primarily
avant-garde
AccessionII
focusedon hardgeometry?
evolvedoutoftheboxandwindowforms
withinher
thatHessehadexperimented
small
works
on
and
paperofthe
drawings
from
hercritique
sixties
and
resulted
early
oftheartofSurrealism,
Expressionism,
andPopArt.Whileitis possibletoread
suchas AccessionII as mere
sculptures
of
tothedominance
reactions
pointed
Minimalist
boxesandgrids,infactthese
interests
weremuchmorepervasive
forms
forHesse.Theywereevidentinherworks
in
on paperas earlyas 1960,appearing
as
as
well
Untitled
(1960-61; fig.2),
severalothersfrom1963-65,suchas the
titledabstract
collageAndHe
humorously
Sat ina Box (1964; fig.3). The use ofthe
withher
boxreverberated
geometric
of
experiences domestic
psychological
wife.
theincorporaas
a
Further,
spaces
oftextile
tionofthesoft,flaccidmaterials
from
her
stemmed
experience
production
in 1960andher
as a textiledesigner
and
withdiscardedremnants
encounter
textile
in
the
abandoned
factory
objects
sheusedas a studiowhenshewas in
AccessionII is part
Therefore,
Germany.2
oneofa seriesof
ofa processitself,
and
withboxes,windows,
experiments
grids.
In 1967,Hessebegantoexplorethe
of
oftheboxas a container
possibilities
ambivalence.
That
and
summer,
mystery
shecreatedpaintedpapier-mache
boxes,
InsideI andInsideII (figs.4-5). InsideI
chaoticpainted
containsan interlaced,
twineandwiremass,whileInsideII
containstwoweightswrappedincord.
The viewermustlookinsidetodiscover
andcontemplate
their
thecontents
or
interacting
mentally
significance,
notion
that
with
the
only
emotionally
objectsareenclosedinor
important
byboxes.Hessecontinued
protected
ina seriesof
box-as-container
the
using
forsmall
she
created
cases
glassdisplay
models
for
structures
and
test
sample
37
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2.
Figure.
EvaHesse,
American,
1960Untitled,
1936-70,
61; ink
wash
and
gouache,
15.2
x11.4cm(6x4'/2
Estate
ofEvaHesse,
in.).
ofJohn
Eric
Collection
York.
New
Cheim,
largerworks.BeguninAugust1967,they
werecompleted
by 1968andincluded
workssuchas Untitled
(fig.6).
In thefallof 1967,Hessemadethefirst
workinherAccessionseries,AccessionI
(fig.7).3 She tooka grid-perforated,
uncovered
boxform,
a found
probably
andwovefive-inch
object,4
piecesof
rubber
hoseintothebox.She filledevery
holeandlefttheendsofeachtubeloose,
Hesselikedthe
wavingfreeintheinterior.
resultsofthisfirst
threaded
boxformso
ina
muchthatshehadonefabricated
largersize atArcoMetalsinNewYork
artist
andcritic
City,whereherfriend,
Into
RobertSmithson,
hadbeenworking.
thissecondbox shethreaded
the30,670
- a time-andlaborrubber
extrusions
intensive
Accession
process.5Theresult,
thatHessecontinued
//,was so intriguing
toexplorethisform.
The intensity
ofthemanufacturing
process
fortheAccessionworksmotivated
Hesse
tohavethenextbox,AccessionIII (fig.8),
Herfriend
entirely
byassistants.
produced
a
fabricator
on Staten
Johns,
Doug
plastics
IslandatAegisReinforced
Plastics,helped
box.
coordinate
theproduction
ofthethird
Thisbox was largelikeAccessionII but
madeoftransparent
andclear
fiberglass
rather
than
metal
and
opaque,dark
plastic
rubber.
AccessionIII tooka longtimeto
makebecauseeachofthe28,000holeshad
tobe individually
drilledandfilledwith
in
of 1968,it
the
summer
tubing.
Begun
was notcompleted
untilthatfall.6This
as itspredecesboxwas notas successful
in
sors.Hesserecognized
theproblems
tothework •
AccessionIII, evenreferring
as "toorightandtoobeautiful,"
notingthat
herinterests
werereallyelsewhere:
"I'd
liketodo a littlemorewrongatthis
The translucency
ofthissculpture
point."7
didnotconveythesamesenseofmystery
as theotherAccession
andambiguity
works.Therefore,
Hessereturned
tothe
formandmaterial
ofthefirst
twowhen
shemadethefourth
andfifth
worksinthe
series,AccessionIV andAccessionV (figs.
9-10). Bothweredonein 1968andboth
likeAccession/.8Due toits
weresmaller,
exterior
box,AccessionV
orange-colored
hasa greater
chromatic
impact.
WhileAccessionII canbe viewedas a
artistic
partofHesse'sexperimentation,
and
formal
as
explorations,
development,
wellas herreaction
totheausterity
of
italso encapsulated
several
Minimalism,
concerns
of
Hesse
as
a
female
personal
artist
andproto-feminist.
Heradultlifewas
defined
the
of
by tempestuous
experiences
38
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herchildhood.
BorninHamburg
in 1936to
a Jewish
criminal
his
and
wife,
lawyer
HesseandheroldersisterescapedNazi
on a children's
trainto
Germany
Amsterdam
whentheartist
was onlytwo
old.9
The
were
years
girls
joinedbytheir
who
had
also
leftGerparents,
secretly
and
after
a
in
the
London,
many,
sojourn
in
settled
New
York
family
finally
City.
inlanguageand
Becauseofdifficulties
intheirnewcountry,
Hesse's
adjustment
father
was unabletoworkas a lawyerand
insteadsoldinsurance.
Herparents'
could
not
withstand
thisdislocamarriage
tionandtrauma,
andtheydivorcedin 1945.
Herfather
remarried
soonafter,
buther
the
war
and
the
mother,
anguished
by
committed
suicide
family's
displacement,
inJanuary
1946.
lifewas domiHesse'sintenseemotional
tootherpeople.She
natedbyconnections
withconstant
fear
simultaneously
struggled
todevelopan
oflonelinessandoffailure
individual
She worried
shewould
identity.
as
suffer
frominstability
anddepression,
aroundthe
hermother
had.EveryJanuary,
ofhermother's
death,she
anniversary
wouldbe particularly
anxious.Friends
wouldmakean effort
todistract
herso that
Hessealso
shewouldnotbe overwhelmed.
feltinfluenced
bywhatshesaw as her
intenseGermanic
father's
compulsiveness.10She wantedtostabilizethese
opposingforces.Dr.SamuelDunkell,her
formostofherlife,remarked
psychiatrist
her
reliefinlearning
thatHessedescribed
could
and
of
symptoms anxiety depression
thanpersonal
be linkedtoillnessrather
1 She diedfroma braintumor
experience.1
stilldevotedtoher
attheage ofthirty-four,
attitude.
artandwitha life-affirming
3.
