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but it's the only one I've never done it.
Eva Hesse is one of them the greatest artists of the 20th century.
The idea is to make artwork
that is on the border cannot be controlled.
This is someone who does not only make small-scale jobs,
but someone who is capable makes a very important statement.
HESSE: I have the most openness about my art.
I am willing, really, walk on the edge.
And if I haven't reached it, that's where I want to go.
The sensibility is very beautiful. And you can feel the tension in his voice
when he talks about his work.
HESSE: I'm very close,
then change,
destroy.
I am not confident...
Today's paintings aren't good...
To be able to complete one and survive.
This is me.
This is what I want to say.
Eva's life and her art must join.
He is not just manipulating material,
he is the material.
Everything falls on one point for it.
And he ran with it.
HESSE: One day, will all fit together,
and I feel capable are there and ready.
That will all be useful for what I get from it.
(JAZZ MUSIC PLAY)
HESSE: I'm not a writer.
Or, may you say,
must be pretentious to write down my thoughts.
Autobiographical Sketch of a Meaningless Person.
This is a story about who, from outside,
reveals a rather beautiful picture.
Beautiful face,
beautiful body,
beautiful dresses.
However, the person doesn't feel beautiful inside.
I feel, for the majority of my life,
different, alone, and separate from the others.
To complicate some problems,
for the past years I have shown and developed talent as a painter,
good, at that time.
Is that in my feelings isolated and different
can I claim title of painter?
What I received as the answer
that the true artist is also paradoxically
correct personal mismatch.
Eva must be my father's favorite.
Not because...
Just because he, I think, feels that he is more vulnerable.
I am older and I understand better.
But I think that he is very alkaline.
Strong Eva.
There are times when he feels helpless.
But he has courage directly from the beginning.
HESSE: When I was 16 years old, I went to the Pratt Institute.
And I don't like it at all.
When you start painting classes,
you have to do lemon still life.
And then, you pass lemon and bread are still alive.
And then, you pass to a lime, bread, and the egg is still alive.
This is not my idea of painting.
I wait until I get As instead of Cs,
and say I stopped.
I have to know that it's not because I didn't do it well.
So, I have to go home.
As soon as I get there, my stepmother says, "Find a job."
So where do you go on 16-and-a-half,
know very little and have an interest in art?
I take it myself Seventeen Magazine.
And for some strange reason,
they hire me.
I think that's just because from bile comes there.
He has experience working in women's magazines
and he said it was made a big difference for him,
that it gives him confidence.
And he got some of his work out into the world.
HESSE: I take mid-year tests for Cooper Union,
and that's the only plan I made.
I have to make it.
I entered.
And next September, I went to Cooper Union,
that I love from the beginning.
Eva is certainly aware that she wants to be an artist.
But my father can't accept that.
WILLIAM HESSE: Dear Evachen,
You are always very successful in everything you do.
But painting and learning is a fun job.
To stand on your feet,
You have to do the things you feel today is not so fun.
And if someone has a job or earn a living,
This is something that also gives satisfaction.
HESSE: Dad, I want to do it more than just being,
to live happily and satisfied with home, children,
to do the same job every day.
I am an artist.
I want to experience it what life is offered.
And I have to do this for myself.
ROSIE GOLDMAN: I met Eva when she was 17 years old.
What fascinated me the most
is his hand.
He speaks with his hand.
All vitality in him comes through his hands.
We spend a lot of money the amount of time together.
And that happens very close friendship.
HESSE: Dear Rosie,
I dream that you and I collaborate in a book
Where we talk about our entire past,
very honest, nothing is hidden.
All parts.
GOLDMAN: He lives on Jane Street.
He has a small room with a giant bed.
He is very comfortable in this matter
box, almost, a room.
As long as he can do his art, it doesn't matter.
SYLVIA: We both Go to Cooper Union and Yale.
I am two years younger than him
so I watch him.
I have this feeling he is someone who must be watched.
He is very smart,
articulate and beautiful people
who needs someone to listen to it
so he can finish it and work.
He goes to Yale and learns to paint,
famous for, most famous with Josef Albers.
HESSE: I am Albers' small color researcher.
Everyone always calls me like that.
And every time he walks into class,
he will ask, "What is Eva doing?"
The last two years may be two of the most important,
with the biggest changes deep inside me.
I have become a painter.
SUSSMAN: He finished art school in the late 50s
and he went from Yale to New York in 1960.
Kennedy was elected.
This is really dawn of a new age.
(UPBEAT MUSIC PLAYING)
HESSE: I have moved very fast.
I feel very alive.
I am almost too anxious for every moment and every future moment.
Being an artist in New York City in the 60s was really beautiful.
That's a great time.
In almost all aspects of work
and music, literature, poetry,
but especially in painting,
everything is open.
There is a feeling like that we recreate the painting.
HESSE: I will leave limits and restrictions imposed on myself.
I will expose me superficial dishonesty.
I will paint every rule.
And you have to understand that time,
there is no art world.
There are people who make jobs
for themselves and for each other.
And there are no products.
Commodification does not occur.
The art world hasn't been taken over by the collector.
Nobody thinks about how much money they will make.
It all dedicates your life to your work.
And I know Eva also feels that.
HESSE: Only paintings that can now see me passing by.
It really depends on each other with all of me.
This is what I found that I can express myself.
SOL LEWITT: He came to New York and I met him.
He just came out of Yale.
Eva is very beautiful and cute,
very lively and hip, and know a lot of people _ because they are at Yale.
I realized that he had something extraordinary about his work.
HESSE: I started selling and showed my work,
in that order.
One gives me confidence to move on to another.
International Watercolor Show at the Brooklyn Museum
and 3 young Americans,
my show last night.
This is the beginning of the full in the middle of the art world.
I've been with Tom Doyle the last three days.
I am very happy.
There is a party held in where my friend is.
And I'm fighting.
This person is making out with my girlfriend,
so I hit it.
Eva is at the party
and he took me to the kitchen
and wash my face,
and he is very good for me, you know.
And that the first time I met him.
HESSE: Tom a beautiful human
and I enjoy all aspects.
It's real, life and beautiful romance.
Tom is an extraordinary, lively, poetic, funny Irish drunk at the time.
GOLDMAN: Yes warns him,
that he comes from a very wild person,
Really not good for him.
But he gave him something that he needed.
HESSE: I feel he is really with me
and I am with him.
I have never felt this before.
That summer, Eva and Tom invited me to go to
George Segal Ranch.
DOYLE: All this young artists will come
From New York to do this carnival.
And there will be a statue dance.
I made a statue like a fighter.
And Eva, that's it the first statue, really,
is very, sort of, formless.
Two people enter and dance.
And all these statues dance.
GOLDMAN: They are also happening.
It's a live theater
without any script.
