Eva Hesse: The Jewish Museum/the Drawing Center

By Burton, Johanna | Artforum International, October 2006 | Go to article overview

Eva Hesse: The Jewish Museum/the Drawing Center


Burton, Johanna, Artforum International


Eva Hesse has (quite rightfully) long been established as one of the most significant artists of her generation, and aside from calling attention to, say, less canonical works or emphasizing previously unplumbed historical correspondences, most recent reviews have taken her "excellence" as a given, often focusing not on Hesse's oeuvre itself but on the methodologies used by curators and catalogue writers who take the artist's short, tragic (and thus mythic) career as their subject.

In this respect, "Eva Hesse" has become as much a signifier as a proper name, sparking ongoing debates around the (in)compatibility of formalism and biography; whether Hesse's guarded interests in issues of gender can be called protofeminist; and whether hers are sculptures that refer to painting, paintings that refer to sculpture, or a third variant altogether (Anne Wagner has called Hesse's "an art caught up in a negotional task"). These continue to be vital questions, but attempts to answer them tend to coalesce around stubborn binaries, rarely illuminating the stuff that is Hesse's beautiful, weird work.

A recent pair of exhibitions mounted simultaneously at the Jewish Museum and the Drawing Center provided in abundance what often goes missing in Hesse discourse: the work itself, from early barely-recognizable-as-Hesse to late couldn't-be-anyone-but. The Jewish Museum offered the first major New York museum showing of the artist's sculpture since 1972, while the Drawing Center mounted the only Hesse show in twenty years to focus on drawing. Elisabeth Sussman--cocurator of Hesse's 2002 San Francisco Museum of Modern Art retrospective--cocurated both shows, working alongside Fred Wasserman on the former and Catherine de Zegher on the latter. Sussman, well aware of the binaries applied to Hesse, had been characterized by Pamela M. Lee as mounting in the 2002 show a "medium is all" exhibition that downplayed the artist's oft-rehearsed traumatic history (a life story beginning with a childhood flight from Nazi Germany and culminating in death at thirty-four from a brain tumor). …

The rest of this article is only available to active members of Questia

Sign up now for a free, 1-day trial and receive full access to:

  • Questia's entire collection
  • Automatic bibliography creation
  • More helpful research tools like notes, citations, and highlights
  • Ad-free environment

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

Eva Hesse: The Jewish Museum/the Drawing Center
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.