Greenhill, Joanna (2006) Everything in Eva Hesse's Work was Different... In: Encountering Eva Hesse. Prestell Publishing Ltd, pp. 223-249. ISBN 3791333097
|Type of Research:||Book Section|
‘Everything in Eva Hesse’s work was different…’ is a chapter I contributed to an international publication 'Encountering Eva Hesse' which brings together texts by eight European and American artists, curators, and writers to re-define the work and life of this pivotal figure in modernism through an exploration of different types of encounters with the artist’s work. My text reflects upon the position of an artist encountering Hesse’s work in the 70s when her practice first started to be recognised in Europe.
Theorizing out of this experiential position, I consider how my early encounter with Hesse’s work changed the possibilities through which we understand the interpretation and materials of sculpture. The chapter also emphasizes what was at stake in having Hesse as a role model for women artists of my generation. My text brings practice and dialogue together to seek a new way to speak/write about both past artists and their influence on us, and about artwork.
|Additional Information (Publicly available):||
My research practice is an investigation of the act of repetition. This is researched through mainly objects and drawings and more recently video and photographic works. My background is in sculpture and the use of objects and materials remains a fundamental influence in my work. The repetitive act is used as a means of revealing and connecting conscious and unconscious thoughts. These thoughts become evident as sound and text works which can co-exist with objects also made through repetitive processes. A current interest is investigating ways of materializing/de-materializing presence and the place of memory in the work of art. These interests have re-introduced an interest from my research degree work in impermanent materials and the role of transience in art. I am currently exploring the implications of transient work and how artists engage with process in the ongoing project Fugitive Materials which was launched at Tate Modern in 2005.
As well as exhibiting individually, I collaborated with other practitioners/writers to make the book Speaking and Making which looks at foregrounding the making of art as research in its own right - the practice of art as a mode of analysis. This approach is particularly suitable for the processes of making that I use.
|Publisher/Broadcaster/Company:||Prestell Publishing Ltd|
|Your affiliations with UAL:||Colleges > Central Saint Martins College of Art and Design|
|Date Deposited:||05 Dec 2009 12:38|
|Last Modified:||13 May 2010 13:02|
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