A New Look: Eva Hesse at Cornell Cinema

Watching Eva Hesse, I felt almost certain that I had seen artist Eva Hesse’s work somewhere. The latex and fiberglass sculptures, the thrown-about ropes and the arrangement of her shapes seemed to me incredibly modern, given that Hesse had worked primarily during the sixties. Perhaps it’s just that by now, Hesse is well-known in context of the modern art movement, with several posthumous exhibitions. For example, following her death in 1970, Hesse’s work was displayed in a grand exhibition at the famous Guggenheim Museum — weird, absurd sculptures that had never been quite been seen before Hesse were gathered together and in the exhibit, five years’ worth of her work completely filled the floors of the Guggenheim, a remarkable feat given the size of the museum and Hesse’s deteriorating health prior to her death as her friends note in the new 2016 art documentary Eva Hesse. Eva Hesse does more than simply recounting the life of an artist, or discussing an art movement — it explores and examines the complex interconnections between Hesse’s art and her life, detailing the development and fluidity of her times.

Life Follows Art, Over and Over Again: An Artist Talk by Kiki Smith


Kiki Smith, print and sculpture-focused artist, eco-feminist, and conceptual thinker, spoke and inspired at the Johnson Museum last Thursday. Distant and warm all at once, she captivated her crowd in such a manner that it seemed as if she were a part of her prints, drawings and sculptures — and not just speaking about it alongside a powerpoint presentation. The particularity of her words gave life and intimacy to her pieces; a body of work that can, at times, feel dissociated from the human experience. Smith, with her long, white hair flowing down her back, and kind, dignified voice, was witty and sweet, as she flicked through her images, the crowd spilling out of the room. More than 150 people were in the audience; Far more than the capacity of the lecture wing of the Johnson Museum.

Open The Gates: NYC’s Memory of Color

“We live in a terrible century of banalization and trivialization, of repetitious things; all our world is surrounded by…bombastic things. And we the humans like to experience something unique, once in a lifetime, if never again. All our works have this quality that if you miss them, you will never see them.”

Layers Upon Layers: Paper and Image

This week’s art show in Hartell Gallery is no easy view — there’s a lot to see and dissect, from works on paper to sculpture and even sculptural works on paper. The viewer simply can’t absorb the entire installation in one turn around the room. Elliot Hess grad’s M.F.A. thesis show is challenging but not inaccessible; the conscientious viewer will not walk away empty-handed.

Documenting Impossiblity Through Sculpture

Yes; I’m Serious, and Don’t Call Me Surely, the thesis show of M.F.A. student Allen Camp ’09, is as funny as its title promises. However, it is equally serious. A selection of three-dimensional works in a limited palette, the show investigates the often-paradoxical relationship between objects and their “idiographic symbols.”

Worth His Weight In Plaster

The fulcrum is a handshake. It’s an exchange of power, a link between bodies, the passing of traditions and a tight squeeze for love.
“It all rests in the hands,” Noah Robbins ’10 said about the two statues he has constructed for his untitled exhibit that explores these themes and is currently open in Tjaden gallery.
Two heavy, white-plaster casts of individual male torsos perch atop wood crate-like pedestals. The two bodies unite by extended arms — they hold hands out between the two wooden columns on which they rest. One body is from a smaller man, presumably a younger man, and both bodies seem immensely unyielding and weighty. The two arms that extend over the gap between the pedestals seem uncommonly fragile.

Building and Designing Intimacy

Two fifth-year architects have teamed up to display their very different artworks in Sibley’s Hartell gallery. Both artists explore the way their objects interact with the viewer’s body: physically and culturally provoking the viewer to imagine the contours of what one chooses to embrace and what one chooses to give up. Like the image of Rubin’s face/vase (replaced by the artists’ profiles), which they display on their lone curatorial placard, absence always hugs and contains the material as its unacknowledged background.