Figure
1936EvaHesse,
American,
HeSatina Box,
70,And
with
ink,
1964;
collage
andwatercolor,
gouache,
76.2x55.9cm(30x22in.).
Ulm.
Ulmer
Museum,
inartfrom
Hesseknewshewas interested
a veryyoungage anddecidedtofollowher
herlowestgrades
eventhough
inclination
injuniorhighschoolwereinthatsubject.
She tookeveningclassesattheArtStudents
League,NewYork,whenshewas inhigh
as
school.12Duringthe1950sshematured
Hesse
several
schools.
an artist,
attending
inAmerican
studiedwithsignificant
figures
Josef
arteducation,
Albers,the
including
whotaught
atYale School
Bauhausartist
whereshereceived
ofArtandArchitecture,
from
herB.F.A.in 1959.After
graduating
York
and
to
New
moved
back
Hesse
Yale,
whereshemetand
livedintheBowery,
includandcritics,
befriended
manyartists
Robert
Carl
Claes
Oldenberg, Andre,
ing
andSylviaMangold,LucyLippard,Robert
andSol LeWitt.
Mel Bochner,
Ryman,
atage
Hessehadherfirst
galleryexhibition
to
and
began
twenty-five immediately
receivecriticalattention.
rolesexpectedof
a resultofthemultiple
sentiment
heras a woman.Anoft-quoted
and
revealsthatshefeltoverworked
"I
cannot
in
her
marriage:
unhappy
be so manythings. . . Woman,beautiful,
cook,saleslady
wife,housekeeper,
artist,
I cannotevenbe myself,
all thesethings.
norknowwhatI am.I mustfindsomethingclear,stableandpeacefulwithin
. . ,"14Yetevenatthispointof
myself
herwork
withhermarriage,
dissatisfaction
of
a
series
of
into
drawings
developed
andthenintoevenmore
eroticmachines
formswhenHessebeganexploring
playful
sculpture.
as an artist
Hesse'srealbreakthrough
to sculpture
frompainting
hertransition
in 1964-65whenDoylewas
occurred
invited
tomakeartforF. Arnhard
Scheidt,
a wealthy
Germantextilemanufacturer
andartcollector.
Doyle'slargeAbstract
weretoo
sculptures
Expressionist-inspired
moved
so
Scheidt
to
Tom
InApril1961,Hessemetsculptor
expensive transport,
Hesse
to
and
in
November
married
whom
she
allowing
Germany,
Doyle
Doyle,
themtosetup studiosinan abandoned
ofthatyear.He was eightyearshersenior
near
in Kettwig-am-Ruhr,
intheNewYorkart textilefactory
andalreadyestablished
Thislocationprovedfortuitous
Diisseldorf.
her
toDoyleaffected
world.Hermarriage
her
overthenextfiveyears. forHesse'sdevelopment,
artistic
stimulating
development
inthephysicalnatureofsoft
interest
As shenotedinherdiaries,shefeltboth
andcloth;shehad
suchas string
materials
dominated
byDoyleand
professionally
materials
of
these
discarded
a
and
the
distressed
largesupply
by agitated
personally
her
at
the
textile
available
to
of
their
nature
factory.
relationship.
competitive
concernoverDoyle's
Hessealso expressed
ThisstageofHesse'sartistic
She
andpublicboisterousness.
development
drinking
didnotcomeeasily.She hadpersonal
dualroleas artist
bemoanedherdifficult
whenshereturned
anxietiestoovercome
andwifeofan artist,
noting:"Itis as
associatedinhermindwith
toGermany,
wife
difficult
as itis saidtobe an artist's
demiseandhermother's
andan artist
also. Notalwaysforthereasons herfamily's
suffered
The
onethinks
itis notall 'The Free
however
depression. failingmarriage
while
Hesse
and
even
more
as
Life.'"13Indeed,sheexpressed
Doylewere
fatigue
andfamiliar
fromfriends
abroad,separated
these
Not
surroundings. surprisingly,
artistic
Hesse's
anxietiesinitially
stymied
turned
to
Yet
Hesse
sculpture
production.
thatshetrysomewhenDoylesuggested
withtheabunthingnewandexperiment
dantabandonedmaterials
lyingaroundtheir
these
/studio.
She
manipulated
factory
- strings,
oftextilemanufacture
elements
- intoreliefsto
cords,wires,andthreads
works
first
three-dimensional
her
produce
ofart.15
Atthispoint,Hesse'sartbegantoevolve
She developeda highlypersonal
rapidly.
ofimages,atonceabsurdand
vocabulary
hermainsourcesof
sensual,finding
Abstract
in
Surrealism,
Expresinspiration
Art.
Fromthefirst
andfinally
sionism,
Pop
andforms
twoshelearnedaboutstrategies
and
themesofautobiography
forexpressing
Hessewas particularly
eroticism.
intrigued
39
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4.
Figure
EvaHesse,
American,
Inside
1936-70,
/,1967;
over
acrylic
paint
papierandwire
machl,
twine,
over
29.8x29.8x
wood,
30.5cm(113/4
x11V4x12
TheEstate
ofEva
in.).
ofThe
Hesse,
Courtesy
Robert
Miller
Gallery,
New
York.
5.
Figure
EvaHesse,
American,
Inside
1936-70,
II,1967;
with
mixed
acrylic
paint
sawdust
over
wood,
papierand
machl,
cord,
weights,
13.3
x17.8
cm
acrylic,
x7.7in.).
TheEstate
(5'/4
ofEvaHesse,
of
Courtesy
TheRobert
Miller
Gallery,
New
York.
boxformofAccessionII- withitspleasurableinterior
ofhandwoven
plushtentaclescontrasted
andcontained
within
a
- relates
exterior
hard,fabricated
grid
tothemalefetishizing
offemale
strongly
are
often
referred
toin
genitalia(which
as
a
a
that
slang
"hairybox," description
also appliestothissculpture).
whopursuedenergetic
byartists
disjuncorironic
tions,strange
incompatibilities,
Yetsheworkedindependently,
gestures.
without
withthe
lookingforidentification
workofotherartists
andwithout
specifically
withanyparticular
artistic
aligningherself
movement.
