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d여기에서 Benedict Cumberbatch reads Sol LeWitt’s letter to Eva Hesse – sol de witt letter to eva hesse 주제에 대한 세부정보를 참조하세요
In 1960, pioneering American artists Sol LeWitt and Eva Hesse met for the first time and became close friends. In 1965, Eva found herself facing a creative block during a period of self-doubt, and told Sol of her frustrating predicament. Sol replied with this letter.
Read by Benedict Cumberbatch for Letters Live at the Freemason’s Hall in London.
For more information about Letters Live: www.letterslive.com
sol de witt letter to eva hesse 주제에 대한 자세한 내용은 여기를 참조하세요.
Do: Sol LeWitt’s Electrifying Letter of Advice on Self-Doubt …
… what the artist Sol LeWitt (September 9, 1928–April 8, 2007) offers in a spectacular 1965 letter to the trailblazing sculptor Eva Hesse, …
Source: www.themarginalian.org
Date Published: 6/14/2022
View: 9873
Sol LeWitt’s Letter to Eva Hesse – I N J A C
Try and tickle something inse you, your “weird humor.” You belong in the most secret part of you. Don’t worry about cool, make your own uncool …
Source: borisinjac.com
Date Published: 2/14/2021
View: 6753
Sol LeWitt’s Advice to Eva Hesse: Don’t Worry About Cool …
Sol LeWitt’s Advice to Eva Hesse: Don’t Worry About Cool, Make Your Own Uncool … Because I’m surrounded by artists in both my professional and …
Source: gwarlingo.com
Date Published: 9/8/2022
View: 1387
Sol LeWitt’s Advice To Eva Hesse Is What Every Creative …
Sol LeWitt’s Advice To Eva Hesse Is What Every Creative Person Needs To Hear … In the summer of 1964, the German-American sculptor Eva Hesse …
Source: www.huffpost.com
Date Published: 7/4/2021
View: 4125
Eva Hesse and Sol LeWitt correspondence – Hauser & Wirth
Eva Hesse and Sol LeWitt enjoyed a correspondence that lasted years. Their letters were emotional, personal and often about creative process …
Source: www.hauserwirth.com
Date Published: 4/6/2022
View: 8808
“Stop it and just Do!”: Sol Lewitt’s advice to Eva Hesse
Eva Hesse’s relationship with the artist Sol Lewitt might be part … In 1965, Lewitt wrote Hesse a long letter filled with encouragement:.
Source: burchfieldpenney.org
Date Published: 1/9/2022
View: 6652
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주제와 관련된 더 많은 사진을 참조하십시오 Benedict Cumberbatch reads Sol LeWitt’s letter to Eva Hesse. 댓글에서 더 많은 관련 이미지를 보거나 필요한 경우 더 많은 관련 기사를 볼 수 있습니다.
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- Author: Letters Live
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- Date Published: 2016. 9. 26.
- Video Url link: https://www.youtube.com/watch?v=VnSMIgsPj5M
What was the main advice Sol Lewitt gave Eva Hesse in the letter he wrote to her?
In 1965, Lewitt wrote Hesse a long letter filled with encouragement: “Just stop thinking, worrying, looking over your shoulder wondering, doubting, fearing, hurting, hoping for some easy way out, struggling, grasping… Stop it and just DO!” “Don’t worry about cool, make your own uncool.
Do Sol LeWitt letter?
I have an “Agonizing Reappraisal” of my work and change everything as much as possible — and hate everything I’ve done, and try to do something entirely different and better. Maybe that kind of process is necessary to me, pushing me on and on.
What is Conceptual Art Sol LeWitt?
In 1967, artist Sol LeWitt gave this new art a name in his essay “Paragraphs on Conceptual Art.” He wrote, “The idea itself, even if it is not made visual, is as much of a work of art as any finished product.” Conceptual artists used their work to question the notion of what art is, and often rejected museums and …
What type of artist is Eva Hesse?
Do: Sol LeWitt’s Electrifying Letter of Advice on Self-Doubt, Overcoming Creative Block, and Being an Artist
“The great doesn’t happen through impulse alone, and is a succession of little things that are brought together,” Vincent van Gogh wrote in contemplating principles, talking vs. doing, and the human pursuit of greatness in a beautiful letter to his brother Theo. “Making your unknown known is the important thing — and keeping the unknown always beyond you,” Georgia O’Keeffe wrote in her memorable letter to Sherwood Anderson about success, public opinion, and what it really means to be an artist. But how does one keep a solid center of principled conviction while at the same time expanding outward into widening circles of growth-impulses, always reaching for the unknown without letting competence fester into complacency or perfectionism become an anchor of stagnation?
