Dieter Roth's unique and eclectic Tischmatten ("Table Mats") incorporate drawings, paintings, photographs, and ephemeral materials. Roth placed these gray cardboard mats on tables in his apartment, studios, and houses, collecting what he referred to as the "traces of my domestic activities." Along with spontaneous doodles and drips and stains from the kitchen, Roth affixed leftover food, notes, and photos to the mats, creating still lifes that he would supplement with painting and collage and that had an emphasis on symmetry and mirror images. Dieter Roth, Björn Roth: Work Tables and Tischmatten offers a new interpretation of these significant yet often misunderstood works, which Roth himself considered to have influenced the development of his painting in the late 1980s. The book includes the artist's writings about the Tischmatten, and an insightful essay by Andrea Büttner resituates them within the greater body of the artist's output.

This monumental tome contains the entirety of the important German artist's drawings held in the collection of the Allen Memorial Art Museum, Oberlin College, Ohio. The AMAM was the first museum to purchase a sculpture, Laocoon, by Hesse, in 1970. In gratitude for its recognition of Hesse's work, and following the artist's untimely death, her sister Helen Hesse Charash generously donated the artist's notebooks, diaries, sketchbooks, photographs and letters to the museum.Hesse's drawings played a crucial role played in her work, which in turn gave way to an array of highly innovative techniques and styles that today still defy classification. As she commented in 1970: I had a great deal of difficulty with painting but never with drawing.... The translation or transference to a large scale and in painting was always tedious. . . . So I started working in relief and with line using the cords and ropes that are now so commonly used. Hesse's custom of introducing sculptural materials into drawing and painting continues to influence the multidisciplinary work prevalent in contemporary art.Eva Hesse (1936 70) was one of the foremost women artists of the twentieth century. Her artistic practice combined the seriality and reduction of 1960s Minimalism with emotion, sensuousness and physicality, while the transparency and transience of her unconventional materials also contributed greatly to her unique position in the art world of her day. Her work is in the collections of the Museum of Modern Art, the Tate, the Guggenheim and many others.

An insight into the life and mind of an icon of American art through the diaries of sculptor Eva Hesse.‘I open my new book. What will you tell for the next year. To bring forth a new chapter of wisdom, hopes, joys fears. I shall be honest with myself; and therewith SUCCEED.’ These lines open Eva Hesse’s 1955 diary and lay out the task of her writing. In between weekly to-do lists and personal musings, Hesse used her diaries as a space to process her experience of the world and to reckon with what it means to be an artist.In this extensive collection of Hesse’s diaries, recorded from 1955 to 1970, readers are given an intimate glimpse into the mind of one of contemporary sculpture’s most prominent figures. Despite personal tragedies and the difficulties she faced as one of the few female artists in the male-dominated postminimalist movement, Hesse remained intrepid in both her life and craft. Composed of twisted ropes and delicate plastic among other unconventional materials, Hesse’s sculptures defy traditional notions of form; her deeply thoughtful practice as a sculptor and a painter are revealed at length in her writing.

Fifteen museum curators chronicle Eva Hesse's landmark exhibitions over the last half-century while offering a glimpse into the personal dimension of crafting an exhibition.This volume provides a historical account of Eva Hesse’s landmark institutional exhibitions. Contributions from the museum curators involved in organizing these shows reflect the personal dimension of crafting an exhibition, its intent, and reception. Accompanied by extensive installation views, archival material, exhibition-related ephemera, and snapshots, Eva Hesse: Exhibitions, 1972–2022 brings these exhibitions to life.

Dieter Roth's unique and eclectic Tischmatten ("Table Mats") incorporate drawings, paintings, photographs, and ephemeral materials. Roth placed these gray cardboard mats on tables in his apartment, studios, and houses, collecting what he referred to as the "traces of my domestic activities." Along with spontaneous doodles and drips and stains from the kitchen, Roth affixed leftover food, notes, and photos to the mats, creating still lifes that he would supplement with painting and collage and that had an emphasis on symmetry and mirror images. Dieter Roth, Björn Roth: Work Tables and Tischmatten offers a new interpretation of these significant yet often misunderstood works, which Roth himself considered to have influenced the development of his painting in the late 1980s. The book includes the artist's writings about the Tischmatten, and an insightful essay by Andrea Büttner resituates them within the greater body of the artist's output.

This monumental tome contains the entirety of the important German artist's drawings held in the collection of the Allen Memorial Art Museum, Oberlin College, Ohio. The AMAM was the first museum to purchase a sculpture, Laocoon, by Hesse, in 1970. In gratitude for its recognition of Hesse's work, and following the artist's untimely death, her sister Helen Hesse Charash generously donated the artist's notebooks, diaries, sketchbooks, photographs and letters to the museum.Hesse's drawings played a crucial role played in her work, which in turn gave way to an array of highly innovative techniques and styles that today still defy classification. As she commented in 1970: I had a great deal of difficulty with painting but never with drawing.... The translation or transference to a large scale and in painting was always tedious. . . . So I started working in relief and with line using the cords and ropes that are now so commonly used. Hesse's custom of introducing sculptural materials into drawing and painting continues to influence the multidisciplinary work prevalent in contemporary art.Eva Hesse (1936 70) was one of the foremost women artists of the twentieth century. Her artistic practice combined the seriality and reduction of 1960s Minimalism with emotion, sensuousness and physicality, while the transparency and transience of her unconventional materials also contributed greatly to her unique position in the art world of her day. Her work is in the collections of the Museum of Modern Art, the Tate, the Guggenheim and many others.

An insight into the life and mind of an icon of American art through the diaries of sculptor Eva Hesse.‘I open my new book. What will you tell for the next year. To bring forth a new chapter of wisdom, hopes, joys fears. I shall be honest with myself; and therewith SUCCEED.’ These lines open Eva Hesse’s 1955 diary and lay out the task of her writing. In between weekly to-do lists and personal musings, Hesse used her diaries as a space to process her experience of the world and to reckon with what it means to be an artist.In this extensive collection of Hesse’s diaries, recorded from 1955 to 1970, readers are given an intimate glimpse into the mind of one of contemporary sculpture’s most prominent figures. Despite personal tragedies and the difficulties she faced as one of the few female artists in the male-dominated postminimalist movement, Hesse remained intrepid in both her life and craft. Composed of twisted ropes and delicate plastic among other unconventional materials, Hesse’s sculptures defy traditional notions of form; her deeply thoughtful practice as a sculptor and a painter are revealed at length in her writing.

Fifteen museum curators chronicle Eva Hesse's landmark exhibitions over the last half-century while offering a glimpse into the personal dimension of crafting an exhibition.This volume provides a historical account of Eva Hesse’s landmark institutional exhibitions. Contributions from the museum curators involved in organizing these shows reflect the personal dimension of crafting an exhibition, its intent, and reception. Accompanied by extensive installation views, archival material, exhibition-related ephemera, and snapshots, Eva Hesse: Exhibitions, 1972–2022 brings these exhibitions to life.