Lynda Benglis’ legendary practice began in 1960s New York City, her commitment to merging content and form, subverting the paradigms of Minimalism and Modernism, established her formidable role in contemporary art history as a leader in the Post Minimalism movement. The show received high praise in the New Yorker magazine, which warned viewers to "prepare to be floored."[27]. During the 1970s, Benglis engaged in dialogues relating to the feminist movement through her art by pioneering a radical body of video work made up of fifteen videos. Sep 20, 2019. Museum Exhibitions. 1941, Lake Charles, LA) lives and works in New York, NY; Santa Fe, NM; Kastellorizo, Greece; and Ahmedabad, India. [20] Benglis paid $3,000 for the Artforum ad. Lynda Benglis (born October 25, 1941) is an American sculptor and visual artist known especially for her wax paintings and poured latex sculptures. In her early adoption of video, Benglis introduced feminist, biographical, and burlesque content to structuralist narratives. “Lynda Benglis” is on view from August 21 through October 23, 2019, at Pace Gallery, 229 Hamilton Avenue, Palo Alto, Calif. Advertisement Continue reading the main story The conversion of the looped and layered aural and visual components highlights the boundaries of intelligibility, resulting in the disassociation of sound and image. But her invention of new forms … Leslie Feely is committed to making its website accessible to all people, including individuals with disabilities. In the late 1960s, American artist Lynda Benglis (b. “Lynda Benglis” MOCA. In the late 1960s, American artist Lynda Benglis, born in 1941, expanded the boundaries traditionally assigned to media and gender with her bold, physical, and tactile works. Document features a progression undergone by the artist from directed to director, finishing with her writing copyright information juxtaposed to her own image. First recognized in the late 1960s for her poured latex and foam works, Benglis created work that was a perfectly timed retort to the male-dominated fusion of painting and sculpture with the advent of Process Art and Minimalism. [1] Landmarks, the public art program of The University of Texas at Austin, exhibited Now (1973) and archived an essay dedicated to Benglis and her work on their website. Known for her exploration of metaphorical, biomorphic shapes, Lynda Benglis has balanced abstraction with content and gesture with mass, creating a diverse body of work known for its formal and innovative qualities… Benglis received a grant from the National Council of Art Administration in 1989. (139.7 x 190.5 x 54 cm.) [14], Benglis' latex and polyurethane pours of the late 1960s and 1970s marked her entry into the New York art world. "Benglis and the Baroque" explored Benglis' long-held interest in Baroque sculpture; much like Gianlorenzo Bernini, Benglis seeks to freeze the intensity of the moment and merge beauty and sensuality in spectacular frozen gestures. [5][9] Here she came in contact with many of the influential artists of the decade, such as Andy Warhol, Donald Judd, Sol LeWitt, Eva Hesse, and Barnett Newman. … [16] Works such as Fallen Painting (1968) inform the approach with a feminist perspective. The sequence of creation, presented as a gendered self-portrait, is heavily obscured by the layered repetition of aural and visual components. Museum Exhibitions Lynda Benglis On View at the Ogden Museum of Art. [17] Morris, too, put out an advertisement for his work in that month's Artforum which featured himself in full "butch" S&M regalia. This expansive exhibition, organized in cooperation with the NEON organization, includes sculptures of gold leaf, plaster and latex. "[26], In 2011, The New Museum organized a four-decade exhibition of Benglis's sculptural works with supplementary videos, Polaroids, and magazine clippings. Since then, Benglis’s endless innovation has made her a critical figure who has bridged and influenced several generations of artists. It was her way of protesting the macho male monopoly of the art scene of the times. Lynda Benglis’s (b. Lynda Benglis (b. Lynda Benglis (Artist) interview SOT CUTAWAYS Screen showing video clip with headphones in foreground GRAPHICISED Magazine opened in display case showing Benglis nude photo Benglis and reporter along in gallery Statues Metal sculptures Lynda Benglis (Artist) interview SOT CUTAWAYS Various artworks of split paint/ latex / polyurenthene on floor Crystal like towers Reporter and Benglis … and "Start recording!" The straightforward nature of these statements stands in contrast to the confusion created by the recursive screens. The screen shows the artist standing in front of a monitor, viewing another recording of herself inside it. Lynda Benglis. The