The answer to that, and to other elemental perplexities of the creative life, is what the artist Sol LeWitt (September 9, 1928–April 8, 2007) offers in a spectacular 1965 letter to the trailblazing sculptor Eva Hesse, whom he had befriended five years earlier. Hesse, a disciple of Josef Albers and a pioneer of the postminimalist art movement of the 1960s, began suffering from creative block and self-doubt shortly after moving from New York to Germany with her husband. She reached out to her friend for counsel and consolation.
The masterpiece of a response LeWitt wrote on April 14, 1965 was later included in Letters of Note: Correspondence Deserving of a Wider Audience (public library) — the magnificent anthology edited by Shaun Usher, which gave us young Hunter S. Thompson on how to live a meaningful life, E.B. White’s luminous assurance to a man who had lost faith in humanity, and Hemingway’s tough-love advice on writing and life to F. Scott Fitzgerald.
In his impassioned five-page missive, which remains the closest thing to a personal creative credo LeWitt ever committed to words, the 41-year-old artist writes to Hesse:
Dear Eva, It will be almost a month since you wrote to me and you have possibly forgotten your state of mind (I doubt it though). You seem the same as always, and being you, hate every minute of it. Don’t! Learn to say “Fuck You” to the world once in a while. You have every right to. Just stop thinking, worrying, looking over your shoulder, wondering, doubting, fearing, hurting, hoping for some easy way out, struggling, grasping, confusing, itching, scratching, mumbling, bumbling, grumbling, humbling, stumbling, numbling, rambling, gambling, tumbling, scumbling, scrambling, hitching, hatching, bitching, moaning, groaning, honing, boning, horse-shitting, hair-splitting, nit-picking, piss-trickling, nose sticking, ass-gouging, eyeball-poking, finger-pointing, alleyway-sneaking, long waiting, small stepping, evil-eyeing, back-scratching, searching, perching, besmirching, grinding, grinding, grinding away at yourself. Stop it and just DO
In a sentiment that calls to mind the central Buddhist notion of shunyata [emptiness] as a wellspring of wisdom, LeWitt urges Hesse to cease overthinking her art and abandon her attachments to what it must be:
From your description, and from what I know of your previous work and your ability; the work you are doing sounds very good “Drawing — clean — clear but crazy like machines, larger and bolder… real nonsense.” That sounds fine, wonderful — real nonsense. Do more. More nonsensical, more crazy, more machines, more breasts, penises, cunts, whatever — make them abound with nonsense. Try and tickle something inside you, your “weird humor.” You belong in the most secret part of you. Don’t worry about cool, make your own uncool. Make your own, your own world. If you fear, make it work for you — draw & paint your fear & anxiety. And stop worrying about big, deep things such as “to decide on a purpose and way of life, a consistant [sic] approach to even some impossible end or even an imagined end.” You must practice being stupid, dumb, unthinking, empty. Then you will be able to DO
LeWitt reminds Hesse that perfectionism kills creativity and, in a parallel to Jennifer Egan’s assertion that bad writing is “a way of priming the pump” for great writing, urges her to surrender the addiction to good work and use the bad as a springboard into the great:
I have much confidence in you and even though you are tormenting yourself, the work you do is very good. Try to do some BAD work — the worst you can think of and see what happens but mainly relax and let everything go to hell — you are not responsible for the world — you are only responsible for your work — so DO IT. And don’t think that your work has to conform to any preconceived form, idea or flavor. It can be anything you want it to be. But if life would be easier for you if you stopped working — then stop. Don’t punish yourself. However, I think that it is so deeply engrained in you that it would be easier to DO
Echoing O’Keeffe’s insistence that the discipline of being an artist is about “catching crystallizing your simpler clearer version of life,” LeWitt concludes:
It seems I do understand your attitude somewhat, anyway, because I go through a similar process every so often. I have an “Agonizing Reappraisal” of my work and change everything as much as possible — and hate everything I’ve done, and try to do something entirely different and better. Maybe that kind of process is necessary to me, pushing me on and on. The feeling that I can do better than that shit I just did. Maybe you need your agony to accomplish what you do. And maybe it goads you on to do better. But it is very painful I know. It would be better if you had the confidence just to do the stuff and not even think about it. Can’t you leave the “world” and “ART” alone and also quit fondling your ego. I know that you (or anyone) can only work so much and the rest of the time you are left with your thoughts. But when you work or before your work you have to empty your mind and concentrate on what you are doing. After you do something it is done and that’s that. After a while you can see some are better than others but also you can see what direction you are going. I’m sure you know all that. You also must know that you don’t have to justify your work — not even to yourself. Well, you know I admire your work greatly and can’t understand why you are so bothered by it. But you can see the next ones & I can’t. You also must believe in your ability. I think you do. So try the most outrageous things you can — shock yourself. You have at your power the ability to do anything. […] Much love to you both. Sol
The following year, Hesse created “Hang-Up” — one of her most acclaimed and admired sculptures, of which she reflected:
It was the first time my idea of absurdity or extreme feeling came through… It is the most ridiculous structure that I ever made and that is why it is really good.
