Eva Hesse

Mm

... and Robert Smithson was there, and, like, Eva Hesse had already died, but she was one of my favorite artists.

She, she was a really great sculptor who died very young.

And then Jonas Mekas taught me there.

From 1958 to 1973, she was a totally vital presence in the New York art world.

For instance, in 1961, she lived in the same building as Donald Judd and Eva Hesse.

In 1965, she lived in the same building as Klaus Ohlenberg and Uncle Laura.

As of today, as of this recording, she is 96 years old, and she has been a practicing artist for over seven decades.

Like this project became a really good metaphor for those tensions for me and like going through those stages-

Hmm

... like artistically, and I'm happy with where it ended up.

Oh, I think it's, it's such a beautiful work and so, um, it was so meaningful to me personally reading it.

There are many things of both of your books that stuck with me, but just in a parallel to the, the honey thing from What Looks Like Bravery, in How to Say Goodbye, one of the things that I think really stuck with me and was emotionally really like hit me in the gut when I read it, and I, I've kept thinking about, is because you use visuals and narrative, you're able to in a way that I, I've really never seen in a book that is just words.

[laughs]

The other artist I wanted to ask how that artist has been important to you is Eva Hesse.

Okay.

Before Eva Hesse, maybe I can bring up somebody who is maybe within the conversation of Richard Serra-

Yeah, please

...

Yeah.

I- she was like, I, I fell in love with her work so hard, and I got to see a big show of hers at the Dia Beacon last summer while I was teaching at Bard, and it was, it was quite special.