exhibition focused on the 1960s and 1970s, when her work was most involved with the link between painting and sculpture. The video is a continuation of Benglis’ head in profile, yelling commands such as “Now!” and “Start recording!” against a backdrop of an earlier version of the video, which has been reversed left to right. Landmarks, the public art program of The University of Texas at Austin, exhibited Now (1973) and archived an essay dedicated to Benglis and her work on their website. "The Body Through Women's Eyes". Benglis employs various technical manipulations of video as a medium to complicate the boundaries of visual form and highlight mediations of the self, including a recursive technique by filming television screens playing videos that she had filmed previously, often several layers deep. The ceramic pieces have a handmade quality that effect the senses both desire driven and dismal, while the colors suggest the glitz of commercial culture. Lynda Benglis. Since the 1960s, Lynda Benglis (born 1941) has been celebrated for the free, ecstatic forms she has poured, thrown and molded in ceramic, latex, polyurethane and bronze. Now is the most well-known of these works, and made a significant impact on the field of video art and critical theory. Concentrating on Benglis's early work, the curators gave her a main position in the diverse art of the 70's, a time period that is seen as laying the groundwork for the wide range of expression that continues to grow to this day. Installation views. [22] Critic Cindy Nemser of The Feminist Art Journal dismissed the advertisement as well, claiming that the picture showed that Benglis had "so little confidence in her art that she had to resort to kinky cheesecake to push herself over the top. The screen shows the artist standing in front of a monitor, viewing another recording of herself inside it. In doing so, Benglis emphasizes that video as a medium is based upon mechanical reproduction, thus subverting the classical notion of authenticity and reproduction in fine art.[42]. [25] Benglis eventually cast five lead sculptures of the dildo that she posed with on the Artforum cover, each entitled Smile, one for each of the Artforum editors who wrote in to complain about her ad.[21]. [19] This series culminated with a particularly controversial one in the November 1974 issue of Artforum featuring Benglis aggressively posed with a large latex dildo and wearing only a pair of sunglasses promoting an upcoming exhibition of hers at the Paula Cooper Gallery. Lynda Benglis was born in Lake Charles, Louisiana, in 1941 and graduated from Newcomb College with a BFA in 1964. See more ideas about process art, art, sculpture art. (1993). Lynda Benglis received a BFA from Newcomb College (1964) and an honorary doctorate from the Kansas City Art Institute (2000). [18], In 1975 Benglis was awarded with a Guggenheim Fellowship. Lynda Benglis. Art21 is a celebrated global leader in presenting thought-provoking and sophisticated content about contemporary art, and the go-to place to learn first-hand from the artists of our time. Lynda Benglis (1941, Lake Charles, EUA) és una artista estaunidenca.. La seva coneguda sèrie de Lynda Benglis Self (Jo, 1970-1976) parteix de l’experiència de l’autora per analitzar, des d’un punt de vista crític, els rols que ella i altres artistes exerceixen en el món de l’art. [23] By adopting a phallus, Benglis physically and symbolically muddies the distinction made between these two types of gender performativity and ultimately overturns them, resulting in a positive assertion of femininity's sexual and cultural power. Lynda Benglis (b. [43], Between 1969 and 1995 Benglis held over 75 solo exhibitions of her work both in the United States and abroad. [11][9] There she met the Scottish painter Gordon Hart, who was briefly to be her first husband. The warped sense of time and space works to question the privilege of visuality in such a strongly visual culture, offering a critique of television as a medium as well as the potential truthfulness of any image. “Lynda Benglis: In the Realm of the Senses” is a selection of works dating from 1969. [13] The validity of much of her work was questioned until the 1980s due to its use of sensuality and physicality. askART lists Lynda Benglis in 1 of its research Essays. framed: 1400 by 1055 mm 55⅛ by 41½ in. "[49][50], Benglis won a Yale-Norfolk Summer School Scholarship in 1963, and a Max Beckmann scholarship in 1965. We have identified these works in the following photos from our exhibition history. Carta(s) Magazine. Morris's Exchange (1973) also came out of this collaboration. Landmarks, the public art program of The University of Texas at Austin, exhibited Now (1973) and archived an essay