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Eva Hesse. She’s one of those artists in the Influencer Pantheon who just keeps giving. Her work lights up my dashboard again and again. And how I wish I were going to be in Edinburgh in October rather than November—50 works by Hess, never before seen in public, are being featured in a show as part of the Edinburgh festival. It runs through October 25.

Here is an overview from Laura Cumming in the Guardian:

When the New York Times famously announced that Hesse was “at the outset of a brilliant career” in 1970, its prediction was shockingly mistaken. Not because she had already established herself as a great sculptor by the age of 34, but because she had recently died of cancer.

This anecdote is bitter proof for those who still insist upon Hesse as the Sylvia Plath of art: a refugee from the Nazis, her mother a suicide, her marriage ending in desertion just before the tumour was discovered. But the life is entirely divisible from the art, as these marvellous creations testify. Every little thing here, from the “painting” made of washers to the ribboning scroll of mesh that holds itself nonchalantly aloft, is vivacious, dynamic, surprising, droll – by all accounts, like the artist herself…

To speak of these sub-objects (as they are described in the superb catalogue) as vessels is to miss out all sorts of other nuances of shape. And that’s the joy of it – Hesse hits just beyond verbalisation. It is part of her gift to evade analogy and association and make things so eccentric and awkward they look like nothing else, or nothing else before them. For sculptors have been trying to emulate Hesse ever since.

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Eva Hesse Studiowork, 1968, Courtesy of University of California, Berkeley Art Museum & Pacific Film Archive. Photograph: Abby Robinson/Courtesy of the Fruitmarket Gallery, Edinburgh

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