HONIG: There is a dancer, Yvonne Rainer,
who is dancing on the roof of the warehouse.
SERRA: Artists interact many dancers at that time.
We think there are more ideas generated in dance
from those produced by sculptors or painters.
HONIG: Eva has made a tube
made of cloth that people are to stretch.
That's fun.
That is an artist who is playing and having fun.
HESSE: Everything is fine.
It's been a wonderful week.
I like Tom again every day.
DOYLE: His father said, "I don't want you to marry anyone but a Jew." So I repent.
I became a Jew. I mean, I go to shul, I do all numbers.
CHARASH: You know, they are not interested in any religion.
But for my father,
and because of our German background,
he joined with that and Tom participated.
DOYLE: Two or three of my friends have never been Bar Mitzvah-ed,
so we have a Bar Mitzvah. We play Notes Belle Barth, you know. (LAUGH)
And give each other a pen,
the whole stick.
Tom is a good and interesting sculptor, just come to his adult job
and Eva is clearly a good artist.
But nothing is unique there, not yet.
But he is very ambitious
and full of young art energy.
DOYLE: We got attic on 19th and 5th Avenue.
That's a great attic. It's half a long block.
We rent some of that for Ethelyn Honig.
HONIG: One of the mornings I arrived,
I told them about that fact that I just saw
a big exhibition in Sidney Janis Gallery.
It's called Pop Art.
And I said, "I think you have to go there
" and look and see what happens.
"It will never be the same again."
LIPPARD: Pop art, of course, explodes into the scene
and that's a big problem.
Pop art is a kind of game changer.
SUSSMAN: Discussion that appears afterwards
people for and against are full of passion.
And of course, Eva always goes to the museum
and know exactly what is happening.
And I have a feeling
that he might be over Tom.
WAPNER: He does not have the truth received.
And he checks and doubts
and, um,
thinking about things.
HESSE: Should I force me prejudice about painting?
And for what level do I have to follow what happened to the canvas at this time?
BARBARA BROWN: When he was born painting, he was very blocked.
But the collage was originally
extraordinary. I mean, he can draw like nothing.
Every time he draws something, it is very beautiful.
HESSE: For me, painting has become that, making art,
painting a painting.
History, too many traditions there.
I want to be surprised.
I will continue to draw,
encourage their individuality,
even though they fight every major trend.
Damn it.
So do everyone I admire.
DOYLE: Eva works in a jewelry save on Bleecker Street
and I got a job teaching in New School.
And that's one of them two jobs I have,
and that's how we live with it.
And then what happens is Arnold Rudlinger,
director Kunstverein,
and a group of German collectors
see my stone carvings.
Rudlinger will do it give me a show in Basel.
He said, "How do you move these things?"
I said, "You have to do it build a box and a lala..."
And Scheidt said, "Look, we have very many stones like that.
" Why don't you come Germany and, you know,
"you can make a statue in Germany and we will send it to Switzerland, you know?"
And I said, "Yes, I will."
Eva is a bit scared about going there, you know,
because what happened... has happened to his family.
HESSE: I sit here now panic and cry.
The pressure to go weighs on me.
I said, "Look, this is a good time to get out of New York."
Pop art is a big thing, now.
We will let it subside.
And Scheidt will give me salary and everything, you know.
We don't need to work.
You know, we will only work on our work.
HONIG: I remember he said that he was scared
to return to this place
where he suffered greatly.
CHARASH: But Sol LeWitt, close friend, close confidant,
push it, say it he will be well served
to get out New York art scene.
He will be able to work in a much freer way.
HESSE: Dear Mr. Scheidt,
I've started making it preparation for our trip,
so everything becomes very real to us.
That is Tom's chance.
That Tom first was asked to go to Germany.
That is very difficult for him.
But Eva doesn't allow it an opportunity to pass.
Eva is a risk taker.
Even though Eva is a little more than a wife at the time,
but all that will change.
(WHOOSHING TURBINES)
(SPEAKING GERMANY)
SUSSMAN: Tom and Eva arrange in Kettwig,
this city has these textile factories
who have been in the family Arnard Scheidt for hundreds of years.
Where Eva and Tom live are there,
that is called...
(SPEAKING GERMANY)
But the part where they work
it's already...
JOHANN: That has been closed.
HESSE: Our studio,
upstairs with skylights and windows every two feet.
I sit and hope I will work a few.
I might have to do it believe me more
before work means something to me.
GABRIELE: First time that I saw Eva,
he gives me very warm feeling,
feeling welcomed.
I am five years old,
and he invited me to come to the workshop.
He wants show me how to paint.
And of course, we play a lot in the pool.
(CHILDREN LAUGHING)
You have this playing water ball,
and us... (CHUCKLES) jump to the pool.
That's amazing.
He painted for my other brother, Karl,
image called Waterball Play.
I think he also likes it,
with us and just playing.
So I have very bright shows,
but I also have, um, some memories at the end of the year.
There is something in him which one, um...
traurig, sad.
I think it's hard for him, are in this country.
HESSE: June 13, 1964 Our sixth day here at Kettwig.
Yesterday I had some melancholy.
I develop more troubled thoughts and feelings.
I was born in Germany, in 1936.
(INFANT TALKING)
My family from Hamburg, Germany, northern Germany.
That's where I was born and that's where Eva was born.
HESSE: My father used to be a criminal lawyer.
He just finished his two doctoral degrees and I have the most beautiful mothers in the world.
He saw like Ingrid Bergman.
He studied art in Hamburg.
CHARASH: My father keeps Tageb cher about my life and Eva's life.
This is really a journal.
WILLIAM: Hope this book is from your childhood being a guide in the next life.
Inside, you will realize how you grow up.
All this may be lost, my beloved child,
because there is nothing that supports us more
in the difficulties of our lives
from our childhood review.
When Helen was born, freedom and truth
it's gone from Germany.
It's been five months that Hitler went berserk.
German Jewish life changes very fast.
When the Nazis arrived came to power in January, 1933,
there are so many flaws.
People get hurt.
They can't work in their profession anymore.
It is forbidden to work as a Jewish lawyer called.
WILLIAM: I lost my profession on April 24, 1933.
And then there are more difficult years.
(Crowd Chanting)
After November 10,
when all synagogues have been destroyed,
all Jewish businesses are destroyed,
almost all men have been arrested,
and the most terrible cruelty of all kinds
has been done to Jews throughout Germany.
One try from abroad, at least, to save children as quickly as possible.
On December 7th,
Helen and Eva leave for the Netherlands with the transportation of children.
Will there be a reunion?
Will we be killed first?
We are not permitted on the platform.
Helen and Eva hold hands and line up to the train,
accompanied by certified criminals as customs officials and Gestapo.
