Thick with sparkles … Toyopet Crown, 1989. Had Pollock been alive, I would have met him. Even if it weren’t for the huge, double-ended dildo between her legs, her expression is enough to freeze you in your tracks. Worin siehst du deine Aufgabe als Künstler? It is not an exhaustive assessment, but in 150 citation-packed pages, Richmond thoughtfully examines the artist’s motives and methods during the past five decades. And it’s proving to be a busy year—not only is her original World’s Fair fountain, which was lost for decades, returning to public display in New Orleans, but now Benglis has her first comprehensive, career-spanning museum retrospective in the United Kingdom at the Hepworth Wakefield (running until July 5); works ranging 50 years will be in the same location for the first time, offering a true examination of Benglis’s humor, precision, and physicality. By Andy Campbell. I’m more of a physical proprioceptive—more like a dancer. I’m not even aware of my body.”, Frieze Masters 2017 review – 'You want sex? BENGLIS: Exactly. BALDESSARI: Have you seen the new painting show at MoMA? She maintains residences in New York City, Santa Fe, New Mexico, Kastellorizo, Greece, and Ahmedabad, India. I’ve always been excessive when it comes to spending on that. Lynda Benglis is a feminist icon. But nobody was interested. BENGLIS: Oh, yeah. Die Suche nach Bildern und das Schaffen von Neuem birgt unendliche Möglichkeiten. In certain respects, without Benglis’s influence, it is hard to imagine the careers or artists as diverse as Cindy Sherman and Rachel Harrison—many artists owe something to her deft, idiosyncratic fusion of formal and social concerns. Every artist does a self-portrait at one period. I have to say that interviewing Lynda Benglis was a painful process in its anticipation. The interview took place at Benglis' Studio in New York, NY, and was conducted by Judith Tannenbaum for the Archives of American Art, Smithsonian Institution. Episode #163: Filmed in 2011, artist Lynda Benglis gives a tour of the family home of Anand Sarabhai in Ahmedabad, India, a city she has been visiting and working in for over thirty years. Lynda Benglis (born October 25, 1941) is an American sculptor and visual artist known especially for her wax paintings and poured latex sculptures. And then when I saw your work, I thought, “Wow, this is fantastic. I was frightened that maybe the hurricane had taken it away. BENGLIS: Well, maybe that piece was a result of how upset I was that you exposed your wife in that portrait! BENGLIS: When my mother saw my Artforum piece, she said, “They’ll never forget that!” And my father said “Egad” and walked out of the room. BALDESSARI: Well, you never know how you influence other artists. I came in around holiday time, and I didn’t know a thing; I couldn’t mix a drink. As they said, they’ve both been working long enough to know where to find their sources of inspiration-and know when they’re on to something right. I create planes. View Collection Locations Archival Resources. Benglis arrived in New York in 1964, finding an art world that was “very open to new ideas. BENGLIS: I came to New York when I was just 22, and I thought I knew everything at that stage, as all 22-year-olds think. Helen Frankenthaler and I were asked to be on a TV program in the early ’70s, to be interviewed together, but I don’t think she wanted to do it. Now, She’s at Her Most Prolific. With bases in New York, Santa Fe, Kastellorizo in Greece and Ahmedabad in India, she’s flown into London to oversee a special presentation of her work at. The Hepworth Wakefield. I’d walk into the space and see all these nice fabrics and doors. Lynda Marie Benglis. Everything I do, I always want to be beyond that. I have about 150 acres. BENGLIS: I think I started doing the pouring because I couldn’t pour wax on the floor and make it work, and I wasn’t interested in straight canvases. BENGLIS: Well, that’s good because then we can keep doing what we like to do. Given that her work seems to reject any fixed style or creed, it’s unsurprising that she’s ambivalent about labels. BENGLIS: I can remember going down to install a piece for a museum in Dallas, Texas, where I was approached by a collector—the Murchisons. BENGLIS: They were directly on the floor. I remember when I was working as a waitress in New York at the Black Cat Bar. But, in fact, I did go to Germany to do a installation there not long after. Mar 28, 2015 - On the eve of a career retrospective, the fearless, material-testing, globe-hopping artist is still exploring color, motion, and monumental states—and she isn't backing down. Now, She’s at Her Most Prolific. Review Postwar Art Gets a Nervy Makeover New York Times September 14, 2017. by Roberta Smith . BALDESSARI: You’re right. During the heyday of Minimalism in 1974, Benglis placed a highly controversial ad in the magazine, after the editors there had refused to illustrate an interview with her using a nude self-portrait. But then I feel like I’m always racing for time. Lynda Benglis on the Pleasures of Decoration, and Why She’s ‘Very Uncomfortable’ Being Called a Feminist Artist . Worin siehst du deine Aufgabe als Künstler? Interview. The hair on my head stood straight up. You don’t have to have a stretcher bar to do a painting.”