ART-PRESENTATION: Eva Hesse and Sol LeWitt-Converging Lines
Eva Hesse and Sol LeWitt first met in the late ‘50s. They and other artists and the art critic Lucy R. Lippard, all lived within close proximity on the Bowery in New York and supported one another in significant ways. In spite of the differences between their artistic processes, Eva Hesse and sol LeWitt developed a close bond, evident in the extensive correspondence that ensued over the course of their friendship, which lasted more than a decade.
By Dimitris Lempesis
Photo: Cleveland Museum of Art Archive
The exhibition “Converging Lines: Eva Hesse and Sol LeWitt” at Cleveland Museum of Art explores the close friendship between the two significant American artists of the postwar era featuring 50 works that have not been publicly exhibited for decades. The exhibition illustrates how Eva Hesse and Sol LeWitt each developed a very distinct aesthetic, making them two of the most influential artists of the past 50 years. At the same time it shows how they influenced each other by means of shared interests, serious debates and friendship.One of the highlights of the exhibition is “Wall Drawing #46” highlights and directly references the impact Eva Hesse had on Sol LeWitt. In 1970, upon learning of Hesse’s death at the age of 34, LeWitt created this artwork in her honor for an exhibition in Paris. The work consists of a wall covered with “not straight” pencil lines that LeWitt drew as a way of paying homage to the organic contours that were a hallmark of Hesse’s art. Other highlights of the exhibition include iconic sculptures and exquisite drawings by Eva Hesse that illustrate the reverse: how Sol LeWitt influenced her evolution as an artist. An example of Hesse’s work includes “Untitled” marked by spare compositions, architectural structure and a cool color palette. The artist worked with great deliberation on building dense, abstract compositions by applying colors in multiple thin washes within geometric shapes. A unique aspect of the exhibition is “Wall Drawing #797”, first installed by LeWitt in 1995. The museum has gathered volunteers to participate in the installation of this work, under the supervision of LeWitt’s studio. To create the work, the first drafter has a black marker and makes an irregular horizontal line near the top of the wall. The second drafter attempts to copy it (without touching it) using a red marker, followed by a third and fourth drafter, using a yellow and a red marker. The lines are drawn until the bottom of the wall is reached.
Info: Cleveland Museum of Art, 11150 East Blvd, Cleveland, Duration: 3/4-31/7/16, Days & Hours: Tue. Thu & Sat-Sun: 10:00-17:00, Wed & Fri 10:00-21:00, www.clevelandart.org