(SINGLE CHILDREN IN GERMANY)
CHARASH: Eva is under three years old, and I am five and a half years old.
(CHILDREN CONTINUE LION)
HESSE: We go to the Netherlands.
We should be picked up by my father's brother and his wife,
but they are not allowed to do it.
We were put in home of Catholic children.
CHARASH: I remember Eva
have been toilet trained at home,
but he must have retreated with all that happened and they hit him.
He fell ill around the time of his birthday,
and he is quarantined, so they don't let me see it.
WILLIAM: At the beginning of February,
Ruth and I were also saved.
We come to the Netherlands and pick up the children.
HESSE: My father's sister and his wife
ends in a concentration camp.
And all my grandfathers and everyone.
Nothing works.
But we succeeded.
We go to America through one of my father's cousins.
It's finally summer, 1939.
That's very, very late.
That is the last chance.
July 21, 1964.
Rosie dear, slow week.
Do not push at all.
Bringing it is easy.
I don't know what means to really investigate the past,
family and such.
I have to be too scared.
The first two weeks here, I experienced a terrible nightmare.
A frightening dream.
Big party.
(JAZZ PLAYING)
Hundreds of people.
(CHATTER INDISTINCT)
Official.
(GLASS GLASS)
Tom is very drunk.
I heard someone tell him, "Bring your beautiful wife home."
He took me outside, ran with me, fast.
(FOOTSTEPS RUNNING)
hurt me.
We go higher and higher through the sky.
There is a French Legion parade below us.
Officers out, and with long sword swords
cut off his head from all legionnaires.
I have to control Tom. (ROARS)
The officer then arrested us and threw us into solitary confinement.
We have swords holding a few inches,
I, by my screaming head.
I can no longer control myself, but be warned to behave.
(TRAIN CHUGGING)
They say that if I am not a child,
they will kill me.
Friday.
Initially, I felt different.
But again, I go with myself.
Start working on oil paint today.
Are two small, very expressionistic paintings.
Feel a bit enthusiastic, because I enjoy them and they look real to me.
Somehow, I think it's important.
I am still not functioning properly, as I know in my mind it should.
Tom can also find working hard.
Not so, because he knows what he is doing, what he wants to achieve.
When will he speak about his job,
he will talk about it enough self-deprecating term.
He will say, "You know, I am thinking of new things."
And I think, that's a funny thing to say.
You will never say it Face to face Tom.
He is still not sure.
Tom is sure.
WERNER NEKES: I met Eva and Tom Doyle
during Short Film Days, short film film in Oberhausen,
and I remember that Eva likes specifically
a Japanese film by Yoji Kuri, Aos.
(SUARAKAN)
(SUARA LAGI)
Eva takes the boxes as a scene in some of her paintings later.
(GASPING)
Eva is ready all the time
to take all the conclusions he saw
and work on them to find their own way.
(CHATTER INDISTINCT)
Within 15 months Eva Hesse is in Germany,
there happens a lot.
Together with Tom Doyle,
he goes to every important museum throughout Europe.
They are in London, in Paris, in Rome.
HESSE: Brussels. Go to the museum.
Bruegel and Bosch, Alechinsky, Matsys, Calder, Moore, Chillida, Davie, Noguchi.
PETZINGER: He is someone...
whose eyes are open, open, open.
And he needs food for his eyes.
LEWITT: Tom and Eva Doyle, Kettwig.
Have a nice trip. Now back to work.
All sculptures are objects one type or another.
Don't fight it. Go, go.
Sol.
DOYLE: We work on each item.
I mean, he helped me when I painted my statue.
And I help him, you know, as much... I build frames, I build everything, you know.
Our personal life is not so great,
but our work life is very good.
Unless I drink a little too much, then,
you know. I drink a lot.
That's not very good.
HESSE: Saturday, October 3.
Tom makes someone faint.
Tom is worse than before,
and I cry and suffer all night.
Dear Rosie, My anger at Tom increases.
This breaks at the breaking point.
At parties, he is annoying.
She goes from woman to woman, dips it to the ground.
They like it.
I'm not proud, but I... That's how I am, you know?
And that's how everyone, do you know? It's like...
That's like...
That's why you are an artist, You know, you are... (CHUCKLES)
HESSE: Recently got out of hand.
You will be worried about this.
He kissed them.
Sounds weird to write this.
But Rosie, my self-esteem was there watching.
It hurts.
He sort of backed up, you know, and, uh...
he never really came out opposed it but you know,
he is very hurt because of it, I think.
CHARASH: Eva writes...
he always says that his art is interesting.
Personally, I think he's messy,
and professionally, he forced himself to continue.
HESSE: Thursday, November 19.
I have reversed the new leaf.
I will try another way.
Making pictures for children on Saturdays.
They are colorful. Red, blue, yellow, green.
In the box, respectively alphabetical letter.
This makes me go again
because they are different,
enough to make me wonder where I'm going,
and are there any ideas, or too many different?
LIPPARD: I think maybe that relationship is bad at a certain level
may have something to do with that. You know, that's a terrible fact
of lots of creativity, when you are not happy, you often do a better job.
But, he's really
don't depend on it more,
I think, and really branch out and do his own business.
HESSE: Rosie dear, I want explain what I've done.
In the abandoned factory where we work, there is a lot of garbage around here.
I have, all this month, see more garbage.
I finally started using some of that.
I'm working on masonite.
About this, I build forms with glue and paper.
In some forms, I have installed the umbilical cord.
That's when he did Ringaround Arosie.
Because I was pregnant with Joseph.
HESSE: Yesterday and today
I work on three dimensional tools.
Not finished, but this is strange.
I just don't know.
Old story. Defeatist.
Can't wait.
Or not sure what I want.
April 2, 1965 Dear Sol, this is for you I want to talk about what is on my mind.
I am confident I am not enough to come through with one idea.
So I fluctuate between working in confusion,
or not working in confusion.
When it doesn't really work,
I still struggle with those ideas.
LEWITT: April 14, 1965.
Eva dear, you look the same as usual.
And being yourself, hate every minute.
Don't!
Learn to say "fuck you" to the world occasionally. You have the right to that.
HESSE: I didn't find anything that I did gave me feeling that this was true.
Frustration and constant failure.
LEWITT: Stop thinking, worry, look back,
wonder, doubt, fear, hurt, hope for some easy, struggling,
exit grasping, confusing, nagging, moaning, groaning, horse defecation, urine-trickling,
nose sticking, eye-piercing ball, ass-gouging, searching, perching,
grinding, besmirching, grinding, grinding, yourself.
Just stop and do it.
HESSE: I have finished drawing.
Looks like hundreds.
Clean, clean... But crazy, like a machine.
Bigger and bolder, carefully explained.
Absolutely absurd.
LEWITT: Sounds good, amazing. It really doesn't make sense.
