Eva Hesse

Use of abandoned factory materials cloth-covered cordelectrical wiremasonitelatex fiberglass plastics

Eva Hesse: Chain Polymers, Fischbach Gallery, New York NY, 1968

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.

…to get to non-art, non-connotive, non-

anthropomorphic, non-geometric, non-

nothing; everything...It's not the new, it is

what is yet not known, thought, seen,

touched; but really what is not and that is.

Minimalism

Fascination with the temporary/permanentstrechiness/rigidity

Of latex vs fiberglass

Body forms, gender

The estate of Eva Hesse; Hauser & Wirth, Zurich and London

Schema, 1967 – 68

Schema, 1967 – 68

Accretion, 1968, Jewish Museum

Repetition Nineteen III, 1968, Museum of Modern Art, New York

Hang Up, 1966, Acrylic paint on cloth over wood; steel tube 182.9 x 213.4 x 198.1 cm

Untitled or Not Yet, 1966, Net bags, clear polyethylene sheeting, paper, metal weights, and string 180.3 x 39.4 x 21 cm

Ingeminate 1965

tests

No title, 1969, Papier-caché, 26.5 x 28.5 x 6.6 cm

S-105. Fibreglass, polyester resin, plastic, 1968