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Rowley, Alison (2003)
Publisher: Berg
Languages: English
Types: Article
Subjects: NB
In November 2002 I chaired a panel\ud of artist speakers in a session called\ud “The Studio Encounter” at the\ud conference Encountering Eva Hesse\ud at Tate Modern. Initiated by Dr\ud Vanessa Corby and organized in\ud collaboration with the AHRB (Arts\ud and Humanities Research Board)\ud Centre for Cultural Analysis, Theory\ud and History at the University of\ud Leeds, it provided a forum for\ud discussion of the work of Eva Hesse...
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    • 1. Publication of the papers presented by Joanna Greenhill and Phyllida Barlow is forthcoming.
    • 2. See Griselda Pollock's important study of this situation in “Killing Men and Dying Women: A Woman's Touch in the Cold Zone of American Painting in the 1950s” in Orton, Fred and Pollock, Griselda (eds). 1996. Avant-Gardes and Partisans Reviewed. Manchester: Manchester University Press, catalogue statement 221-294. accompanying Contingent when
    • 3. The description is Phyllida it was shown at Finch College's Barlow's. Art in Process IV, Fall 1969.
    • 4. Donna Haraway's concept of blasphemy offers a helpful way of reading these works. See References Haraway, Donna. 1991. “A Kozloff, Max. 1992. “Undertow: The Cyborg Manifesto” in Simians, Paintings of Eva Hesse” in Eva Cyborgs and Women - The Hesse: Paintings From 1960 to 1964. Reinvention of Nature. New York : New York: Robert Miller Gallery. Routledge.
    • 5. The phrase “not painting, not Lippard, Lucy. 1976. Eva Hesse. New sculpture” comes from Hesse's York: New York University Press.
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