Eva Hesse: Longing, Belonging and Displacement (New Encounters: Arts, Cultures, Concepts)

Eva Hesse: Longing, Belonging and Displacement (New Encounters: Arts, Cultures, Concepts)

Vanessa Corby

Language: English

Pages: 272

ISBN: 1845115449

Format: PDF / Kindle (mobi) / ePub


Here is an important new examination of the work of American German Jewish artist Eva Hesse, one of the most significant figures in twentieth century art. Using exciting new feminist approaches, and beginning with a close focus on two key works, Corby reveals the way Hesse has been constructed as a ""woman artist"" and reveals the absent legacy of the Holocaust and refugee life in her art practice. Considering creativity and the feminine, trauma and historiography, and providing a fascinating reassessment of Hesse's relationship with her mother and its impact on her work, the book also confirms the importance of drawing practice within Eva Hesse's wider oeuvre.
 
SERIES ANNOUNCEMENT
New Encounters: Arts, Cultures, Concepts
Series Editor: Griselda Pollock
This timely new series, with eminent art historian and cultural analyst Griselda Pollock as series editor, brings together major international commentators and also introduces a new generation of emerging scholars.
Resisting both the rejection of theory and the current displacement of art history in favour of visual culture, New Encounters instead rejuvenate both approaches. Marked out by its critical engagement with and close informed readings of images, texts and cultural events, this series employs new feminist, postcolonial and queer perspectives. New Encounters also showcases exciting new volumes which revisit key figures in twentieth century art through highly original feminist approaches.

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to this research. In New York my continued engagement with Hesse scholarship is also indebted to the kindness and friendship of Dorothy Levitt Beskind and Douglas Johns. I should like to thank Kitty Crone, Tom and Jane Doyle, Sam and Ruth Dunkell, Hannah Hess, Manfred and Gloria Kirchheimer, Victor Moscoso, Elisabeth Sussman and William Smith Wilson for their assistance in the early stages of this research. I should like to thank Alison Rowley for her response to Hesse’s No title, 1960/1961 that

Action and acting are semi-illusory phenomena; they include not only the actor’s hallucinations of mistaken identity but the inherent misapprehensions of their audiences. Harold Rosenberg, The Act and the Actor: Making the Self1 Addendum 1967, (plate 5) was first exhibited in Serial Art at Finch College in November 1967. It is the only sculpture made by Hesse currently in the collection of Tate Modern. On the wall beside it the gallery contextualises the piece with a caption that begins: This

the Jewishness of Hesse’s background does not, therefore, fulfil a desire to read her studio practice as the production of ‘Jewish art’ even though this is a burgeoning territory in art history today.14 I do not want simply to exchange the identity of ‘woman artist’, for another, ‘Jewish artist’, or ‘Jewish woman artist’, or even ‘German-JewishAmerican woman artist.’ As Alice Yaeger Kaplan remarks ‘the way someone says hello, holds a pencil, wears a scarf—tells more about race, class, and gender

remainder of this external energy that is passed on to these deeper layers: By its death, the outer layer has saved all the deeper ones from a similar fate – unless, that is to say, stimuli reach it which are so strong that they break through the protective shield. Protection against stimuli is an almost more important function for the living organism than reception of stimuli. The protective shield is supplied with its own store of energy and must above all endeavour to preserve the special

the geographical attractions of the area, a ‘chain of migration’ began after the first German-Jewish settlers left Germany for economic reasons after the World War One. More often than not these early migrants supplied the affidavits of support necessary to those members of their families who had previously remained in Germany but were now desperate to escape Nazi persecution. Lowenstein tells us that ‘once a core group had been attracted to a neighbourhood, their friends, relatives and former

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