Lynda Benglis. Courtesy of Video Data Bank, www.vdb.org. Lynda Benglis,
Hoofer II, 1971–2, glitter, acrylic, pigments, and gesso on plaster, cotton bunting,
and aluminium screen, 102 x 41⁄2 x 3 in. (259.1 x 11.4 x 7.6 cm). Courtesy of the
Author: Susan Richmond
Publisher: Bloomsbury Publishing
In four decades of abstract art practice, Lynda Benglis has not merely challenged the status quo. She has tied it in knots, melted it down and poured it across the floor, cast it in glass, clay and bronze. Daring and sometimes outrageous, her intense and provocative practice has produced some of the most iconic pieces of art from the late twentieth century. Richmond gives serious critical attention to work often dismissed as trivial and rootless, recovering the themes that link the different phases of the artist's quest to capture the 'frozen gesture'. Whether challenging popular tastes and definitions of art with her 1970s abstract knotwork or mocking puritanical aesthetics of gender with her colourful latex pourings and their allusions to corporeal topographies, Benglis never failed to provoke. Her sculptures commemorate and celebrate the processes of creation themselves, combining architectonic abstraction and feminized sensuality in a haunting, visceral theme of the strangeness of the body that runs through all her experiments in glass, video, metals, ceramics, gold leaf, paper and plastics. Lynda Benglis: Beyond Process examines in depth the work and critical neglect of an artist who, perhaps more than any of her contemporaries, changed the face of American art in the 1960s and 1970s, and continues to fetishise, provoke and demand your attention.
The first chapter examines the role of documentation in framing the installations.
Author: Kelly Justine Filreis
Category: Installations (Art)
The first chapter examines the role of documentation in framing the installations. I argue that, while on one hand, documentation flattens, obscures, or otherwise fixes in place the ephemeral objects, it also may offer a way to understand the agency of the material itself. The second chapter turns to another type of frame, which is the site in which they are produced. While many critics observed that the cantilevered pours evoke some kind of environment, I expand on the implications of the term. By situating the cantilevered pours into this significant discourse on photography and site, my project ultimately addresses the seeming disparity between sculptural permanence and ephemeral event in postwar art.
Circa 70 Lynda Benglis, Robert Pincus-Witten. And why should B & B not be as
responsive to the Zeitgeist as the next fellow despite the constraints of the
infinitely greater tug of their own historical achievements ? Though the art of