This was LeWitt’s advice, made tangible and given form.
The two artists remained close friends and creative kindred spirits, exchanging ideas and influencing each other’s work, for the remainder of Hesse’s short life. She was slain by a brain tumor in 1970, at only thirty-four. Two days after her death, LeWitt created “Wall Drawing 46,” which he dedicated to his friend. With its minimalist multitude of textured non-straight lines — a graphic element he had never used before — the piece was a significant aesthetic shift for LeWitt, who would go on to incorporate non-straight lines in his subsequent work, crediting Hesse’s influence.
Complement this particular fragment of the endlessly rewarding Letters of Note with Brian Eno’s “oblique strategies” for overcoming creative block, John Steinbeck’s disciplined cure for self-doubt, and some of today’s most celebrated artists on creative courage and what it takes to be an artist.
Thanks, Wendy
Sol LeWitt’s Letter to Eva Hesse – I N J A C
Do: Sol LeWitt’s Letter of Advice on Self-Doubt, Overcoming Creative Block, and Being an Artist
In 1960, pioneering American artists Sol LeWitt and Eva Hesse met for the first time and became close friends. In 1965, Eva found herself facing a creative block during a period of self-doubt, and told Sol of her frustrating predicament. Sol replied with this letter.
Dear Eva,
It will be almost a month since you wrote to me and you have possibly forgotten your state of mind (I doubt it though). You seem the same as always, and being you, hate every minute of it. Don’t! Learn to say “Fuck You” to the world once in a while. You have every right to. Just stop thinking, worrying, looking over your shoulder wondering, doubting, fearing, hurting, hoping for some easy way out, struggling, grasping, confusing, itchin, scratching, mumbling, bumbling, grumbling, humbling, stumbling, numbling, rumbling, gambling, tumbling, scumbling, scrambling, hitching, hatching, bitching, moaning, groaning, honing, boning, horse-shitting, hair-splitting, nit-picking, piss-trickling, nose sticking, ass-gouging, eyeball-poking, finger-pointing, alleyway-sneaking, long waiting, small stepping, evil-eyeing, back-scratching, searching, perching, besmirching, grinding, grinding, grinding away at yourself. Stop it and just DO!
From your description, and from what I know of your previous work and you [sic] ability; the work you are doing sounds very good “Drawing-clean-clear but crazy like machines, larger and bolder… real nonsense.” That sounds fine, wonderful – real nonsense. Do more. More nonsensical, more crazy, more machines, more breasts, penises, cunts, whatever – make them abound with nonsense. Try and tickle something inside you, your “weird humor.” You belong in the most secret part of you. Don’t worry about cool, make your own uncool. Make your own, your own world. If you fear, make it work for you – draw & paint your fear and anxiety. And stop worrying about big, deep things such as “to decide on a purpose and way of life, a consistant [sic] approach to even some impossible end or even an imagined end” You must practice being stupid, dumb, unthinking, empty. Then you will be able to DO!
I have much confidence in you and even though you are tormenting yourself, the work you do is very good. Try to do some BAD work – the worst you can think of and see what happens but mainly relax and let everything go to hell – you are not responsible for the world – you are only responsible for your work – so DO IT. And don’t think that your work has to conform to any preconceived form, idea or flavor. It can be anything you want it to be. But if life would be easier for you if you stopped working – then stop. Don’t punish yourself. However, I think that it is so deeply engrained in you that it would be easier to DO!
