Eva Hesse and Sol LeWitt formed a close friendship between the late 1950s and Hesse's death in 1970. Read more...
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 profound ways.
Richly documented, this book includes a personal recollection by Lucy R. Lippard, a distinguished American art writer and critic who was a close friend of both artists. Also included are reproductions of 39 postcards LeWitt wrote to Hesse during his international travels, along with a poignant five-page letter that he sent Hesse, attesting to his belief in her talent; a previously unpublished interview from 2001 with LeWitt about his relationship with Hesse; and an illustrated chronology drawing upon interviews, photographs, and primary documents from the time. Shedding new light on the careers and personal lives of Hesse and LeWitt, this publication explores the deep connections between two of the 20th century's most important artists.
Publishers Weekly® Reviews
- Reviewed in: Publishers Weekly, page .
- Review Date: 2014-03-10
- Reviewer: Staff
Historians have made much of the influence of conceptualist Sol Lewitt on artist Eva Hesse, but this book—and its corresponding exhibition—effortlessly proves that this inspiration went both ways. Hesse died in her early 30s of a brain tumor, a loss which devastated her close friend Lewitt. He dedicated his next exhibition to her memory and would, throughout his life, speak of the impression Hesse made on him. The well-researched but dry essays by curator Veronica Roberts and art historian Kirsten Swenson comparing Hesse and Lewitt's artworks are bolstered by critic Lucy Lippard's piece, which provides insight into the personalities of the two artists, as well as her working relationship with them. The supplementary materials provide invaluable historical contextualization as well as opportunity for the reader to participate in the visual analysis of Hesse and Lewitts artworks. Color-plate images of their artworks allow shared themes to come through, while reproductions of letter and postcard correspondence from Lewitt to Hesse give further insight into their friendship. An in-depth chronology with photographs interspersed situates Hesse and Lewitt in the context of their time, while maps of Manhattan featuring the homes and sites of artists and art spaces in the 1960s and 70s will delight any fan of this intriguing period in art. (Mar.)