dedicated to Benglis … Wing Lynda Benglis 1970 Quartered Meteor Lynda Benglis 1969 Odalisque: Hey Hey Frankenthaler Lynda Benglis 1969 Lynda Benglis was born in Lake Charles, Louisiana in 1941. [22], In this unmaking of the tradition of the passive female nude, Benglis was working in dialogue with popular discourse about gender and gender performativity published at the time of its execution. In 1971, Benglis began to collaborate with Robert Morris, and produced her first video work, Mumble (1972). Lynda Benglis: Water Sources was the first exhibition centered around the outdoor water fountains that Benglis has developed since the early 1980s. Works from the exhibition. Lynda Benglis lives and works in New York; Santa Fe; Kastellorizo, Greece; and Ahmedabad, India. As a counterweight to the paper sculptures, Benglis also exhibited "The Fall Caught", a large-scale aluminum work made by applying spray foam instead of strips of handmade paper on the chicken wire armature, as well as a new series of spiraling, hand-built black ceramics called "Elephant Necklace". These dual … 1998: Lynda Benglis: Selected Wall Reliefs, USF Contemporary Art Museum, University of South Florida, Tampa, Florida. LYNDA BENGLIS: EARLY WORK 1967–1979 October 8–December 3, 2020. Condition report. Guy Debord and René Viénet, from Lettrism to Situationism [18], Mary Beth Edelson's Some Living American Women Artists / Last Supper (1972) appropriated Leonardo da Vinci’s The Last Supper, with the heads of notable women artists collaged over the heads of Christ and his apostles. Look for the plus icon next to videos throughout the site to add them here. Executed in 1985. Other statements in this video are descriptions such as "Robin is weaving in the studio downstairs," and "the phone is ringing." Works by women artists on the subjects of sex, pleasure and desire. Though Benglis' sculptures reference sexuality through subtly eroticized materials and forms, her video work approaches the subject conceptually and more explicitly. The Body Electric 22 Jun 2020 – 26 Jan 2021. A pioneer of post-minimalism, feminist, and video art, Lynda Benglis rose to prominence in the early 1970s, and has since become known for her aggressively confrontational challenges to accepted social and aesthetic dogmas. [21] One of her original ideas for the advertisement had been for her and collaborative partner Robert Morris to work together as a double pin-up, but eventually found that using a double dildo was sufficient as she found it to be "both male and female". Several decades ago, Lynda Benglis achieved fame and notoriety by placing a full-color ad in ArtForum that consisted of a photograph of herself nude except for a large strap-on dildo. 1941) expanded the boundaries traditionally assigned to … Benglis resides in New York, Santa Fe and Ahmedabad, India. Consequently, Benglis's work destabilizes what are traditionally believed to be video's "inherent properties" such as liveness and "real" time, spatial orientation and relations, and separation of creator and creation.[37]. [18], In 2000 Benglis was awarded an honorary doctorate from the Kansas City Art Institute.[1]. [17], Like other female artists, she was attracted by the newness of a medium that was uncorrupted by male artists. This page was last edited on 13 December 2020, at 23:11. It also included her knotted bowtie shaped wall reliefs of the 1970s and some of her videos. In her new work, documented in this volume, she turns to handmade paper, which she wraps around a chicken wire armature, often painting the sand-toned surface in bright, metallic colors offset by strokes of … 1941, Louisi ana) video, Now (1973) (12 min, color, sound) is the response of herself as performer, which is continually renewed through self-reflection.. Radio del Museo Reina Sofía. 2009: Whitney Museum of American Art, New York. Now is the most well-known of these works, and made a significant impact on the field of video art and critical theory. [24] Rosalind Krauss and other Artforum personnel attacked Benglis's work in the following month's issue of Artforum describing the advertisement as "exploitative" and "brutalizing". But her invention of new forms with unorthodox techniques also displays a reverence for cultural references that trace back to antiquity. In the late 1960s, American artist Lynda Benglis (b. I think the contrast of this and Hesse’s peice would work well together; both displaying overtly natural and unplanned forms, yet in such different … This subsequent survey focused on the exploratory breadth of materials Benglis experimented with over the course of her career: polyurethane foam, glass, enamel, stainless steel, beeswax, and poured latex. 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