It seems I do understand your attitude somewhat, anyway, because I go through a similar process every so often. I have an “Agonizing Reappraisal” of my work and change everything as much as possible = and hate everything I’ve done, and try to do something entirely different and better. Maybe that kind of process is necessary to me, pushing me on and on. The feeling that I can do better than that shit I just did. Maybe you need your agony to accomplish what you do. And maybe it goads you on to do better. But it is very painful I know. It would be better if you had the confidence just to do the stuff and not even think about it. Can’t you leave the “world” and “ART” alone and also quit fondling your ego. I know that you (or anyone) can only work so much and the rest of the time you are left with your thoughts. But when you work or before your work you have to empty you [sic] mind and concentrate on what you are doing. After you do something it is done and that’s that. After a while you can see some are better than others but also you can see what direction you are going. I’m sure you know all that. You also must know that you don’t have to justify your work – not even to yourself. Well, you know I admire your work greatly and can’t understand why you are so bothered by it. But you can see the next ones and I can’t. You also must believe in your ability. I think you do. So try the most outrageous things you can – shock yourself. You have at your power the ability to do anything.
I would like to see your work and will have to be content to wait until Aug or Sept. I have seen photos of some of Tom’s new things at Lucy’s. They are impressive – especially the ones with the more rigorous form: the simpler ones. I guess he’ll send some more later on. Let me know how the shows are going and that kind of stuff.
My work had changed since you left and it is much better. I will be having a show May 4 -9 at the Daniels Gallery 17 E 64yh St (where Emmerich was), I wish you could be there. Much love to you both.
Do: Sol LeWitt’s Electrifying Letter of Advice on Self-Doubt, Overcoming Creative Block, and Being an Artist
“The great doesn’t happen through impulse alone, and is a succession of little things that are brought together,” Vincent van Gogh wrote in contemplating principles, talking vs. doing, and the human pursuit of greatness in a beautiful letter to his brother Theo. “Making your unknown known is the important thing — and keeping the unknown always beyond you,” Georgia O’Keeffe wrote in her memorable letter to Sherwood Anderson about success, public opinion, and what it really means to be an artist. But how does one keep a solid center of principled conviction while at the same time expanding outward into widening circles of growth-impulses, always reaching for the unknown without letting competence fester into complacency or perfectionism become an anchor of stagnation?
The answer to that, and to other elemental perplexities of the creative life, is what the artist Sol LeWitt (September 9, 1928–April 8, 2007) offers in a spectacular 1965 letter to the trailblazing sculptor Eva Hesse, whom he had befriended five years earlier. Hesse, a disciple of Josef Albers and a pioneer of the postminimalist art movement of the 1960s, began suffering from creative block and self-doubt shortly after moving from New York to Germany with her husband. She reached out to her friend for counsel and consolation.
The masterpiece of a response LeWitt wrote on April 14, 1965 was later included in Letters of Note: Correspondence Deserving of a Wider Audience (public library) — the magnificent anthology edited by Shaun Usher, which gave us young Hunter S. Thompson on how to live a meaningful life, E.B. White’s luminous assurance to a man who had lost faith in humanity, and Hemingway’s tough-love advice on writing and life to F. Scott Fitzgerald.