Do more. More absurd, more crazy, more machines.
Make them abundant with nonsense.
HESSE: One must be satisfied with the process
and the results.
I don't.
LEWITT: Stop worrying about big and deep things.
You have to practice being stupid, stupid, not thinking, empty.
Then you will be able to do it.
HESSE: I sit now after two days
working on stupid things, three-dimensional ones.
And I have to continue, but I don't know where I come from.
So I give up again.
LEWITT: Your work is very good.
Try doing a bad job, the worst for you can think about, and see what happens.
But especially, just relax and lei all go to hell.
You are not responsible for the world.
You are only responsible for your work.
So do it.
HESSE: April 23.
Work all afternoon.
Finish the Ear in the Pool.
Dear Sol, I want to thank for your letter.
I finish one more.
They are good.
I'm working on the third.
Many difficulties, but at least I encourage, and I will.
I swear.
NEKES: That's really new,
leave the frame and become part of the image.
Some artists work out of the frame,
but almost nothing is very radical like Eva.
SEROTA: This doesn't work like that
you've ever seen before.
They are made for themselves, they are not made for hearings.
They are made in the same way as...
the diary is created, or the notebook is made.
He is browsing.
Do you know? I mean, you see it at work.
You see him trying different combinations.
My parents love it the work of Eva and Tom.
And they want to show it.
They think, "Well, let's party together
" and show people what Eva and Tom have done this year here at Kettwig. "
That really is an event.
Oxenfest, as we call it, like a group of cows,
and where an intact cow is located uses saliva and then roasts.
NEXT: This is a big exhibition.
in a small garden house.
But people are interested in their work.
HESSE: The program is going well.
I sell two.
I will also show August 6, in the room in Kunsthalle, D sseldorf chart.
PETZINGER: He came to Germany as a painter.
Being in the world of new influences
helps him create his new art universe,
that's the point there's no way back, huh?
Now he is a sculptor.
(CHATTER INDISTINCT)
CHARASH: Eva is in Germany almost a full year
before he goes to find the background.
My father has providing information,
name and address, and he looks for them.
(TRAIN CHUGGING)
He went to Hameln, where my mother was born.
HESSE: We took the train to Hameln, immediately find a house.
Very strange.
Mrs. Wolfe, neighbor, two mother's school friends.
Visit all workers, ex, my grandfather.
It's a strange experience, like a secret mission,
a new generation looking for the past.
I, don't know anything my family, my grandparents.
Depart to Hamburg.
Go to Isestrasse.
Crying.
CHARASH: He went to that place where we live,
and rejected by someone at the door,
which is very hard for him.
JOHANN: To not let it in, let him see his house,
I think it's terrible.
So that only retrospectively can I lead to understand how very difficult
definitely for him to face his past again.
HESSE: Dear Sol, just returned from H and H.
Visiting where I was born in Hamburg,
in Hameln, my mother's house.
The scene is enough to try.
Tears all around,
and talk a lot about that time
when no one knows what is happening.
I am a ghost from the past.
Their guilt and everything just flows out.
At times and better actions.
(SEAGULLS SCREECHING)
Yes, Sol, we go home.
(TRAFFIC BUSTLING)
Travel to Germany, with everything danger, empower.
I think he is back very, very satisfied
that he really has gone.
HESSE: September 30. Almost one complete in the US
Dear Arnhard, Say Isa,
we work hard and are also very busy socially.
Years in Kettwig, Arnhard dear, more,
more than a few help us both.
The work we are doing now shows how much we are growing
and developed because of the beautiful years you gave us.
LIPPARD: When Eva goes to Germany,
he is sort of expressionist post-abstract.
When he returns, he is a funny type of surrealist.
Work in Germany clearly has released him.
And then he returns, and I think at that time
he fell a little down minimalist influence.
I don't think anyone discourages him
of strange little things he does in Germany,
but the art world is running in a different direction
and he intuitively takes it.
When a minimalist comes,
there is a whole new world.
You know, there are no curves, no color, nothing. Presence only.
That's a lot about attendance.
People say, "You're minimalist. What does that mean?"
And I said I had to get rid of it from a lot of useless garbage
and immediately go down to some important things.
I think minimalism comes out abstract expressionism.
This is softened , uh, brush strokes.
At the same time, is another tradition,
people whose jobs are more personal and more intense,
and maybe more surreal.
Eva, of course, is a transitional, from minimalist,
his friends are all minimalist, but he is very personal.
There are lots of eroticism in his work.
It is very warm and humane and full of soul.
HESSE: I feel very strong that is the only art
is the artist's art itself.
My interest is solely find my own way.
I don't mind miles from other people.
He talks a lot about _ eccentricity and absurdity,
certain absurdities, that life is absurd,
his current life doesn't make sense,
and he wants it to get it into work.
HOLT: I only remember that wall
where he has all of that different pieces depend.
I saw him rearrange one of them long pieces of sausage.
And he is rather tall in that silliness.
The life is so full synchronous oddity,
and there is a feeling that, is good, we are not in control.
The universe pulls ropes
and you might also back and enjoy it.
LIPPARD: I look back at that period with Eva's work and think,
"Oh, that is an introduction to feminist art."
HESSE: Of course I am an adult in myself.
I think my hang-up now is almost all related to Tom.
DOYLE: We have two lofts in Bowery.
We live in 134
and my studio is at 135 Bowery, right across the street.
I will... I have worked all the time.
(JAZZ MUSIC PLAY)
(TRAFFIC SPREAD)
HESSE: Now at 12:30 a.m.
I am alone, Tom never with me again.
Walking as usual and running to and fro.
He goes to openings and parties.
But those things he didn't come with me.
DOYLE: He is very difficult, You know, in many ways.
I'm not the only bad person about everything.
It feels like he is very high maintenance, you know?
Christmas comes and I buy this beautiful pipe.
And I go home and Eva says,
"How much is the price?" I said, "35 dollars."
He said, "Get out."
And that's the words I'm waiting and I'm leaving.
HESSE: Everything ends.
Tom is missing.
He wants a divorce.
I mess everything up. Request.
He is indifferent.
I am tired and feel tired again and used and utilized.
That is Eva who is childish,
one that is haunted by the isolation of the past and its loneliness.
What was left by by his sick mother
and therefore cannot have been done otherwise.
CHARASH: That's difficult.
My mother is what we call it bipolar today.
HESSE: My mother is there, but not there.
There, but not there.
CHARASH: My mother is very when it's hard to adapt.
And then it appears on the head at a certain point,
and then he felt like that could no longer take care of us and he left.
HESSE: I was moved from house to house,
and used to be afraid.
CHARASH: That is the end of the war.
And so far, my father has been trying to get
my mother's parents out of Germany.
But that all has no results.
