Professional Documents
Culture Documents
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted
digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about
JSTOR, please contact support@jstor.org.
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
http://about.jstor.org/terms
The MIT Press is collaborating with JSTOR to digitize, preserve and extend access to October
This content downloaded from 186.220.233.51 on Tue, 18 Jul 2017 19:26:43 UTC
All use subject to http://about.jstor.org/terms
Eva Hesse and Color
BRIONYFER
OCTOBER 119, Winter 2007, pp. 21-36. 2007 October Magazine, Ltd. and Massachusetts Institute
This content downloaded from 186.220.233.51 on Tue, 18 Jul 2017 19:26:43 UTC
All use subject to http://about.jstor.org/terms
22 OCTOBER
cut from a ro
to and detach
it as an instru
nological bod
elusive yet t
noncolor or
straight bina
tive and the
so is all the m
What happen
color took on
became subjec
conceptualism
and colorless
ments deploy
Batchelor co
he argues th
mophilia.3 P
processes and
would abando
been largely
includes her i
here I certain
she mockingly
would like to
not a long tim
are often inc
reality art do
case it is no ex
ing against c
The change
when Hesse re
the sculptor
now call a re
3. David Batche
4. Black, white,
or, alternatively
tural valency th
of color and the
onymously. Fin
color, it is also a
and I have occas
5. Eva Hesse, in
Files 3, ed. Mign
This content downloaded from 186.220.233.51 on Tue, 18 Jul 2017 19:26:43 UTC
All use subject to http://about.jstor.org/terms
Eva Hesse and Color 23
studios in a former textile factory. When she returned to New York from Europe,
she took with her not the fourteen highly colored reliefs she had made there but
instead fourteen three-by-three-inch transparencies of the work she left behind.
Back in New York, she would abandon color and turn to monochrome grays and
blacks. In a famous photograph of her Bowery studio, taken some six months after
her return, a wall is hung with a host of abstract sculpture, some attached to the
wall, some freestanding, all of it evocative of sexual body parts in shape and tex-
ture, all of it monochrome. Most of this work, moreover, had been finished within
three months, that is, by the end of the year. This marked a pivotal point for
Hesse, but a question that has not been adequately addressed, surprisingly
enough, is what role color, and the loss of it, played in this radical shift.6 One work
not shown in the photo but that would have been in her studio at the time was the
last colored piece she made, a purple-painted wall-hung serial arrangement of
screw threads attached to a wooden post. The grading of mauve through purple,
light to dark, corresponds to the way she was then using gray through black, but
also recalls the pungent, bright colors she had used in Germany. It is not exactly a
throwback, especially given its seriality, but neither is it an accident that it is left
out of the group of monochrome works that she carefully arranged on her studio
wall for the photograph. There is also a relief that she made in Germany, which is
all grisaille colors but for a single pinhead of pink plastic punctuating its center;
but these exceptions, if we can call them that, do little to make the about-face on
color seem any less dramatic.
6. The exception to this is Benjamin H. D. Buchloh's recent essay on Hesse's drawing "Hesse's
Endgame: Facing the Diagram," in Eva Hesse Drawing, ed. Catherine de Zegher (New York: Drawing
Center; New Haven: Yale University Press, 2006).
This content downloaded from 186.220.233.51 on Tue, 18 Jul 2017 19:26:43 UTC
All use subject to http://about.jstor.org/terms
24 OCTOBER
To understa
stress the ex
German relief
textile factor
floor to inco
tling ways, o
Their spindly
insectlike ele
macy at this
the reliefs o
Nixon, who
Kleinian part
grading from
course she w
then to go on
larger tenden
color and non
specificity of
dramatic and
Her use of c
to the way P
Warhol's use
metallic pink
seems to hav
readymade, sh
ing them fro
pregiven colo
color like she
one relief, ca
sure: first a b
more varnis
industrial en
sent from th
make a textu
enamel painte
thing awkw
papier-mache
tures of a Ch
a hard exteri
interior, whi
7. See especially
This content downloaded from 186.220.233.51 on Tue, 18 Jul 2017 19:26:43 UTC
All use subject to http://about.jstor.org/terms
Eva Hesse and Color 25
Hesse. Eighter f
of Eva Hesse. Hau
This content downloaded from 186.220.233.51 on Tue, 18 Jul 2017 19:26:43 UTC
All use subject to http://about.jstor.org/terms
26 OCTOBER
Working in
assimilated a
seem less int
their elabora
(pull here, pu
and immediat
legacy of Wil
painter who h
was using col
is sometimes
important tha
ence to expre
his painterly
course drawn
vedettes, vor
in 1964, befo
archaic lexico
ranging it ac
patches of pin
nudes but are
new network
and commodi
series is reca
Oomamaboom
pinks that de
This content downloaded from 186.220.233.51 on Tue, 18 Jul 2017 19:26:43 UTC
All use subject to http://about.jstor.org/terms
Eva Hesse and Color 27
This content downloaded from 186.220.233.51 on Tue, 18 Jul 2017 19:26:43 UTC
All use subject to http://about.jstor.org/terms
28 OCTOBER
In an enigma
Duchamp wro
by touch.11 R
tence on col
empiricism) r
the phrase a "
Duchamp cry
decades to co
problem that
to be trying
revert to a p
space of the s
her collages,
transforming
yellow. In the
bility - or is
without succu
expressive, pai
Duchamp ha
Tu m' (1918),
tion to the wo
the top left-
taken straigh
painter to pa
Tu m' codifi
(1916-17), wh
of color to an
stake here is the renunciation of a certain kind of aesthetic color, not color itself.