In his impassioned five-page missive, which remains the closest thing to a personal creative credo LeWitt ever committed to words, the 41-year-old artist writes to Hesse:
Dear Eva, It will be almost a month since you wrote to me and you have possibly forgotten your state of mind (I doubt it though). You seem the same as always, and being you, hate every minute of it. Don’t! Learn to say “Fuck You” to the world once in a while. You have every right to. Just stop thinking, worrying, looking over your shoulder, wondering, doubting, fearing, hurting, hoping for some easy way out, struggling, grasping, confusing, itching, scratching, mumbling, bumbling, grumbling, humbling, stumbling, numbling, rambling, gambling, tumbling, scumbling, scrambling, hitching, hatching, bitching, moaning, groaning, honing, boning, horse-shitting, hair-splitting, nit-picking, piss-trickling, nose sticking, ass-gouging, eyeball-poking, finger-pointing, alleyway-sneaking, long waiting, small stepping, evil-eyeing, back-scratching, searching, perching, besmirching, grinding, grinding, grinding away at yourself. Stop it and just DO
In a sentiment that calls to mind the central Buddhist notion of shunyata [emptiness] as a wellspring of wisdom, LeWitt urges Hesse to cease overthinking her art and abandon her attachments to what it must be:
From your description, and from what I know of your previous work and your ability; the work you are doing sounds very good “Drawing — clean — clear but crazy like machines, larger and bolder… real nonsense.” That sounds fine, wonderful — real nonsense. Do more. More nonsensical, more crazy, more machines, more breasts, penises, cunts, whatever — make them abound with nonsense. Try and tickle something inside you, your “weird humor.” You belong in the most secret part of you. Don’t worry about cool, make your own uncool. Make your own, your own world. If you fear, make it work for you — draw & paint your fear & anxiety. And stop worrying about big, deep things such as “to decide on a purpose and way of life, a consistant [sic] approach to even some impossible end or even an imagined end.” You must practice being stupid, dumb, unthinking, empty. Then you will be able to DO
LeWitt reminds Hesse that perfectionism kills creativity and, in a parallel to Jennifer Egan’s assertion that bad writing is “a way of priming the pump” for great writing, urges her to surrender the addiction to good work and use the bad as a springboard into the great:
I have much confidence in you and even though you are tormenting yourself, the work you do is very good. Try to do some BAD work — the worst you can think of and see what happens but mainly relax and let everything go to hell — you are not responsible for the world — you are only responsible for your work — so DO IT. And don’t think that your work has to conform to any preconceived form, idea or flavor. It can be anything you want it to be. But if life would be easier for you if you stopped working — then stop. Don’t punish yourself. However, I think that it is so deeply engrained in you that it would be easier to DO
Echoing O’Keeffe’s insistence that the discipline of being an artist is about “catching crystallizing your simpler clearer version of life,” LeWitt concludes:
It seems I do understand your attitude somewhat, anyway, because I go through a similar process every so often. I have an “Agonizing Reappraisal” of my work and change everything as much as possible — and hate everything I’ve done, and try to do something entirely different and better. Maybe that kind of process is necessary to me, pushing me on and on. The feeling that I can do better than that shit I just did. Maybe you need your agony to accomplish what you do. And maybe it goads you on to do better. But it is very painful I know. It would be better if you had the confidence just to do the stuff and not even think about it. Can’t you leave the “world” and “ART” alone and also quit fondling your ego. I know that you (or anyone) can only work so much and the rest of the time you are left with your thoughts. But when you work or before your work you have to empty your mind and concentrate on what you are doing. After you do something it is done and that’s that. After a while you can see some are better than others but also you can see what direction you are going. I’m sure you know all that. You also must know that you don’t have to justify your work — not even to yourself. Well, you know I admire your work greatly and can’t understand why you are so bothered by it. But you can see the next ones & I can’t. You also must believe in your ability. I think you do. So try the most outrageous things you can — shock yourself. You have at your power the ability to do anything. […] Much love to you both. Sol
The following year, Hesse created “Hang-Up” — one of her most acclaimed and admired sculptures, of which she reflected:
It was the first time my idea of absurdity or extreme feeling came through… It is the most ridiculous structure that I ever made and that is why it is really good.
This was LeWitt’s advice, made tangible and given form.
The two artists remained close friends and creative kindred spirits, exchanging ideas and influencing each other’s work, for the remainder of Hesse’s short life. She was slain by a brain tumor in 1970, at only thirty-four. Two days after her death, LeWitt created “Wall Drawing 46,” which he dedicated to his friend. With its minimalist multitude of textured non-straight lines — a graphic element he had never used before — the piece was a significant aesthetic shift for LeWitt, who would go on to incorporate non-straight lines in his subsequent work, crediting Hesse’s influence.
Complement this particular fragment of the endlessly rewarding Letters of Note with Brian Eno’s “oblique strategies” for overcoming creative block, John Steinbeck’s disciplined cure for self-doubt, and some of today’s most celebrated artists on creative courage and what it takes to be an artist.
Thanks, Wendy
Sol LeWitt’s Advice To Eva Hesse Is What Every Creative Person Needs To Hear
In the summer of 1964, the German-American sculptor Eva Hesse began experiencing a solid case of creative block. She, like many artists before and after her, was in a slump. “One should be content with the process [of making art] as well as the result,” she wrote at the time. “I am not.”