And when my mother gets notifications
that his parents were taken to concentration camps and they have died,
uh, he jumped from the roof.
My father didn't tell us.
It's in the paper,
and children teased my sister at school,
and he refused to go to school.
HESSE: I have extraordinary fears, extraordinary fear.
I told my father to slip my blanket tight into my bed,
who has bars at the bottom, which I will hold at night.
And he must tell me
that he will be there to take Care for me in the morning.
CHARASH: Eva is ten years old my mother died, to be exact.
That's exactly around the time of his birthday.
And that's why January is the worst month of the year for him.
Eva continued to get upset years after my mother died.
And at the urging of my stepmother, they are looking for therapists and Eva start to see Dr. Helene Papanek.
HESSE: Please, Dr. Papanek.
You must help me.
Or maybe soon I will be with my mother.
I will talk to you. I will tell you all.
I hope I can.
SUSSMAN: He suffered greatly from his situation childhood,
and this therapy is very important to him.
HESSE: I can't hold solitude,
because it shows neglect.
CHOCOLATE: He is not happy with Tom,
and he is not happy without him.
But then, he works a lot
and that
cover up his unhappiness.
HESSE: All of my bets are in my work.
I have given up on other things.
I feel I'm an artist,
and one of the best.
I do it, inside.
GOLDMAN: The strength of its purpose
more important than what is happening occurs in his life.
HESSE: Finish two pieces today.
I work hard.
GOLDMAN: He crawls on the floor sometimes,
because of Tom's business,
and art still continues.
HESSE: Dear Isa, Arnhard dear.
The last months have been very difficult.
How sad things happen.
Tom and I are separated.
At the same time, very many occur for both of us in our work.
We both have an exhibition opening the same night, March 1.
I go there to the Graham Gallery when he first shows,
because I really want it to see what he is doing.
And I'm just stunned.
He does this great job, Phone Cover.
That's like, very brave.
I mean it's like a jump for work.
And that's an extraordinary one the statues of that time.
I mean it can't be trusted.
That's not a painting.
It's not a statue.
That's just art.
HESSE: Hang Up is the most important the initial statement I made.
This is the first time my idea of absurdity,
extreme feelings come through.
He uses sheets
from my house.
He said, "Rosie, do you have every sheet I can use?
" Preferably blue. "
I say," Sure, take the sheets. "
= and there is such a thing sage-like, spiritual feeling
someone who uses space like that.
And I always... every time I see it, I say, "Ooh, that's my sheet."
= (LAUGH)
HESSE: It's all ridiculous.
That's the most ridiculous structure I've ever made,
and that's why it's so good.
CHARASH: My father came to the gallery.
He looks very assertive and is very unhappy.
Knowing my father, he must be proud Eva is at an exhibition.
But I think he is fair confused with art
and don't understand it.
I am very crazy about Eva.
And I have learned that a lot of men fall in love with Eva.
He is very full of feelings.
I'm not sure how orthodox or practicing Eva's family is,
but the Jewishness is clear.
This is spirituality
and I think it expresses itself in Eva's art.
HONIG: He is making this circle on the grid.
And I gave him this paper which is clay-based,
and he likes it, because it is soaked ink in certain ways.
They are very beautiful and I never forget.
They say something to me that I want in my work.
HESSE: Weather varies from 103 to 107 degrees Fahrenheit.
Sol and I go to Modern and film.
WAPNER: There is a very strong relationship between Sol and Eva.
They have a lot in common
and really care about each other.
And he told me that,
"It would be great if I could love Sol and if we could be together."
HESSE: Days gone with the most unbearable heat.
I am afraid to give way.
Without Sol, I will do it.
BROWN: He adores and never gets tired
from pampering him and being kind to him
and become inspiration.
ANDRE: Eva is love Sol LeWitt's life.
And Eva loves Sol.
I once asked Eva, I said,
"You know, Sol is a great guy.
"He's a great artist and he loves you and you love him.
" Why don't you ever gather? "
And he said, " You don't go to bed with your brother, "
which to me is very touching.
And I understand, You know what that means.
HESSE: I am numb.
Daddy is dead.
CHARASH: My father is in Europe.
He falls sick and dies.
It was a nightmare for both of us.
HESSE: Sol and I walk New City York today.
There is nothing I can do.
CHARASH: Eva is very bad with my father's death,
only completely destroyed.
And I think they are true love relationships at that time.
That's the Evachen.
HESSE: I stand up at my father's funeral.
I'm big inside,
not a child who is fearful and helpless.
I love my father.
That shows.
Father...
Your books that you make for me are my thoughts about you.
I want you to know about shows and articles.
You must be very happy
and proud and less afraid of me.
We are always too scared, you and me.
We even share that.
WILLIAM: Please, always aware, dear Evachen,
You will never be alone.
Don't forget, I love you so much.
And if you are strong enough to make me very happy,
please try to be happy.
Father.
HESSE: I now have to work harder be strong, get well.
Yes, be happy.
Start working.
Difficult.
But I know how important is now to me,
and it's almost alone can again make me stand tall.
Finish Laocoon.
Rope everywhere.
BROWN: He uses this word "make it" all the time.
He is very obsessed with making it.
HESSE: Lucy wants me to do it a big piece for the show.
Whatever I want to do.
I am happy.
LIPPARD: I'm doing a show called Eccentric Abstraction.
And I think about it in some ways as a type of vehicle for Eva's work.
I am looking for something it is not a minimalist that is cold and hard.
I only want the others.
And I realized then that was something feminist or female.
I want to see this hard network mess up a little
and confused, and Eva certainly do that.
PETZINGER: In the exhibition Eccentric Abstraction,
Eva shows Metronomic aberrations.
And there is a big surprise.
That's the minimalist type.
You have that rectangle, the system is organized.
You have a mess of those cables.
And this contradiction is a very important thing in his work.
SUSSMAN: He can learn
all lessons from minimalism,
however, take it to its own area,
where the issue of absurdity and humor
and roughness of entry.
LIPPARD: The show gets a certain amount of attention
and Hilton Kramer wrote about in the New York Times.
WAPNER: When the Times reviews it,
it gives more space
for men in shows
and he is upset
and feel discriminated against.
He feels he deserves it more space
and more attention.
And I think that's accurate assessment.
HESSE: I'm reading
Simone de Beauvoir Second Sex.
I always feel that all women oppose it.
Simone agrees.
"Extraordinary power is needed, and courage. Men get more encouragement and get more support.
HOLT: Women Are not even seen, so you are not seen.
Eva does this amazing job it breaks some barriers,
and I can see cracks happening in a male-dominated system.
The belief is simple.
I am an artist.
And I would like to be known as an artist.
Every time they try to make it female artist, he is very angry.
HESSE: How to beat discrimination in art is with art.
Advantages of not having sex.
