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In 1965, she moved to Germany with her husband sculptor Tom Doyle. There, they each had studio spaces in a former textile factory. Eva became ill in 1969 with a brain tumor and died a year later at the age of thirty-four.

Work
Hesse's work often employs multiple forms of similar shape organized together in grid structures of clusters. Retaining some of the defining forms of minimalism, modularity and unconventional materials, she created eccentric work that was repetitive and labor intensive. In a statement of her work, Eva describes her piece titled Hang-Up "It was the first time my idea of absurdity or extreme feeling cam through...The whole thing is absolutely rigid, neat cord around the entire thing . . . It is extreme and that is why I like it and don't like it . . . It is the most ridiculous structure that I ever made and that is why it is really good".

Her work frequently uses materials such as latex and fiberglass, that would later be known as arte povera.

Early Career
Eva’s drawings and paintings are often viewed as a precursory and necessary step to her sculptures. Because she is primarily known for her sculpture work, her drawings and paintings are often overlooked as studies or exercises for future sculptures. However, Hesse created her drawings as a separate body of work. She states, “They were related because they were mine but they weren’t related in one completing the other.” In 1961, Hesse’s gouache paintings were exhibited in Brooklyn Museum’s 21st International Watercolor Biennial. Simultaneously, she showed her drawings in the John Heller Gallery exhibition Drawings: Three Young Americans. Altb478 (talk) 20:50, 10 April 2015 (UTC)Altb478Altb478 (talk) 20:50, 10 April 2015 (UTC)

Movements
Eva Hesse's work was most often regarded as part of the Post-Minimalism movement. Process Art, Feminist Art, Minimalism, and Art Povera are other movements that she is associated with.

Although Eva's work coincided with the emergence of the feminist art movement, she did not particularly identify herself as a feminist artist. However, some feminist historians have remarked on the difficulties Hesse faced in the predominately male movement Minimalism. Eva defends her work as being feminine because she is a woman, but without feminist statements in mind. She states, “Excellence has no sex”