Robin Cembalest questions why the current exhibition Eva Hesse Spectres 1960 at the Brooklyn Museum "neglects the Jewish history that framed and influenced her art."
Cembalest notes that the paintings themselves are "like de Koonings and Giacomettis with their flesh dripping, and their eyes gouged out. With anxious, messy strokes, Hesse conjured ghastly girlish faces with piercing yellow eyes, creepy humanoid forms resembling skeletons, zombies, and aliens, bloated female figures colliding, and a spectral bride who is haunting or haunted by a phantom. The artist, trained in color theory by Josef Albers, deployed a grayish palette..."
Daily Serving selects Eva Hesse, Spectres 1960 for its best of 2010 series even though the exhibition "...seemed destined to play into the mythology that has so disserviced Hesse’s legacy: that of the tortured soul, gone too soon (as if Hesse, like Sylvia Plath, a figure to whom she’s often been illogically linked, died with her head in an oven and not in a hospital bed, of terminal illness). And it does, but in a weirder, more convoluted way than ... expected."
Bob Duggan examines the curatorial theme of "the 'matrixal'—a connective and even curative matrilineal web of associations woven by modern women artists that redefines drawing practice to include all forms of human gesture, even the dance." in the exhibtion On Line: Drawing Through the Twentieth Century at MoMA through February 7, 2011.
Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.