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From factory to kitchen: Eva Hesse's...

Swenson, Kirsten Joan.

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From factory to kitchen: Eva Hesse's labors.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	From factory to kitchen: Eva Hesse's labors./
作者:	Swenson, Kirsten Joan.
面頁冊數:	305 p.
附註:	Source: Dissertation Abstracts International, Volume: 67-10, Section: A, page: 3629.
Contained By:	Dissertation Abstracts International67-10A.
標題:	Biography. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3239019
ISBN:	9780542932199

From factory to kitchen: Eva Hesse's labors.
Swenson, Kirsten Joan.

From factory to kitchen: Eva Hesse's labors. - 305 p.

Source: Dissertation Abstracts International, Volume: 67-10, Section: A, page: 3629.

Thesis (Ph.D.)--State University of New York at Stony Brook, 2006.

This dissertation establishes a social historical context for minimalist and "anti-form" art that reflects the pervasive (though largely unexamined) "pre-feminist" gender politics of the 1960s art world. I examine how Eva Hesse, as the preeminent female sculptor of this period, participated in the art world's symbolically masculine discourses of industry and technology. The title of my project reflects Hesse's command of divergent formal and conceptual attitudes that generated contradictory, even irreconcilable, accounts of the artist. She employed craft techniques, factory production, and used polymers for hand-formed sculptures. I argue that her use of these symbolically dissonant practices was a self-conscious artistic strategy to create objects that could sustain diverse interpretations: while Hesse had a "fascination with chemistry and advanced materials" (Lucy Lippard, 1968), she also was concerned with "creating personal forms" that required her to "only use materials that she can make herself' (Marcia Tucker, 1969). Hesse elicited these contrasting associations by employing advanced materials alongside domestic routine, as in latex serial pieces made in the kitchen, set to dry "in a muffin tin in the oven."

ISBN: 9780542932199Subjects--Topical Terms:

531296
Biography.

From factory to kitchen: Eva Hesse's labors.
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500 $a Source: Dissertation Abstracts International, Volume: 67-10, Section: A, page: 3629.
500 $a Adviser: Jonathan D. Katz.
502 $a Thesis (Ph.D.)--State University of New York at Stony Brook, 2006.
520 $a This dissertation establishes a social historical context for minimalist and "anti-form" art that reflects the pervasive (though largely unexamined) "pre-feminist" gender politics of the 1960s art world. I examine how Eva Hesse, as the preeminent female sculptor of this period, participated in the art world's symbolically masculine discourses of industry and technology. The title of my project reflects Hesse's command of divergent formal and conceptual attitudes that generated contradictory, even irreconcilable, accounts of the artist. She employed craft techniques, factory production, and used polymers for hand-formed sculptures. I argue that her use of these symbolically dissonant practices was a self-conscious artistic strategy to create objects that could sustain diverse interpretations: while Hesse had a "fascination with chemistry and advanced materials" (Lucy Lippard, 1968), she also was concerned with "creating personal forms" that required her to "only use materials that she can make herself' (Marcia Tucker, 1969). Hesse elicited these contrasting associations by employing advanced materials alongside domestic routine, as in latex serial pieces made in the kitchen, set to dry "in a muffin tin in the oven."
520 $a In prelude to considering Hesse's involvement with minimalism and anti-form, I excavate her "pre-sculptural" career, focusing on her artistic exchange with her husband, the sculptor Tom Doyle. I consider Hesse's assimilation and rejection of Abstract Expressionist precedents throughout her early career, and her appropriation of Doyle's sculptural forms for her first three-dimensional series known as the "German reliefs." Starting in 1966, her sculptural production unfolded in dialogue with themes of artistic labor prevalent during the second half of the1960s. Both the conceptual approach of Sol LeWitt, for whom "the idea is the machine that makes the art," and working class "sweat labor," as Richard Serra referred to his process, convey modes of masculine identity. I explore narratives of gender and labor embedded in artistic strategies curatorial concepts, and critical response, focusing on Hesse's dialogic engagement with the art of LeWitt and Serra.
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