FromSurrealism,
Hesseappropriated
an
andon thebreakemphasison theirrational
She borrowed
methods
ingofboundaries.
ofdisjunction,
anddisdismemberment,
as wellas theemployment
of
placement,
obsessivetacticsthatreliedon orprompted
a subsequent
compulsive
responsefromthe
viewer.In makingobjects,Surrealist
artists
frequently
playedwiththeviewer'sinner
obsessivedesires:theSurrealist
objectoften
features
a mixofsculptural
inelements
tendedtoprovoketheviewer'sunconscious
effects
thatcould
responsebyengendering
notbe expectedordetermined,
suchas elicAnexitingtheviewer'ssexualfantasies.16
ampleofsucha workis MeretOppenheim's
Object(1936; MuseumofModernArt,New
covereda
York).To makeit,Oppenheim
teacup,saucer,andspoonwithfur,creating
a symbolevokingan oraleroticism
underlinedwithdisgust,
sincethevieweris forced
AccessionII mightalso be termed
a fetish
intheword'sgeneraldefinition:
anything
towhichextravalueorpowerhasbeen
attached.
Theseexcessesmanifest
as
toassociatethatpleasurewitha potentially
oromnipotent
characteriserotic,
magical,
situation.
HessemetOppenheim
unpleasant
tics.A boxedobjectstimulate
desiresfor
in 1965whenshewas inEuropeandreand
consumption,
sovereignty,
ownership,
marked
uponitinherdiary,
clearlyshowing
Like
the
Surrealist
that
object
theimpactboththemeeting
andtheobject« possession.
sucha compulsive
engenders
response,
hadon hersensibility.17
Hesse's sculpture
invitessuch
similarly
of
Created
projections fantasy.
bythe
Eroticism
is an integral
ofthe
component
action
of
the
strands
into
repetitive
poking
ofHesse'swork,figuring
into
physicality
thescreens,
thisworkbeginswitha box,
herartthrough
herfetishistic
formsand
butitendswherever
theviewerimagines.
use oftacticsthatevokea compulsive
desire
response(suchas thecompelling
The complicated
andrepetitive
natureof
totouchtheobject)fromtheviewer.Both
AccessionII revealsHesse'sowncompuloftheseareevidentinAccessionII. In
sivenessinweavingthevinyltubesinand
Freudian
a fetish
is
psychoanalytic
theory,
outoftheperforations
andmaybe deemed
an objectthatsymbolizes
oractsas a subfetishistic
initself.Thisbehavior
hasa
stitute
forsexualorgans,thusallowingfor
oferoticgratification
to itin its
component
thedisplacement
ofsexualfeelings
ontoan
and
restrictive
control.
inanimate
thatwhile rigidrepetition
thing.Freudadmitted
relatedHesse's
Lippardhasconvincingly
individualized
sentiments
canresultinthe
obsessionforrepetition
toan autoerotic
fetishization
ofobjects,therearespecific
desirethatsubstituted
forthelackofher
betweenparticular
relationships
objects
mother's
love.19
andgenitalia.Freuddesignated
containing
objectsas symbolsoffemalegenitalia,
Hesse'scompulsiveness
is depictedina
boththevaginaandthewomb.
including
her
artist
andcriticMel
portrait
by friend,
He described
and
boxes,cases,cupboards,
Bochner.In Portrait
Eva
Hesse
(1966;
of
ovensas vaginasoruteri,androomsas
11),Bochnerplacedtheconceptof
fig.
fetishes
towomen.18
Thus,inits
relating
ofher"cosmolenclosureattheepicenter
definition
anddemarcatioh
ofspace,the
"I
selected
theword
ogy,"explaining,
40
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4
wrap'becauseitis botha nounanda verb,
an objectanda process.Thatcontradiction,
seemedtometobe at
orcoincidence,
Bochner
the'center'ofEva's work."20
broketheideadownintoseveralstrata,
somenuanceof
eachcirclerepresenting
In effect,
this
orconnection.
enclosure
ofHesse'sprocessimagedas
reproduction
thepresent
resembles
a string
ofsynonyms
ofAccession//,which
interpretation
of
behavior
focuseson hercompulsive
an activity.
obsessively
repeating
ofAccessionII was a conTheconstruction
interest
ofHesse's.21Evenwhen
tinuing
fromherfirst
shereturned
hospitalization
thatwould
in 1968forthebraintumor
with
eventually
provefatal,shecontinued
task.Artcriticandcurator
therepetitive
RobertStorrwas astonished
bythedevoresumed
tionthisinvolved:"Thattheartist
inthisendeavor
afterher
andpersevered
ofthis
first
collapsemakesthepoignancy
time'- andso byanalogythe
'marking
ofall humanprojects
hopefulobstinacy
time
apparent."22
pittedagainst - achingly
HelenHesseCharash,theartist's
sister,
was a largepartof
notedthatcompulsivity
as a
theirupbringing
andthattheirfather,
was
a
insurance
salesman,
self-employed
andcon"workaholic,"
staying
up nights
Eva
toworkinhisbathrobe.23
tinuing
inrepetitive
Hesse'songoinginterest
process stemmed
fromherrelishforthecomtohergood
pulsiveact.In a 1965letter
friend
RosieGoldman,shenoted:"/
finallytooka screen,heavymeshwhich
is stretched
ontoa framelikeso and taken
[s/c]cordwhichI cutintosmallerpieces.
I soaktheminplasterandknoteachpiece
a holeandaroundwire.It is comthrough
Thisnotion
pulsiveworkwhichI enjoy."24
is an especiallyinteresting
ofrepetition
WhenHessewas
absurdhyperbole.25
formsina
askedwhysheoftenrepeated
singlework,shereplied,"Becauseitexagis meaningful,
maybe
gerates.Ifsomething
saidtentimes.It's
it'smoremeaningful
is
choice.Ifsomething
notjustan esthetic
absurd,it'smuchmoregreatly
exaggerated,absurd,ifit'srepeated."26
Lippard
defined
theword"accession,"usedinthe
added,"
title,as "increased
bysomething
whichexactlydescribesHesse'sprocessin
theformofthisenclosedbox.27
expanding
tactics,suchas therepetitious
Compulsive
a box inAccespokingoftubingthrough
inHesse'searliest
sionII, areprevalent
suchas theconreliefsandsculptures,
trolledandrepeated
coilingofRingaround
Arosie(1965; MartinBernstein
Collection,
Mich.)andAnEar ina
Birmingham,
Pond(1965; RobertM. KayCollection,
Rumson,N.J.).
sensibilities.
YetwhenHessetriedto
contendwiththebravadoofJackson
tensionensued.In
Pollock'sart,a greater
contrast
tohim,sheworkedon an intimate
scale.LikePollock,shewantedtocreatea
betweenthepresenceofthe
transparency
the
materials
andtheprocessofconstructing
of
In herwork,sheleftelements
work.29
to
evidentinobviousreference
production
thepresenceoftheartist.
