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Current time:0:00Total duration:3:41

Video transcript

it's just not usually up but it's a great esse it's erm wonderfully awful what do you mean by wonderfully off well she's so pushing boundaries and so many important ways I think in order to really appreciate NASA it's really important to understand what her friends what the avant-garde was doing at this moment she was hanging around with people like at Reinhardt with a whole series of artists that were involved in a kind of high conceptualism where there was an attempt to create a kind of perfection in the physical world that represented a kind of ideal it was a kind of purity that was incredibly cerebral it was incredibly geometric and what has the sense when you look at that kind of work that anything that anybody could make that ed Reinhardt could make for instance would be just sort of a platonic shadow of the truth that he was after well leave it to a woman to bring us something down and dirty well I think she did that really consciously I think she was a very conscious feminist in that sense it's early for sort of that phase of feminism but but I think she was very aware of the implications of her making something by hand that was based in this old secondary tradition of handy gravity that women had been saddled with and so she's wrapped thin rope around itself it's actually a beautiful kind of swooping line that's created there but the first impression you have when you look at this because it's this dark brown and it's got this sort of waxy kind of build up it's just incredibly organic and incredibly handmade and it feels like it's of the body feels very Bob it's I mean you don't think about the connotations here what is it revived it's it's scatological its intestines its menstral its events true or it could even be phallic right or it could be sausage right and so you've got this really uncomfortable kind of interaction between bodily functions that we don't like to have mesh we don't like to see these things together but there's a kind of incredible ambiguity and actually if you just think about how the human body has been represented historically this is a pretty radical way of dealing with the human body and the way in which we think about ourselves right if this is food if it's experiment if it's our own bodies represented all together somehow I mean that's a pretty intense series of associations that's sure but it's something that I feel like feminism is gonna take up and really run with they will and I think HESA is rightly seen as one of the most important artists that so many people then later respond to I mean I can't imagine Kiki Smith's work for instance without Eva Hesse primitivism yeah this looks like a fetish object in an African culture there really is weapon or something like that - oh so this seems because of its materiality because of its sort of old Miss and it's handmade this it feels like it could be in an ethnographic museum that actually plays directly into what we were talking about a moment ago in terms of the self-conscious secondary Necedah din this because we always think of that as not fine art right and so is she very sort of self-consciously putting herself forward not as an artist in the highest order it's really in opposition to what her friends were doing what what was happening in the art world she's great you