December 23, 1966.
This is the right ending for the weird again,
confusing, sad...
and a rather productive year.
Good neglect.
And Father's death.
And now, for work and other changes.
(CHATTER INDISTINCT)
HESSE: January 1, 1967 I work well and are eager to continue.
It might even be ready for the first one-man show next fall.
Tonight we meet at Smithson's.
midnight. This will be his 28th birthday.
SMITHSON: We become part of a particular community that is around there.
Sol Lewitt of course is very important for that.
HOLT: We hang out with and Graham, Mel Bochner and
Eva and Sol, and Carl Andre.
Go to each studio.
People feel their way,
like nothing is clear, not yet.
That's all in formation.
So having an conversation and exchange,
at that time was very strong.
What is it like?
I mean, you have to define yourself better than that.
You can't say words.
You have to be really right.
Oh, words don't mean anything. Those words...
Everything really happened in New York.
This is Max time Kansas City and all this
the artist still drinks hard,
nightlife sort of person.
HESSE: We went to Max's Kansas City.
Carl, Andre, and Mel have heated up discussions until closing.
AND GRAHAM: I think intellectually, he is quite brilliant
and underestimated by all minimal art friends.
He is very, very ambitious
so he sees everyone's work.
Even though the artist is minimal, is quite satisfied with himself
that they have the answer.
LEWITT: He is very involved with specific media he is working on.
A beautiful thing from the 60s,
is, uh, Canal Street technology.
And so, that means, he entered into that.
(CAR HONKING)
HOLT: Canal Street is just a magical country.
I like walking up and down Canal Street, seeing all the material.
And often the material will lead you to an idea.
HONIG: It's like, shopping at Tiffany,
except that Tiffany has small rubber objects
and you don't know what they are.
ROBERT: There is a rubber shop.
There are shops that sell old shells.
Everything is there.
That's part of being in Lower Manhattan.
I mean, Lower Manhattan is great.
Trucks are passing by, all the time and,
it's very beautiful,
stimulates things that happen there
which affects us all, you know?
You know the closest to you
for me, now, is Home Depot. (laughs)
You know, I went in there and it was like, "Oh, look at all this."
But it's not Canal Street. No, that's not true. It is not that.
HESSE: Spend the morning, shop on Canal Street.
Sol joins me. Must spend $ 20 to $ 30.
HESSE: Friday, Canal Street.
Take a magnet, try a washing machine. Two cables and weights.
LEWITT: He said that he wanted to make it work bad luck.
Not yucky, but bad luck.
He must do it something with that,
eh, make him feel good to him.
GRAHAM: Eva deals with material, which is demeaned.
They are industrial materials,
that is waste material.
I think Eva has just an attraction, maybe with
the type of trash culture You can find it in New York.
LEWITT: But, I mean, he took all of this
and make it very complete,
uh, his own lost property all their low quality quality.
LIPPARD: I can only see Eva
sitting there, with the ingredients,
almost like them, it is another creature,
and work with them.
But not another creature, maybe himself
because they are very self-identified.
I mean, he is where he put a lot of his anxiety,
is into his art, I think.
I don't want to be too psychology
oriented to this because,
it's very unpopular now to do that. But...
But with Eva, it's almost impossible
do not think psychologically,
when you know his job, and he is a human.
HESSE: Friday, July 28.
Called Donald Droll until midnight.
ROBERT: Donald Droll is more or less running Fischbach,
which is a powerhouse gallery.
And he is very skilled in recognizing artists.
He has extraordinary eyes.
He has big eyes, huh.
HESSE: Friday night.
Donald Droll said, if I'm ready, I can do a show.
I can have a main large room this spring.
LIPPARD: And that's a big problem.
That is a big opportunity.
HONIG: Eva is very beautiful, black, long hair.
He symbolically cuts all his hair.
That will be another time in his life.
It's far from being this wife,
and that's all about the job.
HESSE: Friday, March 8th.
Dorothy B. Movie.
Factory for epoxy. Rubber or plastic.
Flexible durability.
GOLDMAN: He always develops,
goes beyond what he knows.
That's the goal.
HESSE: Silicone. 120 ccs, 20 ccs.
Silastex, 120 ccs.
SUSSMAN: A group called Experiments in Art and Technology
come together, to bring the artist
to orbit people using new technology.
Eva Hesse is treated in the group,
and he attended college
in the use of polymers and latex.
HESSE: One, liquid. Two, clear rubber.
Three, set after 24 hours. Four...
Important problem.
And I think it's very clear in Eva's work,
material manifestations of
form out of intense investigation of this problem.
HESSE: Tuesday, April 30.
Go to Arco, Canal Street, Aegis.
Aegis Reinforced Plastics is made specifically for
help artists make their special things,
and Rob Smithson.
Bob Morris takes Eva in and shows him what you can do.
How do fiberglass act, when it is saturated?
When it's difficult, it will look like it's still soft.
That is one good thing, because he likes to be gentle.
I think we make connections and
a few months later, we started working on his works.
The first part I made for Eva,
called Repetition Nineteen.
And he shows some pictures.
A very simple line drawing of a cylinder.
He gave me dimensions and 19 of them.
We make this cylinder,
coating them with fiberglass,
and let them harden.
And then we have to get the newspaper out.
He came all the way, to Staten Island
and, um, and he was horrified.
I mean, beyond horror.
They are too perfect.
So I told him, "Look, you make it bucket of mache paper.
" I will make it exactly, on the road
"You have made it, in fiberglass."
So he started doing it again.
And this time, with his hand,
he does something in each part,
and it's not a cylinder.
For him, his specialty is personal, it is physical,
and touch, the way.
JOHNS: A few weeks later, he came out.
He has 19 buckets and they are bigger, now.
So we make this basket, coat them with resin,
put it on the table, turn on the light and bing!
They are like this beautiful thing.
He is very happy.
I mean, this is just the best thing he has ever seen.
At that time, we were a team.
That just let's do this,
and we will make a statue
and he is very excited.
He said, "Why not come and stay with me?" So I did it.
He has an event coming in Fischbach.
So we will wake up morning and that,
"Let's do art."
And we work all day and all night,
until we just fainted.
We make a session, which is basically a box
which we discussed outside,
with a very thick layer of fiberglass.
And then we will drill holes
through this fiberglass section,
with 29,000 holes, we make that.
And I help him the tube in this object.
GOLDMAN: Accessions, are called, tubes?
Never see anything so sexual
and fantastic in my entire life.
And Eva will only sit there,
and boom, and boom, and boom
with methodical and thorough rhythm.
They leave.
When you put your head inside,
You can't hear anything, outside.
And of course, he lives in Bowery.
And it's noisy, and there's a drunk
and there are shouts and there are all kinds of noise.
You can't hear anything.