She also made
obviousherintention
toemphasizeherrole
as artist
heruse ofabsurdopposithrough
tions.
andAbstract
HessecombinedSurrealist
influences
withyetanother
Expressionist
source,PopArt.Thiswas an unusual
artist
fora Post-Minimalist
combination
inthe1960s.She andherartist
friends
and
disdainedPop's artificiality
eventhough
theyhadan
commerciality,
oneof
withRoyLichtenstein,
association
TomDoyle'steachers.
However,
according
toLippard,forHessetheperiodfrom1962
was an even
Abstract
Expressionism
a confusion
until1964"reflect[ed]
sourcethanSurrealism
moreimportant
perhaps
tothe
betweenloyalty
ofautobiographical rootedina conflict
forHesse's inclusion
ofGorkyandde Kooning
innerimagery
theaccomplishsubjects.She admired
andthebrashnewnessofPop."30In
artists.
mentsofAbstract
Expressionist
Hessewas attracted
toAndy
basictenetsare
Twoofthemovement's
particular,
in
Warhol'sart,especiallyhisdeadpan
relevant
toHesse'sart:an interest
attitude.31
She especiallyadmiredthesoft,
artistic
oftheinnerselfanda
expression
formsofClaes
oftheartistic
concernwiththeactivity
sexuallyprovocative
andYayoiKusama(an artist
Oldenburg
process.Hesseworkedtointernalize
oftenlooselyassociatedwithPopArt).32
issuefor
whatshesaw as theimportant
series
titlesofHesse'sfirst
Willemde KooningandArshileGorky:the The humorous
reflect
ofa personalized
artthatincorpo- ofreliefsthatshemadeinGermany
creation
ofPop: Ringaround
andgesture
intotheaesthetic. theplayfulness
ratedactivity
Arosie,
Oomamaboomba
, C-ClampBlues, and
Earlyinhercareer,shepaintedina style
Decatur.Pop provided
Hesse
The
Eighterfrom
dependent
uponbothartists.28
withan outletforthehumorous
freedom
andsweepinhersculptures
expression
an appreciation
oftheirsensuous ofabsurdstatements.
represent
treatment
offormsandtheirpassionate
41
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6.
Figure
EvaHesse,
American,
19671936-70,
Untitled,
andmetal
case
68;glass
sixunits
of
containing
rubber
latex,
cords,
wire,
37.1x26x
mold,
plaster
x10'/4
x10'/4
26cm(145/8
Wadsworth
Atheneum,
in.).
The
Hartford,
Conn.,
LeWitt
Collection
(T.L.146.1976:318).
reaction.
As Doylehaspointedout,LeWitt All opposedtheextreme
and
masculinity
was a calmingfigure,
a soothing
dominant
ofartcharacpresence; brutal,
positioning
hiswillingness
todiscussothers'ideas
teristic
ofMinimalism,
Hesse's
although
aboutart,as wellas hisown,madehima
wereinformed
interpretations
bya femiandcompanion.34
Surreverydearfriend
Lippard nistsensibility.
Lippardconsidered
notesthatHesse's interest
in serialarrange- alismthemajorinfluence
on suchworks.
mentcanbe directly
linkedtotheirfriend- Arguing
thatall theartists
intheshow
retained
an interest
inabstract
formrather
ship.35WhileHesse'sgrid,box,and
evolvedoutofherownthe- thanrepresentation,
windowforms
sheusedHesse's
ofthehairy
maticstudies,herrealization
as an important
focalpointin
sculptures
in
II
like
a
her
box
Accession
seems
related
to
the
exhibition.40
rather
than
gestural
writings
However,
simplyreiterating
ofLeWitt's
totheausterity
ofSurrealism,
Abstract counterpart
thestylist
features
Anne
cube
forms.36
thatLippardwas the
and
Hesse
Wagnerhas It is notsurprising
ubiquitous
Expressionism, Pop,
developed
erotic
characterized
the
tactile
first
to
discuss
andexplicitly
herartistic
as
she
effectively
quality
openly
sensibility
independently
of
ofAccessionIF s interior
surfaceas a conthemesinHesse'sart.Herconception
encountered
thevariousavant-garde
on
trast
to
minimal
forms:
this
exhibition
was
based
her
education
at
Yale
"[Hesse
reframes]
primarily
through
conceptions
inwhich
theindustrialized
realoftheMinimalist
Hesse'sworkandthemanner
andvisitstomuseums
andgalleries.Her
bothwithin
into
the
surreal
of
sexualHesse
seemed
to
be
milieu
her
source
object
incomplete
"working
daily
proved greatest
ized
form."37
and
outside
of
the
current
ofinspiration,
after
she
and
geometric
especially
tendencies."41
Takinghercue from
DoylemovedtotheBoweryin 1963and
notedHesse'sfocuson process, Hesse's sculpture,
Criticsfirst
metfellowemerging
artists.
As Lippard
Lippard"beganlooking
thatdialeccontent
for
other
artists
and
when
eroticism,
"Hesse
had
different
confronting
Lucy
Lippard
indicates,
something
tic."42Lippardwroteinhercatalogue
includedHesse'sworkinthe1966exhibiincommonwitheachofher[artist]
the
tion"Eccentric
Abstraction."
herartrelationships
tendedtobe
Earlythat
essaythatHesse'sworksexemplified
friends;
'reconciliation
ofdistant
a trend
"Surrealist
as complexas herpersonalones."33These
year,Lippardhadrecognized
different
artists
whose
realities.'"
Hesseharmonized
wouldleadtootherimportant amongseveralunaffiliated
friendships
tointegrate
deviatedfromthehyperstructural,
effects
associations
withrepercussions
forHesse's
imagesorstructural
sculpture
formspreferred
reductivist
introduced
byMinimalist formandcontent.
Lippardnotedthat
art,as whenRobertSmithson
in
the
Years
Hesse's
artists
mid-1960s.38
later,
hertoDoug Johnsandindustrial
sculptures,
despitetheirsimplicity
plastic
wrote
about
"Eccentric
Abstracand
limited
use
of
colors,
manufacture.
all
of
these
possessed"an
Lippard
Incorporating
a
movewhichdifferention":
"I
was
not
to
'create
mood,"
Hesse
her
own
soft
intensely
trying
personal
influences,
developed
Minimalism.