. It went back and forth. Benglis is known for working with wax and latex. Judy Chicago then posed with boxing gloves, ready to take on the boy’s club. BENGLIS: Well, where are they showing something new? They actually proposed I do a piece for them. Where to begin? And there was a lady working in the building, and she was appalled. It was basically lost for decades to the public. There were none with women being empowered. Linked Open Data Linked Open Data URI. Lynda Benglis (1941- ) is a sculptor in New York, New York. It was before I met you. When I said no, Mrs. Murchison said that my next pour should be in Germany. Next came the latex pours that earned her the Jackson Pollock comparison, their lurid oranges, yellows, reds and greens inspired by the “shocking colours” she encountered walking around Chinatown. In this interview, Lynda Benglis discusses the retrospective, the Whitney show she was forced to withdraw from and the final resolution on her first fountain work, The Wave of the World. A polarising figure within the women’s movement of the time, she made videos and self-portraits that are as button-pushing as ever. It was needed.”. Dancing with Clay: An Interview with Lynda Benglis. Lynda BenglisJ Ever a quick study, Lynda Benglis earned her place in the heady roiling New York art world of the mid-JROIs not long after she arrived there from the Louisiana outback as a freshly minted BFA, with honors in painting and ceramics. Die Suche nach Bildern und das Schaffen von Neuem birgt unendliche Möglichkeiten. “My mother said, ‘Lynda, they’ll never forget.’ But I knew then – I knew – it would be a challenge to me and my work. “There’s a buoyancy,” she says, “a sliding, like if you’re scuba-diving or on a Ferris wheel or a rollercoaster. But take a look. BALDESSARI: I think only a few. Kulturwissenschaftler Thomas Macho erklärt den … Lynda Benglis. I’d rather be in my studio all the time.LYNDA BENGLIS. They had a small space downtown. “And I put some humour into the women’s movement. Also, in May, the Storm King Art Center in upstate New York will show a survey of the artist’s outdoor and indoor sculptures, many of them fountains. This is the case of Lynda Benglis, an artist who found new methods to create beautiful sculptures and who made a strong statement as a feminist in art history. But I was mocking the whole issue of figure ground. Lynda Benglis: Water Sources, 2015, was the first exhibition centered around the outdoor water fountains that the artist has been developing since the early 1980s. 061 LYNDA BENGLIS, Hyades, 1982 (Bronzedraht, Zink, Kupfer, Aluminium, 41 x 33 x 17", Paula Cooper, Foto eeva-inkeri) KUNSTFORUM Probe lesen „Kunstforum ist … BALDESSARI: I don’t know. Right now, I’m just kind of floating in the paper. Review Postwar Art Gets a Nervy Makeover New York Times September 14, 2017. by Roberta Smith . That’s kind of a painter’s thing, a surface thing. Who were some of the artists you met when you first moved to New York in the ’60s? Wie äußert sich deine Stimme im Werk? It feels rather appropriate: while her image as the raunchy provocateur has left an indelible mark on our culture, it’s clear she left it behind long ago. I always needed money to buy the latex and the pigments, so I worked to get them. Modern Art was the first one where I did my first fountain. “Pollock, Helen Frankenthaler and Morris Louis were dealing with a contained space, but I wanted to be relatively boundless in form and format.” Soon she was expanding into foam sculpture, creating them in situ in galleries, or casting them in aluminium and having them jut out of the wall like wings. Cindy Sherman, the 1980s queen of gender role-play and Benglis’s former student, said it shifted her thinking (“she kicked ass!”). I spend quite a bit of money just on materials. But I learned a great deal. Lynda Benglis is the subject of a year-long investigation into her work as part of the Bergen Assembly, which takes place in Norway this year. . And I began thinking about the male gaze, I suppose. You’ve traveled a lot more than I have. So it will be on display again as a working fountain. Lynda Benglis Interview ArtForum June 8, 2018. But there’s one thing that I wanted to say, actually—and that’s about the way you draw. Lynda Benglis: She is another red-haired lady, and an artist, and she was in India and made kites with her own hair. But I remember I saved up $500, and I blew it all on Day-Glo pigments, big, 500-pound vats. Judy Chicago then posed with boxing gloves, Frieze Masters, Regent’s Park, London, ends on 8 October. Lynda Benglis. And that’s what you saw. interview Clemens Matschnig; Russel Means 100 x 70 cm Tusche, Acryl, Schellack, Schnur auf Leinwand | untitled 200 x 180 cm Tusche, Acryl, Schnur auf Leinwand. Susan Richmond’s new book about Lynda Benglis, Beyond Process, examines the work and critical reception of the artist, who moved from Louisiana to New York in 1964. 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