That's very beautiful.
You will go in there and that like being in a cave.
The feeling is that art
is an artifact of the process.
The art is being created,
artifacts are what's left.
That's just extraordinary fair time, creating art.
And I fell in love with him.
Sure enough, um...
I don't think he fell in love with me.
I know he's crazy about with me, that's for sure.
There is no question about that.
Uh, but he fell in love with his art.
HESSE: Tuesday, June 4. Protection.
Rubber. Four glasses together. Plastic tube.
Give Doug this.
Sunday, July 7.
Organic and inorganic polymers.
Polymer chains.
HOLT: He ironed the fabric, thin cotton cloth.
It was found a new process.
That is not something like that already exists in the world.
HESSE: Monday, July 8.
New Work. Rubber, fiberglass.
I let him know that plastic and fugitive rubber.
Rubber will last, the best, ten, 15 years.
And gradually begin to crack
and begin to turn into dust.
He said, "Good. Let them worry about that."
Speaking of museum people.
"Then what? I want what the effect now."
HESSE: Sunday, October 27.
Sans, complete, fini.
It turns out amazing.
Saturday, November 16. Shows.
HESSE: I want the job to be non-working.
To find the way my prejudice.
To go beyond what I know, and can know.
That's something.
This is nothing.
TIMPANELLI: I go to the opening.
Ah! And I've been looking for in art since I was a kid.
I see the job I have never seen before.
However, at all original like that,
it's extraordinary reflects our time
and all the time, and real feelings.
SEROTA: Eva's work increases new sensibility.
That's typical.
That is his own.
Fragile, beautiful, tentative.
Those are all things the statue,
not supposed to.
HESSE: "Eva Hesse.
" This is the first one-person show unusual interest.
"Ms. Hesse's work is restless,
"But pulling between two poles.
" Nature is very rational form,
"and the world surreal dreams."
We have about eight or nine shows,
we want to see that day.
And the last one is on the list it turns out Eva Hesse.
And I enter Fischbach Gallery,
and I suddenly see, the most beautiful things
I've seen and most interesting.
TONY GANZ: There are this amazing work.
And Eva herself is there in the back room.
And he doesn't look like my sister Kate,
a fact that is not lost on him.
VICTOR: I was fascinated and immediately fell in love with him.
Think he's amazing.
He decides to do something he hasn't done it for years,
who buys some work.
JOHNS: When Ganzs buy a few pieces,
he returned to the studio, and he said,
"They will buy some of my parts.
" They collected Picasso too.
"That's all, me and Picasso." (LAUGH)
It's like, "Wow!"
He will come for dinner more often,
and we always enjoy a beautiful night.
HESSE: For four more pictures.
Whitney Spring Show, TIME Magazine's art section.
He is one of them artists in New York.
He is the only woman, basically,
that is in the group.
He is one of the boys.
He goes to incredible work mode.
I mean, he is extraordinarily productive and begin to appear,
and get a response from the place.
HESSE: So much is happening.
I have a lot of success.
I was asked to appear in many events,
I can't follow.
In October, I will go to Europe,
have one male show at Gallery Ricka in Cologne.
For March, I was preparing to work for Whitney.
Show includes Carl Andre, Robert Morris,
Bruce Nauman, Richard Serra and me.
JOHNS: He gets a lot of headaches.
He will get dizzy
and cannot function.
He will squint and be fair this severe pain.
And I kept telling him, "Look,
" You have to see a doctor. " And he avoided it.
LIPPARD: I remember that night,
and we are all there with Eva,
and we realize that something that is really wrong.
His headache is very bad.
Previously, psychiatrist had said it was physical,
and physical physicians have said it is psychic.
And he is very ridden by anxiety,
and it seems like that is possible, that's what is happening.
But at that time, he was really in pain
and I think we know, that this is
more than we thought.
(AMBULANCE SIREN WAILS)
HESSE: April 10. I am treated at the New York Hospital,
to be checked, tested.
CHARASH: He was there for days,
and they can't find anything wrong.
And they do spinal taps and thank God.
He will die that day.
HESSE: My tumor is very enlarged,
there is no free space to move.
So it turns my brain.
There isn't much time.
Viewing images, flashing colors.
Very very beautiful.
Not afraid.
Want to touch,
connect with them with me.
I am very connected with them, and they are with me.
I speak.
I smile. I fantasize.
I have a vision. I love.
I can't speak enough.
I see a face. I see love, happiness.
CHARASH: He used to be operated and I entered
there, I really can still see it.
And he sits in bed,
wrapped around the head,
and he feels amazing.
And he only, now, missing headaches
and he is not in pain, and he feels great.
And he said, "How lucky I am, they have everything
" And I'm very lucky. "
HESSE: I think going back to where everything started.
I am very sick.
I have signs, but I will do it don't recognize them.
Someone can deny anything.
People think when he is sick,
that the ingredients must be blamed.
I mean, there are others people who work with latex,
but he, as I said, really becomes the material.
So he might breathe them and, you know,
taste them, even. Who knows?
JOHNS: I mean this the beginning of fiberglass.
But it's not too toxic,
and the tumor is too big
to think of that, a little amount of exposure
he has, gives him a brain tumor.
WAPNER: I often try to tease,
is it the resin that it does,
or is it just a coincidence of genetic DNA?
We will never know.
HESSE: In the past year and now, since my illness,
I just want to live, surrender,
call the past, past and try again.
Oh my God, anyone who knows my history,
who knows me, know I deserve it.
That's right.
There is never a time or scene that qualifies as the norm.
Extreme on each side.
TIMPANELLI: He lives with me in Woodstock.
He came with his paint bag.
That's right after that. He doesn't have that
energy to go back to studio alone
and to make a statue.
So, he will do it this paper painting.
HESSE: Today is the third day I feel a little better,
a little stronger, a little more hopeful,
a little sick.
How grateful I am. I have a lot to do.
TIMPANELLI: We wake up in the morning in the morning.
We have muesli, cup of tea, and then we go to work.
And the work is on the porch.
And the rain starts to fall, and it never stops.
But we work every day.
I have never done art like that.
We only devote ourselves to work
and he made these paintings,
this beautiful paper painting.
He erodes it, he makes a line.
SUSSMAN: He layering the same paint washing
the subtle way he has handled the sap,
to the point where material consistency
on paper to be right for him.
They have ambitions paintings and they have
compared to late works from Mark Rothko.
TIMPANELLI: We also sometimes go shopping.
And he bought this worm, once, a handful.
And I asked him, I said, "Oh, what are you going to do?"
He said, "I don't know yet."
He said, "I will play with them for a while."
And he will see, and he will decide
what to do with something.
SUSSMAN: A great one the things he taught us,
I think, is playing.
That's really the best we can do,
with material, play with them.