Most
rather
to
indicate
that
there
were
tiated
them
from
but
ment,'
abstract
biomorphic
style,simultaneously
asserted
that
Hesse
or
'eccentric'
or
erotic
alternatives
emotive
from
and
to
the
importantly,
Lippard
diverging
responding
new:
to
a
solemn
and
deadset
Minimalism
which
had
created
formal
influence
of
then-dominant
"Omitting
something
strong
stillretained
theclarity
ofthatnotion."39
excessivedetailandemotivecolor,but
Minimalism.
vulnerable
theseworksas thebegina tentative,
She recognized
qualityin
retaining
an
sheaccomplishes
thesimplest
forms,
Therigidcubeandserialrepetition
of
ningofa moveawayfromMinimalism.
unfixed
whicharetradition- idiosyncratic,
Eroticandsoftforms,
forms
dominated
theworkofnumerous
space. . ."43For
ofthisnebulous
werehigh- Lippard,recognition
Minimalist
Sol LeWitt.
allyassociatedwithfemininity,
artists,
including
intheexhibition,
whichincluded
LeWittconformed
toa modelofpurity
and
lighted
spacewas crucialbecauseitimpliedthat
a radicalnotionof
Hesse'sartsuggested
worksbybothmaleandfemaleartists.
inhisart,againstwhichHesse's
primacy
workcanbe readas bothextension
and
42
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7.
Figure
EvaHesse,
American,
Accession
/,1967;
1936-70,
and
rubber
aluminum
23.2x36.2x36.2
tubing,
x14Vx14'/4
cm(9>/b
in.).
ofTheIsrael
Collection
Gift
Jerusalem,
Museum,
Hesse
ofHelen
Charash,
New
toAmerican
Jersey,
ofTheIsrael
Friends
Museum.
an impormarked
Theexhibition
infinity.
art
inAmerican
moment
tanthistorical
in
a trend
ofthe1960sbyannouncing
workwas motivated
whichtheartists'
by
butseparatefromit.
Minimalism,
and
ofMinimalist
Hesse'scitation
linearity
the
inAccessionII accentuates
rigidity
and
conventional
positionofwomenartists,
toculture:
women'srelations
byextension,
hasnoted,
because,as AliciaOstriker
havebeenexcludedfrom
womenartists
theirowntradition,
theyhave
developing
artistic
masculine
hadtoappropriate
Yetinheruse ofsoftmaterials,
language.44
revisedherMinimalist
Hesseradically
ofsoftas
sources.Thoughan assessment
feminine
stereotypical
maybe considered
becauseitpromotes
standards
bycurrent
it
an ideaofan essentialfemalequality,
wouldhavebeenacceptableforan artist
inthe1960s.Hesselookedatone
working
forms
fromthe
ofthemostprominent
ofMinimalist
tradition
masculine
art,and
revised
thedeviceofelaboration
through
themtoadvance
itsimplications,
adapting
AnnaChave
herownartistic
development.
haspointedoutthatAccessionII canalso
be readas a pointofexpression,
callingit
a "voicebox,"another
physiological
feature
towhichtheformofthisworkhas
45Hessepurposely
took
a resemblance
thesmooth,
hard,masculine
edgeofthe
Minimalist
cubeandchangeditintoa box
cords.
ofabundant
withan interior
related
Hesse'sdialoguewithfeminism
artistic
toherdesiretofinda different
imagethanthatespousedbyMinimalism.
ofthepersonal,
Feminism's
celebration
andthediscounted
theprivate,
provided
forHessetoenacther
vehicles
important
herwork.Accession
todistinguish
efforts
becausein
II indicatessucha difference,
itshecreateda sculptural
objectandspace
to
thatinvolvesthebody,makesreference
encloseddomesticspaces,andemploys
InAccession77,Hesse
weavingforms.46
inthecontaininterested
was specifically
mentofspaceas thatenclosureimpacts
on thebody.LippardnotedthatHesse
movedintothelowerfloorofherapartoftwosmallrooms,
ment,whichconsisted
enclosure
inordertocreatethecomforting
Hesse
ofa nestorwomblike
space.
atthistime,"I workonly
commented
Itis really
In mycorner.
downstairs.
crowdedwithworkandtoolsandall sorts
Feel less lostandlonely
ofparaphernalia.
is unknown
therethatway.Upstairs
tome."47She was awareofthe
unfamiliar
spatialimpactthatAccessionII hadon the
bodyandevenallowedherownbody
ina playful
withthissculpture
tointeract
a
film
made
A
from
still
byDorothy
way.
BeskindofHesseinherstudio(fig.12)
herheadinto
Hesselowering
documents
thebox48WhenAccessionII was shown
in 1968,thedesiretotouchitoverwhelmed
was partially
itsviewers.The sculpture
leaned
on itandlowered
as
damaged people
intoit49
children
a newmetaphorical
AccessionII introduces
onethatappeals
modeofmakingtextiles,
anddefies
oftheinterior
intheabundance
theorderimpliedbythecontrolled
segmenHesse
framework.
tationoftheexterior
fromherworkas
knewtextileproduction
a textiledesigner.
Thoughweavinghas
as an outletfor
functioned
historically
to scenarios
connected
it
remains
women,
because
thatdefinetheirimpotence,
and
women'sworkis so economically
and
As
Sandra
Gilbert
undervalued.
socially
SusanGubarhavenoted,"LikeAriadne,
womenhaveused
Penelope,andPhilomela,
43
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All use subject to JSTOR Terms and Conditions
Notes
of
Allworks
bypermission
byEvaHesse
reproduced
TheEstate
ofEvaHesse.
8.
Figure
EvaHesse,
American,
Accession
III,
1936-70,
and
1968;
plastic
fiberglass
76.2x76.2x76.2
tubing,
cm(30x30x30in.).
Museum,
Cologne.
Ludwig
Rheinisches
Photo:
Bildarchiv,
Cologne.
for
Swartz
Theauthor
wishes
tothank
Loseand
Jay
Lynn
article
and
the
ofthis
their
during
preparation
suggestions
Ellen
for
her
advice
and
Professor
G.Landau
encouragement.
1.
recent
isevidenced
thesis
oftwo
This
point
bythe
of
inthe
work
Hesse's
exhibitions
that
dealt
with
legacy
women
artists.
SeeInthe
Lineage
ofEvaHesse
younger
ofContemporary
Museum
Conn.:
The
Aldrich
(Ridgefield,
and
L.Zelevansky,
Sense
and
exh.
Art,
cat.,
1994);
Nineties
inthe
Artists
andMinimalism
: Women
Sensibility
exh.
ofModern
York:
TheMuseum
cat.,
Art,
1994),
(New
8-10.
2.
in
What
OneIsNot,"
ToKnow
to'Ick':
L.Norden,
"Getting
Yale
Conn.:
ARetrospective
EvaHesse:
Haven,
(New
72n.36.
exh.
Art
61-62,
cat.,
1992),
Gallery,
University
3.
out
sketched
where
the
artist
four
notebook
Seethe
pages
Accession
works
ofthe
ofthe
the
technical
early
aspects
EvaHesse
inL.Lippard,
series
York,
[New
(reproduced
213).