After all, The White Box is so full of lists of color that it is hard to imagine Duchamp
wants to abandon color entirely. Instead, he seems to want to dismantle it into
parts and recycle it. When he fabricated his various Boites en Valises containing
meticulously produced reproductions of his works, he hand-colored them in a
process he called "coloriages originaux." Adding color became a way of disman-
tling color and detaching it from an expressive pictorial language.
Rosalind Krauss called Tu m\ memorably, a "panorama of the index."13 The
shadows of the readymades that hung from Duchamp 's studio ceiling and the
11. Marcel Duchamp, A Vinfinitif, a typotranslation by Richard Hamilton and Ecke Bonk of Marcel
Duchamp's White Box, the Typosophic Society, Northend Chapter, 1999, p. 99.
12. Buchloh, "Hesse's Endgame," p. 17. Buchloh 's seminal discussion of color in "The Primary
Colors for the Second Time: A Paradigm Repetition of the Neo-Avant-Garde," October 37 (Summer
1986), pp. 35-52, has been formative in mv thinking.
13. Rosalind Krauss, "Notes on the Index: Seventies Art in America," October?* (Spring 1977), p. 70.
This content downloaded from 186.220.233.51 on Tue, 18 Jul 2017 19:26:43 UTC
All use subject to http://about.jstor.org/terms
Eva Hesse and Color 29
Marcel Duchamp.
(ARS), New York
This content downloaded from 186.220.233.51 on Tue, 18 Jul 2017 19:26:43 UTC
All use subject to http://about.jstor.org/terms
30 OCTOBER
parts, severin
and often lite
now through
constructed i
space "in fron
hanging in t
the bottle br
pointing fin
Jasper John
ways, interna
most vividly
previous gen
thing taken
then Hesse's
through text
rough or shi
she used a bi
the viewer. T
effect of the
consequences
I am not sure
quence for He
which would
than high-oct
When Hesse
erence for g
dark, she no
gradations of
or the tonal c
orlessness) t
circles enact
say, she turn
tered as a st
exercises had
steps, gray
between whi
as many gra
arranging th
This content downloaded from 186.220.233.51 on Tue, 18 Jul 2017 19:26:43 UTC
All use subject to http://about.jstor.org/terms
Eva Hesse and Color 31
17. Donald Judd, Complete Writings 1959-1975 (New York: New York University Press, 1975), p. 11
This content downloaded from 186.220.233.51 on Tue, 18 Jul 2017 19:26:43 UTC
All use subject to http://about.jstor.org/terms
32 OCTOBER
Hesse's studio. 1
The Estate of
nonlight and
negation of
not empty b
he reformula
ors that say
figures as ab
function of
that comes t
material and
phallic tubes
monochrom
expand beyo
the entire w
pressures, di
one object is
darker gray
face of the w
the color of
This content downloaded from 186.220.233.51 on Tue, 18 Jul 2017 19:26:43 UTC
All use subject to http://about.jstor.org/terms
Eva Hesse and Color 33
texture of seeing.
When Hesse begins to work with latex and
fiberglass in 1967, she finds materials that,
though they behave very differently from ink
Hesse. Top:
Bottom: Untitled. Untitled. 1966.
wash, could translate some of these properties
1966. The Estate of Eva Hesse. Hauser &
Wirth Zurich London. of veiling and layering and create a dynamic of
This content downloaded from 186.220.233.51 on Tue, 18 Jul 2017 19:26:43 UTC
All use subject to http://about.jstor.org/terms
34 OCTOBER
impure, tacti
the test-piece
over a piece o
sheet makes
ascends and l
over time, fro
now. Other la
perished or h
Hesse wanted
changes color
There is eno
neutrals and
cious, and le
was not only
tion of pain
medium. Aft
tently refu
mid-1960s, c
to be reconf
out, in her G
ture, overla
cacophony of
a rather diffe
the clamor
color - which
insisted on making
rather than finding
readymade - became at
some level unnecessary
or even burdensome to
called, following Mar in, Hesse. Study for Contingent, ca. 1969. The Es
the metacolors black
of Eva Hesse. Hauser & Wirth Zurich London.
This content downloaded from 186.220.233.51 on Tue, 18 Jul 2017 19:26:43 UTC
All use subject to http://about.jstor.org/terms
Eva Hesse and Color 35
This content downloaded from 186.220.233.51 on Tue, 18 Jul 2017 19:26:43 UTC
All use subject to http://about.jstor.org/terms
36 OCTOBER
This content downloaded from 186.220.233.51 on Tue, 18 Jul 2017 19:26:43 UTC
All use subject to http://about.jstor.org/terms