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Eva Hesse As an undergrad painting major at MassArt, I was struggling horribly to find a way to work. A classmate, Faith, told me about Hesse. That was the turning point in my formal education.
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Doris Salcedo I went to a group show in Soho to see a piece by Mona Hatoum. Salcedo's Atrabiliarios was installed. I'd not heard of Salcedo, and the work simply dug a hole in me. For me, no artist more powerfully models what art can be: intelligent, relevant, compassionate, ambitious, and visceral.
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Krzysztof Wodiczko Wodiczko's work has the same kind of power for me as Salcedo's. He was a visiting artist when I was a graduate student at Maine College of Art, and his presence exerted an extraordinary emotional power.
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Susan Rothenberg A residual part of me wishes I were a painter, partly because of my intense response to Rothenberg's work early in my training. Her paintings are all essence: evocative body and animal parts in a highly charged emotional landscape.
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Anne Truitt The first time I read Daybook, in the mid-1990s, I wept my way through it. Truitt's sensitivities, insights, candor, and exploration of herself in words reveal an exquisiteness of being that comes through purely in her work.
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Paul Chan I read about Paul Chan's Waiting for Godot in New Orleans in 2007, when it was produced. I was moved then, and even more so when I heard Chan speak in a panel discussion with others related to the Godot production at MoMA. Extraordinary.
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