1992],
thansimplyreiterating
rather
andneedlesbothto
theirlooms,thread,
anyhistorical
as
victim.
female
of
the
to speakof
andsilently
defendthemselves
Here,
concept
of
the
Hesse
a
silent
confers
themselves."50
exploited possibility a radical
Weaving
refusal
ofthatparadigm,
their
with
to
contend
women
accomplishing
power,allowing
a feminist
forexpressing
a
new
form
mode
an
alternative
limitations
byproviding
andcompulaesthetic
art.51
tomale-dominated
ofexpression
absurdity
featuring
deviated
abstract
Hesse's
sion.
women
for
a
few
artists,
However,
sculpture
very
a
dominant
from
the
mode
a
has
offered
standard,
Hesse,weaving
defining
notably
alternatives.
realmwithfeminist
InAccession//, distinct
tousurpthemaletradition.
ofthe
movement
tediumofweavinghasbeen Duringthefeminist
themonotonous
and
bodies
women's
a
of
1960s,
traditionally
by profusion cords,
complemented
defined"women'swork"wereincreasdemonstrating
pleasurein
simultaneously
veas metaphoric
infinite inglyusedbyartists
traditional
weavingandexpansive,
female/feminine
for
the
hicles
experience.
possibilities.
her
Eva Hessewas engagedindeveloping
atthisverytime
ownmodesofexpression
Hesse'sAccessionII worksagainstthe
andthusbegantominethosesubjectsfor
normofwhatis expectedinartmadeby
the
women.The sculpture
inspiration.
suggests potent
ofthe"femaleexperience,"
expressiveness
44
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All use subject to JSTOR Terms and Conditions
4.
cat.
B.Barrette,
EvaHesse:
York,
(New
Sculpture
138.
raisonn6,1989),
5.
asAnna
C.
knot
the
extrusions
Hesse
didnot
additionally
the
screen
them
shesimply
Chave
mentions;
through
poked
a Sculpture,'"
'AGirl
"Eva
Hesse:
(seeA.C.Chave,
Being
1992
inEvaHesse
[note
2],111).
6.
1989
Barrette
4),174.
(note
7.
12
with
Art
Talk:
Conversations
Asquoted
inC.Nemser,
212.
Artists
Women
York,
1975),
(New
8.
made
ona
Vwere
IVand
Accession
Accession
both
Perhaps
health
in
ofHesse's
because
scale
much
smaller
failing
related
for
shewasfirst
when
1968,
problems
hospitalized
fatal.
would
that
tumor
tothe
brain
eventually
prove
9.
wasdeveloped
ofHesse's
This
account
family
experiences
- which
includes
the
from
chronology
comprehensive
- in
and
notebooks
Hesse's
from
diaries,
journals,
excerpts
9.
Figure
EvaHesse,
American,
1936-70,
Accession
IV,
and
steel
1968;
galvanized
rubber
20.6x20.3
tubing,
x20.9
cm(8'/g
x8x8'/4
and
Lester
in.).
Ethelyn
New
York.
Honig,
the
ofthe1992
exhibition
atYale
catalogue
retrospective
Art
in
(seeH.Cooper,
University
Gallery
"Chronology,"
EvaHesse
1992
Itwasalsodeveloped
[note
2],19-50).
from
onher
and
notebooks
in
notes
diaries,
my
journals,
the
EvaHesse
Archive
atthe
Allen
Memorial
Art
Museum,
Theauthor
would
like
to
Oberlin
Ohio.
Oberlin,
College,
thank
Christine
andKimberlie
Gumz
Mack,
Registrar,
Art
Assistant
atthe
Allen
Memorial
Fixx,
Registrar,
Museum
for
access
tothe
EvaHesse
Archive;
facilitating
andBarry
Rosen
andHelen
Hesse
Charash
for
permission
toreference
the
archive
and
reproduce
images
byHesse.
For
a more
extensive
discussion
ofHesse's
art
and
the
toA.Swartz,
themes
refer
here,
presented
"Psychosexual
ofEnclosure
and
Strategies
Entanglement:
Re-Reading
andHesse"
CaseWestern
Reserve
diss.,
(Ph.D.
Bourgeois
1996).
University,
10.
Inher
Hesse
the
mother
and
diaries,
diagrammed
opposing
inher
this
father
life,
dynamic
impulses
operating
calling
"Underlying
"force
Eva":
the
Theme/
conflicting
Eva
force:
unstable/
forces
inside
/1]mother
conflicting
Sadistic
creative/
sexual/
stability/
threatening
my
force:
little
2]father,
Aggressive/
stepmother
good,
girl/
masochistic"
obedient/
neat,
clean,
(diary
organized/
entry,
EvaHesse
1966
Ohio.:
Allen
Archive,
[Oberlin,
May
Art
box2,item
Memorial
Oberlin
5,
Museum,
College],
52).
11.
S.Dunkell,
interview
New
York,
5,1994.
byauthor,
May
12.
"It's
AllYours,"
Seventeen
1954):
Magazine
(September
140.
in1954,
Hesse
had
ajobatSeventeen
and
Magazine
the
onthe
artistic
talents
oftheir
editors
decided
tofocus
intern
inthe
article.
young
10.
Figure
EvaHesse,
American,
1936-70,
Accession
V,
steel
and
1968;
galvanized
rubber
25.4x25.4
tubing,
x25.4(10x10x10in.).
Wadsworth
Atheneum,
The
Hartford,
Conn.,
LeWitt
Collection
1976:320).
146.
(T.L.
inher
andmotivated
Hesse
art
interview
(S.LeWitt,
by
New
seealsothe
author,
York,
N.Y.,
16,1994;
February
inLippard
between
Hesse
and
LeWitt
correspondence
1992
[note
3],34-35).
Additionally,
Lippard
acknowledged
infacilitating
Hesse's
from
role
Doyle's
progression
painter
tosculptor
(ibid.,
28).
16.
R.E.Krauss,
inModern
York,
(New
Passages
Sculpture
123.
1977),
17.
June
1965
Archive
(Hesse
[note
9],box2,item
Diary
entry,
7).
18.
ofDreams,"
S.Freud,
"The
"On
Interpretation
pt.2,and
inThe
Standard
Edition
Dreams,"
ofthe
Complete
Works
Freud
J.Strachey,
,trans.
Psychological
ofSigmund
vol.5(London,
683.Ina recent
354,
article,
1953-74),
13.
"ofthe
Fer
discussed
Hesse's
asbeing
Briony
sculpture
Hesse
Archive
6.
orreferencing
ofthe
(note
9),box2,item
the
unified
body,"
corporeal
presence
asdistinct
from
in
the
substitution
involved
body,
14.
onBlank:
and
fetishization
EvaHesse
(B.Fer,
"Bordering
Ibid.