Play with them until the form starts to impact.
And he really can't stop playing.
And I think it saved his life.
HESSE: Lack of energy I have contrast
by psychic energy, rebirth,
Will to start living again,
work again, be seen, love.
I fight sleep to respond to for this real excitement
which is frustrating because there is little I can do.
ROBERT: Oh, that will happen very easily give up and say,
"I can't deal with everything from these negative things,
" I can't think of my work,
"So I will only concentrate on my medical problems."
But Eva insisted on having everything.
SYLVIA: I think he did it because
he doesn't know what else to do.
Makes him feel alive. That makes him feel alive, right.
The chance to become a great artist
is there for him, and he knows that.
He knows he is doing very good work.
And of course, everyone becomes very supportive too.
You know, lots of famous artists, you know,
love him very much and really tell him
this is good, keeps going, this is amazing.
So, in a funny way,
that is the right moment from his life, I think.
JOHNS: He returned to Bowery, and he called me,
and that's just, "Let's go, let's start working."
Then we started doing it the statue was right after it.
There is so much energy.
We giggle and experience this beautiful time.
The items drip, everywhere.
And this is only, this is extraordinary sort of cobwebby
whole room.
We have a hard time, around it.
HESSE: Climbing around, completing something,
move, rotate and depend.
Four hands change, manipulate changes.
Things that are possible, things happen.
Suspended hangers allow themselves to continue,
connect and multiply.
GOLDMAN: He accepts that feeling,
right after the cancer surgery.
Scars and use of wigs
and all that means, now he has pride.
Eva has pride.
So he took everything and put it in that section.
He has a terrible wig from Sassoon.
But he will laugh at him.
I remember visiting he was in the hospital
and whipping his wig
proudly and say,
"Look at what I look like bald." (LAUGH)
He thinks it's quite funny.
In a difficult year,
with so many operations
and many things are wrong,
um, we have lots good time. Extraordinary!
And I really appreciate that,
that I just did
and he does it naturally, is to live at that moment.
HESSE: Of course there are desires to write and work.
I can't start.
Days passed. I do very little.
I have a recording interview with Cindy Nemser.
Three different days.
(NEMSER ON TAPE) Oh, I have a good question for you.
(SPEAKING)
(SPEAKING HESSE)
SUSSMAN: Untitled Rope Piece is the last to last
main pieces of sculpture
Eva Hesse, who was made in her life.
And that is very possible, his masterpiece.
He explained making this part
as a kind of choreography.
He dips the rope, into a bucket of latex,
and then work with the assistant
and hang it from rafter from his studio.
So serendipity takes the material found,
processes it, and lets gravity do that.
HESSE: Hung is irregular, binds a node as a connection,
really let it go, because it will,
allows it to determine more
from the way it complements itself.
Not a form, not planned, non art, nothing.
Serota: He uses him his own body, his own experience,
dealing with problems his own death.
Dealing with that.
CHARASH: Not much longer after that,
that he was rushed to the New York Hospital
because he suffered tremendous pain.
HESSE: It's time again.
I have another brain tumor.
CHARASH: He operated, on March 29.
That is an operation, it does have an effect.
He lost it after the operation.
The decision was made by Helen
do not tell Eva that she is indeed sick and will die.
TIMPANELLI: I was there when he asked the doctor,
Will this come back again?
We hold hands.
And he said, "Yes, this is a type of tumor. " It might come back again. "
(DIRECT MUTTERS)
That's it. He knows.
People say "Oh, he doesn't know." Of course he knows.
HESSE: I know. No fear.
I'm not afraid to die.
I know it's there.
But I not afraid.
TIMPANELLI: When he entered the hospital for the third time,
I go visit.
He feels better.
He is sitting. He has a printed book
and he is making something.
And he said, "Look, what do you think?"
I said, "They look like a bunch of legs. What is that?"
And he laughed. He said,
"Oh, I didn't think... Oh, they're legs. Isn't that surprising..."
And we laughed and he made a small model.
And then, of course, he made it that big statue.
JOHNS: He was very sick at the time
and he can't work.
But he has several students that is a star student,
and they make that song.
TIMPANELLI: They put it too many orders.
He said, "Oh, I don't want them to be in that order."
He wants to make more sense.
He has a show at Steuben Glass,
on Fifth Avenue and 57th Street.
Seven poles are in it show, and at the same time,
he is the cover of Artforum.
Contingent is ongoing cover Artforum.
And that at that time he really didn't like fighting.
We come out.
We scotch it on the bed.
And at one point, he said, "That. That's me."
HESSE: I'm not happy, not at all.
I see past three and a half years
with some kind of surprise.
All that has happened.
My changes outside and inside.
I can be proud.
CHARASH: Eva died on May 29, 1970, Friday.
He is 34 years old.
LEWITT: Dear, I received a telegram
from Helen about Eva's death
when I arrived here Saturday.
I am very sad.
You must too.
He is a good friend, best friend for both of us.
It's still not about the house, because
I wasn't there to see and talk to him.
When I realize that it can never happen again,
I will be heartbroken.
Love, Sol.
CHARASH: Apart from that fact Eva Hesse held an exhibition
around the world, this is more special,
maybe more emotional, because this is the city
where Eva and I were born.
PHYLLIDA BARLOW: I first met Eva Hesse's work,
and it's like feeding hungry people.
That's exactly what I'm waiting for.
He tells me again,
work can come from you.
And that has a profound meaning this intimacy and closeness.
You can still feel his presence from making actions.
Artists are there, embedded
in what you see.
That's the most interesting one take painting,
I have seen in recent years.
Very pleasant to see something very material
and so bright and charming.
LIPPARD: He is part history, now. I mean,
he is someone who is a young artist
I will always know about, is amazing.
SEROTA: I don't think work hasn't been fully digested.
Still full of surprises.
There are many that can be pulled out.
So I think the conclusion will continue to grow.
Ripples will continue to arrive from Ringaround Arosie.
In 1972, Guggenheim installed a memorial exhibition.
And that's amazing. That is the whole Guggenheim.
I don't think we all realize how good the job is.
I mean, you know, is a five-year job.
I have an event in Guggenheim
work around five years.
And that is a ring around it museum, you know?
When you see what volume
Eva managed to achieve it in that time period,
it makes you aware
what you can do in five years.
GOLDMAN: Everything happened to him,
good or bad, empower it.
That is the splendor of art.
WAPNER: I remember being around
three or four of us, sit around talking.
And he describes his work
and how short it is,
and how he doesn't care about the eternal.
And that ingredients can decrease
is part of the package.
And he said, "Look at this glass?"
And he threw it the fireplace and it was destroyed.
And he said, "That's my job."
HESSE: Life doesn't last long.
Art doesn't last long.
It is not matte It is translated by: www.subtitlecinema.com