The answer to that, and to other elemental perplexities of the creative life, is what the artist Sol LeWitt (September 9, 1928–April 8, 2007) offers in a spectacular 1965 letter to the trailblazing sculptor Eva Hesse, whom he had befriended five years earlier.
Oct 27, 2015 · Sol LeWitt’s Advice To Eva Hesse Is What Every Creative Person Needs To Hear. The film, produced by Karen Shapiro, tells the story of Hesse, one of the few women recognized as key to the New York art scene in the 1960s, boasting a schedule of over 20 group exhibitions in 1970 alone. Sadly, Hesse died of a brain tumor that year at the age of 34,
Sol LeWitt’s Advice to Eva Hesse: Don’t Worry About Cool, Make Your Own Uncool. Just two days after Hesse’s death, Sol LeWitt created a new work, Wall Drawing 46, and dedicated it to his friend. It was the first time in LeWitt’s entire career that he made this type of mark. Everything before 1970—his cubes, block sculptures,
Sep 26, 2016 · In 1960, pioneering American artists Sol LeWitt and Eva Hesse met for the first time and became close friends. In 1965, Eva found herself facing a creative block during a period of self-doubt, and
Author: Letters Live
Mar 10, 2009 · Letter From Sol LeWitt to Eva Hesse March 10, 2009 . M and I were talking about this, so he sent me a copy of it. I thought I’d put it here, because it’s good advice: Sol LeWitt’s sage advice to my hero Eva Hessa […] by Mental Floss « When Sheep Go Moo January 21, 2011 at 4:36 pm Reply. That might just be the most
Postcard from Sol LeWitt to Eva Hesse, New York, New York, postmarked May 19, 1967 LeWitt’s dry sense of humor really come through in the postcards he dispatched Hesse from around the globe.
NEW YORK – Craig F. Starr Gallery is pleased to announce the opening of Eva Hesse and Sol LeWitt. The show, which runs from April 12 to May 27, is the first exhibition to examine the close decade-long friendship between Eva Hesse and Sol LeWitt and the crucial impact it had on their art.
Eva Hesse and Sol LeWitt formed a close friendship between the late 1950s and Hesse’s death in 1970. Converging Lines celebrates this friendship and offers an illuminating look at their close-knit New York circle. Whereas previous scholarship has examined LeWitt’s impact on Hesse, this is the first publication to demonstrate that the artists influenced each other’s art and lives in reciprocal and …
Sol LeWitt, Seventeen magazine illustration, September 1954. While Hesse and LeWitt somehow didn’t meet at this early juncture, I made a startling and happy discovery when I examined the September 1954 issue of Seventeen magazine in the Hesse Archives at Oberlin College.
The Sinuous Lines of Influence Between Eva Hesse and Sol LeWitt. The centerpieces of the room are Hesse’s “Accession V” (1968), an open-top metal cube with tubes of black rubber threaded through its holes, like the tentacles of an invasive species covering the walls of a cave, and LeWitt’s “3 x 3 x 3” (1965), a neat and spare, almost antiseptic,
Eva Hesse (January 11, 1936 – May 29, 1970) was a German-born American sculptor known for her pioneering work in materials such as latex, fiberglass, and plastics. Kirsten Swenson, “Converging Lines: Eva Hesse and Sol LeWitt”. Yale University Press, 2014.
Born: January 11, 1936, Hamburg, Germany
Watch Benedict Cumberbatch Channel an Exasperated Sol LeWitt. “DO” is the theme of LeWitt’s letter, from a Minimalist elder to his Post-Minimalist colleague, eight years his junior and tormented with self-doubt, judging by LeWitt’s letter, written to Hesse in 1965, while she was on a residency in Germany.