In an effort to overcome her sudden lack of confidence in herself and her work, she reached out to fellow artist Sol LeWitt. In the spring and summer of 1965, LeWitt, famous for his conceptual murals, sent Hesse the following advice:
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“Stop worrying about big deep things,” he wrote in a letter. “You must practice being stupid, dumb, unthinking, empty. Then youʼll be able to DO.”
Their correspondence continued:
Dear Sol,
I want to thank you for your letter. I finished one more. They are good. Iʼm working a third one. Much difficulties, but at least Iʼm pushing, and I will be. I swear it. Dear Eva,
Just stop thinking, worrying, looking over your shoulder, wondering doubting, fearing, hurting, hoping for some easy way out, struggling, grasping, confusing, itching, scratching, mumbling, bumbling, grumbling, humbling, stumbling, rumbling, rambling, gambling, tumbling, scumbling, scrambling, hitching, hatching, bitching, moaning, groaning, honing, boning, horse shitting, hair splitting, nit picking, pisstrickling, nose sticking assgouging, eyeball poking, finger pointing, alleyway sneaking, long waiting, small stepping, evil eyeing, backscratching, searching, perching, besmirching, grinding, grinding, grinding, grinding away at yourself.
Stop it and just do!
The letters between Hesse and LeWitt surfaced as part of a four-year research endeavor, conducted by director and producer Marcie Begleiter and her team. What began as a week spent reading the postminimalist artist’s unpublished writing at Allen Memorial Art Museum in Ohio has resulted in “Eva Hesse,” a completed, feature-length documentary, set to hit theaters in the U.S. in April of 2016.
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The film, produced by Karen Shapiro, tells the story of Hesse, one of the few women recognized as key to the New York art scene in the 1960s, boasting a schedule of over 20 group exhibitions in 1970 alone. Sadly, Hesse died of a brain tumor that year at the age of 34, leaving behind a trove of latex, fiberglass and plastic sculpture that would wind its way to institutions like the Guggenheim, the Tate, the Museum of Modern Art and the Pompidou following her death.
“Eva Hesse,” which is currently raising distribution funds on Kickstarter, aims to shed light on Hesse’s role in NYC’s creative downtown community in particular, linking together her childhood in 1930s Germany with her burgeoning feminist artwork in America. Begleiter interviewed art giants like Richard Serra and Nancy Holt, splicing this footage with archival material from the ’60s. Selma Blair provides the narration, comprised primarily of Hesse’s own words excerpted from her journals.
“Eva Hesse explores the universal challenge of living an engaged life; a life of courage, discipline and joy even when the world is telling you that you have little chance of success,” the Kickstarter campaign explains. “It is a story about art and about life; and how the two combine to create one of the most universal of life’s experiences.”
You can read more about the film over on Kickstarter. Check out a preview of the letters between Sol LeWitt and Eva Hesse below.
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Note: The above are excepts from their correspondence in the Spring/Summer of 1965. They have been edited in the documentary to reflect the conversational nature of the back-and-forth.
“Eva Hesse” Documentary “Eva Hesse” Documentary “Eva Hesse” Documentary “Eva Hesse” Documentary “Eva Hesse” Documentary “Eva Hesse” Documentary “Eva Hesse” Documentary “Eva Hesse” Documentary
Also on HuffPost:
Eva Hesse and Sol LeWitt correspondence – Hauser & Wirth
Eva Hesse and Sol LeWitt enjoyed a correspondence that lasted years. Their letters were emotional, personal and often about creative process. Early in her career, she wrote him with uncertainty about the path ahead. His response was an inspiration to her and an anthem for many who followed.
Eva Hesse and Sol LeWitt enjoyed a correspondence that lasted years. Their letters were emotional, personal and often about creative process. Early in her career, she wrote him with uncertainty about the path ahead. His response was an inspiration to her and an anthem for many who followed.
From the documentary ‘Eva Hesse’ Eva Hesse, Life + Work Documentary, with Selma Blair voicing Hesse’s letters and Patrick Kennedy voicing Sol LeWitt.
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Benedict #Cumberbatch #reads #Sol #LeWitt’s #letter #to #Eva #Hesse
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주제에 대한 기사를 시청해 주셔서 감사합니다 Benedict Cumberbatch reads Sol LeWitt’s letter to Eva Hesse | sol de witt letter to eva hesse, 이 기사가 유용하다고 생각되면 공유하십시오, 매우 감사합니다.
