Lynda Benglis is a name that resonates with innovation, defiance, and a fearless approach to art. Throughout her illustrious career, she has continually challenged the conventions of the male-dominated art world, pushing the boundaries of material, form, and medium. Known for her pioneering work in poured latex and polyurethane sculptures, as well as her provocative video art, Benglis has made a profound impact on the landscape of contemporary art by questioning formalist aesthetics and exploring the intersections of gender, identity, and artistic expression.
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| Lynda Benglis in her advertisement in the November 1974 |
Breaking Ground with Poured Latex
In the late 1960s and early 1970s, Benglis began to make waves in the art world with her poured latex sculptures. These works were groundbreaking not only for their innovative use of materials but also for their radical departure from traditional sculptural techniques. Unlike the rigid, vertical forms that characterized much of modern sculpture, Benglis’ poured latex works sprawled across the floor, embracing fluidity and organic shapes.
The process of creating these sculptures was as important as the final product. Benglis would pour colored latex directly onto the floor, allowing it to flow and settle naturally. This method was a deliberate challenge to the formalist aesthetics that dominated the art scene at the time, particularly those championed by critics like Clement Greenberg, who emphasized the importance of purity and precision in art. By contrast, Benglis’ works celebrated spontaneity, movement, and the unpredictable nature of her chosen materials.
One of her most famous works from this period, "Phantom" (1971), exemplifies these qualities. The sculpture, a sprawling, undulating form, seems to capture a moment of dynamic transformation, frozen in time. The use of latex, with its inherent flexibility and sheen, adds a sensuous, almost bodily quality to the piece, inviting viewers to consider the relationship between art, the body, and space in new and provocative ways.
Polyurethane Sculptures: A New Frontier
Building on the success of her latex works, Benglis continued to explore new materials and techniques, leading to her pioneering use of polyurethane foam. This medium allowed her to create larger, more dramatic sculptures that retained the fluidity and organic forms of her earlier works but with a more substantial and lasting presence.
Polyurethane foam, with its ability to expand and harden into solid forms, offered Benglis a new level of control and versatility. She could manipulate the foam to create intricate, textured surfaces and dynamic, flowing shapes that seemed to defy gravity. These sculptures often evoked natural forms like waves, clouds, or geological formations, blurring the line between the natural and the artificial.
One notable example of her polyurethane work is "Primary Structures (Paula’s Props)" (1975). This piece, a series of large, colorful forms that seem to tumble and flow across the gallery floor, exemplifies Benglis’ ability to transform industrial materials into vibrant, living forms. The playful, exuberant nature of the work challenges traditional notions of sculpture as static and monumental, inviting viewers to engage with the piece on a more immediate, physical level.
Video Art: A Bold New Medium
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| Lynda Benglis - Contraband |
In addition to her sculptural work, Benglis made significant contributions to the field of video art. Her foray into this medium in the 1970s was driven by a desire to further explore themes of identity, gender, and the body, using the new technology to push the boundaries of artistic expression even further.
Benglis’ video works often feature her own body, employing performance and self-representation to challenge societal norms and expectations. One of her most famous videos, "Female Sensibility" (1973), features Benglis and artist Marilyn Lenkowsky in a provocative, tongue-in-cheek performance that critiques the male gaze and the objectification of women in art and media. The piece, with its raw, unpolished aesthetic and confrontational content, was a radical departure from the polished, formalist art that dominated the period.
Another notable video, "Now" (1973), uses repetition and disjointed narratives to explore themes of identity and self-perception. Benglis appears in various guises, speaking directly to the camera in a fragmented, disorienting dialogue that challenges viewers to question their own assumptions about identity and reality.
Challenging the Male-Dominated Art Scene
Throughout her career, Benglis has been a vocal critic of the male-dominated art world. Her work often addresses issues of gender and power, using humor, irony, and bold, unapologetic forms to confront and subvert traditional narratives.
One of the most infamous examples of her defiance is the provocative advertisement she placed in Artforum magazine in 1974. The ad featured a nude photograph of Benglis holding a large dildo, a direct challenge to the male-dominated art establishment and a statement about the sexualization and objectification of female artists. The ad caused a scandal and sparked widespread debate, cementing Benglis’ reputation as a fearless and provocative artist.
Legacy and Impact
Lynda Benglis’ impact on contemporary art is profound and far-reaching. Her innovative use of materials, her challenge to formalist aesthetics, and her bold exploration of gender and identity have inspired countless artists and opened up new possibilities for artistic expression. Her work continues to be celebrated and studied, with major retrospectives and exhibitions showcasing her contributions to the art world.
Benglis’ sculptures, with their fluid forms and sensuous surfaces, invite viewers to see art in new and unexpected ways, while her video works continue to provoke and challenge, pushing the boundaries of what art can be. In a career spanning over five decades, Benglis has remained a vital and influential figure, constantly reinventing herself and her art, and reminding us of the power of creativity to question, disrupt, and transform.
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