Art
Minimalism,"
17,no.3[September
426).
1994]:
History
her
discussion
onthe
theories
ofpsychoanalyst
Basing
15.
Melanie
Fer
Hesse's
that
are
Klein,
proposes
sculptures
ofEvaHesse),
a
Ball(1965;
Estate
more
than
literal
and
declares
that
arenot
Legs
ofa Walking
metaphorical
they
cord
onmasonite
wall-related
and
fetishes
Freudian
asan
relief,
(ibid.,
442),
painted
pasted
discounting
theory
isanexample
ofoneofthese
first
for
work
model
atthe
(424).
experiments. appropriate
sculptural
conceptual
looking
Tom
the
details
ofHesse's
artistic
described
While
I certainly
with
of
the
Doyle
agree
polysemous
aspects
inGermany
and
her
initial
with
Hesse's
abstract
andseea strong
connection
development
experiments
sculptures
three-dimensional
reliefs
interview
Klein's
theories
the
ofHesse's
and
(T.Doyle,
art,
byauthor, between
metaphors
New
Itseems
Hesse's
have
tothe
and
York,
N.Y.,
15,1994).
February
perhaps
sculptures
strong
relationships
body
toaccept
the
word
ofthe
artist's
fetishistic
the
questionable
estranged dohave
implications
underscoring
conceptual
the
whose
ofhimself
asinfluencing
toFreudian
husband,
description
relationship
psychoanalytic
theory.
artist
could
towrite
himself
into
betaken
asanattempt
the
toHesse
ofHesse's
art.
But
hisimportance
history
iscorroborated
who
alsoencouraged
bySolLeWitt,
45
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All use subject to JSTOR Terms and Conditions
11.
Figure
MelBochner,
American,
born
Portrait
1940,
ofEva
Hesse
and
, 1966;
ink,
pen
x19.1
19.1
cm(71/2x71/2
Collection
ofMel
in.).
New
York.
Bochner,
23.
32.
H.H.Charash,
interview
December
12, OnOldenbuig,
seeLippard
telephone
byauthor,
1992
A.C.
(note
3),197;
1996.
"Eva
inEvaHesse
1992
Chave,
Hesse,"
(note
2),114n.11;
M.Berger,
ofLiberation:
TheSculpture
ofEva
"Objects
24.
135n.46.OnKusama,
seeLippard
Hesse,"
ibid.,
129-30,
Thesculpture
Hesse
described
inthis
letter
nolonger
exists, 1992
the
of
(note
3),197.
Doyle
explained
importance
but
the
resembles
that
used
for
the
construction
of
Kusama
toHesse,
that
process
Kusama
lived
inthe
noting
Bowery
Accession
II(E.Hesse
toR.Goldman,
December
14,1964, near
and
heremembers
Hesse's
interest
inthe
latent
them,
with
underlines
asquoted
inLippard
1992
ofKusama's
useofa repetitive
[note eroticism
byHesse,
projecting
phallus
36fig.
3],28-29,
motif
inher
44).
1994
Hesse
[note
sculptures
15]).
(Doyle
sawKusama's
work
exhibited
atthe
Greene
probably
25.
toLippard,
it"constituted
some
ofthe
Gallery;
according
Theliterary
theorist
J.Hillis
Miller
hasnoted
that
such
a
most
memorable
art
inNew
York
inthe
1960s"
early
mode
ofcontinued
a rebuff
tothe
1992
onKusama,
repetition
accomplishes
[note
3],217n.41).Inanarticle
(Lippard
reader
orviewer
ofanartwork:
be
Dana
Friis-Hansen
mentions
that
"Hesse
wasa neighbor
"Repetition
might
defined
asanything
that
tothe
line
totrouble
or
and
constant
noonehascorroborated
that
visitor";
happens
however,
even
confound
itsstraightforward
andKusama's
wassoinvolved
linearity:
returnings, Hesse
(D.Friisrelationship
toand
Kusama's
fro,
Art
& Text
49(1994):
knottings,
recrossings,
crinklings
suspensions, Hansen,
Feminism,"
"Yayoi
fictionalizations
. . .Without
the
line
there
interruptions,
55).
isnorepetition,
but
iswhat
disturbs,
repetition
suspends,
ordestroys
the
ofthe
line
and
with
its
33.
linearity
plays
"Ariadne's
Thread: Lippard
1992
(seeJ.H.Miller,
straightforward
logic"
(note
3),200.
and
the
Narrative
International
Line,"
Repetition
onInterpretation
34.
N.Y.,
[Buffalo,
Colloquium
ofNarrative
and
Toronto,
1994
1976],
157-59.)
(note
15).
Doyle
26.
E.Hesse,
asquoted
inNemser
1975
(note
7),211.
35.
1992
Itisinteresting
that
the
(note
3),200-201.
Lippard
ofLeWitt's
two
isnamed
Eva.LeWitt
younger
daughters
27.
wasinfluenced
inhisart
aswell,
in
byHesse
particularly
1992
drew
this
Wall
#46
not
not
(note
3),104.
Lippard
Lippard
lines,
probably
(Vertical
Drawing
straight,
touching,
definition
from
oneofHesse's
notes
onthis uniformly
with
maximum
the
particular
many
dispersed
density,
covering
series
ofworks.
entire
surface
ofthe
adrawing
that
the
artist
intended
wall),
19.
tocover
onewall
ofa gallery
when
installed
(SolLeWitt
1992
(note
3),188.
Lippard
28.
Itserved
asa memorial
toher,
asitwas
Collection).
This
isapparent
inthe
treatment
ofthe
inthe
month
ofher
death
and
shown
point
gestural
1970)
figure completed
(May
20.
and
the
lateral
of
an
oil
of
soon
inanexhibition
after
that
LeWitt
dedicated
toHesse.
Untitled,
composition
painting
M.Bochner
tothe
December
1992.
author,
16,
1960
Estate
ofEvaHesse;
inEvaHesse
LeWitt
hasremarked
that
variations
inthe
linear
forms
of
(The
reproduced
- asopposed
1992
this
work
tohisusual
reliance
onregular
lines
[note
2],145,
pl.7).
21.
- were
and
forms
influenced
directly
byHesse's
emphasis
the
involved
inthis
Lippard
contemplated
psychology
29.
on
ordered
1994
Hesse's
(LeWitt
[note
15]).
permutations
recurrent
behavior
inwomen's
art:
"The
of
relationship
close
with
remarks
in"Fling,
LeWitt
isalsoconfirmed
Dribble
and
relationship
Life
Drip,"
byher
and
forms
and
a compulsive
binding
wrapping
personality SeeHesse's
sister
66.
1996
27,1970):
(Charash
[note
23]).
(February
does
not
seem
tohave
been
in
specifically
explored
but
it
does
show
often
literature,
psychological
uppeculiarly 30.
36.
inart
Onewonders
whether
Hesse's
cord-bound
bywomen.
1992
ofHesse's
forms
asa point
ofcontrast
tothe
(note
3),21.
Myreading
Lippard
had
their
inanactivity
orina projected
shapes
origins
ofMinimalism's
reductivist
is
masculinity
sculptures
ofthe
finished
work There
isalsothe
image
possibility
influenced
Anna
31.
C.
Chave's
of
Minimalist
by
interpretation
that
such
is
connected
to
the
work
activity
judeo-puritanical
rhetoric
asfocused
on"macho"
such
asbrutality,
commented
onher
attraction
toAndy
Warhol's
in
art
qualities
ethic
inwhich
Hesse
wasraised;
'ifitisn't
itisn't Hesse
difficult,
Nemser
1975
Storr
alsomentioned
this domination,
destruction,
mass,
(note
7),224.Robert
strength,
territory,
authority,
worth
1992
[note
3],217n.33).
doing'"
(Lippard
"Minimalism
and
the
interest
Rhetoric
"Dothe
of
EvaHesse
and andmastery
(A.C.Chave,
(seeR.Storr,
Wrong
Thing:
Arts
the
Abstract
inEvaHesse
1992
Power,"
1990]:
44-63).
Magazine
[January
[note
2],90).
Grotesque,"
22.
described
some
ofHesse's
discussions
with
friends
R.Storr,
"Dothe
EvaHesse
and
the
Abstract Lippard
Wrong
Thing:
about
37.
Warhol
1992
(seeLippard
[note
3],19-20).
inEvaHesse
1992
(note
2),94.
Grotesque,"
A.M.Wagner,
"Another
October
69(summer
Hesse,"
67.Seealsoidem,
Three
Artists
(Three
1994):
Women)
258.
Calif.,
1996),
(Berkeley,
46
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All use subject to JSTOR Terms and Conditions
38.
Inanarticle
tothe
included
exhibition,
relating
Lippard
Hesse
with
Louise
H.C.Westermann,
Bourgeois,
Lindsay
Jean
Bruce
Keith
Frank
Decker,
Linder,
Nauman,
Sonnier,
Lincoln
Alice
DonPotts,
and
Kuehn
Viner,
Adams,
Gary
"Eccentric
Art
International
10
(L.Lippard,
Abstraction,"
andidem,
Eccentric
28,34-40;
[November
1966],
Abstraction
York:
Fischbach
exh.
cat.,
[New
Gallery,
1966]).
39.
1992
(note
3),83.
Lippard
40.
Seenote
38and
L.Lippard,
From
the
Center:
Feminist
onWomen
'sArt
48-49.
York,
(New
1976),
Essays
41.
wasalsostimulated
work
ofFrank
Lincoln
Lippard
bythe
Viner
(ibid.,
70).
42.
70.
Ibid.,
43.
"Eccentric
1966
Abstraction,"
(note
38),28.
Lippard,
Hesse
wasrepresented
in"Eccentric
Abstraction"
bythree
works:
two
ofthe
black,
scatological
papier-machg
pieces
created
after
her
return
from
in
immediately
Germany
1965Several
wall-related
,a shiny
(Saatchi
hanging
and
floor-related
Collection,
,a matte,
London),
Long
Life
- and
atthe
ofthe
artist)
sculpture
(destroyed
request
Metronomic
wood
andSculpII,a painted
Irregularity
metal
wall-related
work
made
for
the
exhibition, 47.
especially
50.
12.
Figure
ofmultiple
interconnected
consisting
parts
bycottonAsquoted
inLippard
1992
S.M.Gilbert
andS.Gubar,
The
Madwoman
inthe
Attic:
(note
3),105.
Film
still
ofEvaHesse
covered
wire
location
(present unknown).
The
Woman
Writer
andthe
Nineteenth-Century
Literary and
Accession
II,
48.
642.
Anna
C.
Haven,
Conn.,
(New
1979),
Imagination
from
Four
Artists:
Robert
44.
Asreproduced
inFour
Artists:
Chave
used
Robert
the
of
Eva
Gilbert
and
Gubar
to
the
Hesse,
Ryman,
writings
critique Ryman,
EvaHesse,
Bruce
Alicia
Ostriker
describes
how
women
must
the
Bruce
usurp
Susan
motifs
and
directed weaving
Hesse's
methods Nauman,
Nauman,
,produced
Rothenberg
underscoring
sculptural
Susan
Rothenberg
masculine
tradition
because
reinforces
male
language
47min.
York:
"Eva
Blackwood
inEvaHesse
1992
(seeA.C.Chave,
Hesse,"
(New
byM.Blackwood,
[note
2],
Levitt
(seenote
48).Dorothy
dominance:
"wemust
alsohave
inour
to'seize
power
videocassette.
Productions,
1987),
108-9).
Beskind,
Photographer.
andmake
itsaywhat
wemean"
(A.Ostriker,
speech'
"The
Thieves
ofLanguage:
Women
Poets
and
Revisionist 49.
51.
Journal
andCulture
in
Signs:
Mythmaking,"
ofWomen
There
issome
about
the
The
Subversive
these
viewers R.Parker,
Stitch:
andthe
controversy
damage
Embroidery
8,no.1[1982]:
69,71).
Society
didtothe
assome
ofthe
work
Feminine
11.
York,
(New
ofthe
1989),
sculpture,
parts
required Making
but
there
areinconsistencies
about
how
much
refurbishment,
45.
conservation
wasnecessary.
andBarrette
both
state
Lippard
A.C.Chave,
"Eva
inEvaHesse
1992
Hesse,"
(note
2),
that
the
work
wasseriously
while
onexhibit
in
damaged
111.
1968
inMilwaukee
and
1993
(seeLippard
[note
2],
Chicago
and
Barrette
1989
Helen
103;
However,
[note
4],140).
46.
ithasbeen
that
the
Cooper
disagrees:
"Although
thought
Hesse's
Helen
Hesse
notes
that
Hesse
was
sister,
Charash,
wasbadly
. . . fewer
than
ten
ofvinyl
piece
damaged
lengths
much
aware
ofthe
women's
movement
ofthe1960s
very
extrusion
were
atthe
end
ofthe
exhibition
[sic]
missing
and
understood
itsimplications
for
her
asanartist
toitspresent
who
the
work
owner,
(according
purchased
1996
(Charash
[note
23]).
from
the
artist
in1969)"
(H.Cooper,
directly
"Chronology,"
inEvaHesse
1992
[note
2],50n.30).
47
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