lynda benglis interview

I started out as a painter. News William Scott reviewed in … That’s the thing about Benglis: her work confronts you with its bodily reality, the process of its construction visible in every drip and smear, but it still fires your imagination, takes you off on tangents. I was lucky that there was a feminist movement, and I rode that wave-still riding that wave. BALDESSARI: You’re right. 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. I spent two days hanging around at MOCA, waiting for her to show up. BENGLIS: But wait, John. BENGLIS: Have you ever done a self-portrait? BENGLIS: Yes, outside of Santa Fe in the desert, and I love it. 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. In the same Artforum issue, her sometime video collaborator, the artist and writer Robert Morris, appeared topless in chains – but it was Benglis’s work that caused two of the magazine’s editors to resign. Never mentioned it again. And she’s never stopped: to this day, she is still experimenting with glassworks, ceramics, paper sculptures, huge bronze fountains and more. There were none with women being empowered. He had a train that he would ride around his estate, and they wanted my piece to be these foam tunnels. I came in around holiday time, and I didn’t know a thing; I couldn’t mix a drink. But I kind of grew up in the center of art activity because I worked at an art gallery, and I worked for the Brooklyn Museum. View an online catalogue of Lynda Benglis's biography and artwork. When you drew over that photograph of a Le Corbusier sculpture that’s in the Sarabhai house in Ahmedabad, this large mosquito right over it, you pulled off such a beautiful piece. She maintains residences in New York City, Santa Fe, New Mexico, Kastellorizo, Greece, and Ahmedabad, India. It’s exciting to have it up. By Andy Campbell. Sie lebt in New York City, East Hampton (New York) und Santa Fe. It’s A horrible feeling to see your own death ahead of you. It was being stored in a pile of rubble that wasn’t intended to be thrown away. Lynda Benglis, Now, 1973, The Metropolitan Museum of Art, New York, USA. They had all the formal intrigue of her abstract predecessors, but they were gusty, unleashed animals, projecting into space, literally spilling over, and creating curious hybrids between Greenbergian abstraction and a sort of manic postminimalism unafraid of chaos or quick movement. She has more than earned her place in such a setting. BENGLIS: I have several foundries I work with. I guess there came a point when I’ve just been into photography and trying to blur the distinctions between photography and painting. Sie lebt in New York City, East Hampton (New York) und Santa Fe. The latex paint was pigmented, and I soon moved into using foam, because the latex was flat and didn’t look back at you, so to speak. It’s hard to believe because I know I didn’t think about money when I got started. A polarising figure within the women’s movement of the time, she made videos and self-portraits that are as button-pushing as ever. 2008 Lynda Benglis As Printmaker: A 30-Year Retrospective of Editions and Monotypes, Carl Solway Gallery, Cincinnati OH Shape Shifters, Locks Gallery, Philadelphia PA . 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. Thick with sparkles … Toyopet Crown, 1989. So maybe we should hear about how you started making those poured works. Every artist does a self-portrait at one period. Now, I was trying to think of when I first saw your work, John. Benglis’s works about the body may be bound up with 20th-century debates about gender and sexuality, but they have a timeless quality. Lynda Benglis, who has challenged the art establishment for decades, remains in the avant-garde. Sometimes I think, “I did that?” But I know that the job of an artist is to get people to look in a new way, to get people to use their eyes and to get them to notice the things they don’t pay attention to. The Hepworth Wakefield. BALDESSARI: Have you seen the new painting show at MoMA? Interview. I’d walk into the space and see all these nice fabrics and doors. I was just very lucky to be included. Collection: Early Video Art, Single Titles. 061 LYNDA BENGLIS, Hyades, 1982 (Bronzedraht, Zink, Kupfer, Aluminium, 41 x 33 x 17", Paula Cooper, Foto eeva-inkeri) KUNSTFORUM Probe lesen „Kunstforum ist … I met Bridget Riley. 140 LYNDA BENGLIS, Contraband, 1969, im HIntergrund: untitled (VW), 1970. [Baldessari laughs] I guess it would have been worse for a Texas lady to tell a Louisiana girl to go to hell. BALDESSARI: It’s not a very good show. Biographical / Historical. From the description of Oral history interview with Lynda Benglis, 2009 Nov. 20 [sound recording]. Download the PDF View More. But, in those days, you could have a loft in New York for $75. Die Regierenden ordnen sie an, Demonstranten sprechen von "Hygiene-Diktatur". Review Postwar Art Gets a Nervy Makeover New York Times September 14, 2017. by Roberta Smith . And that’s really unhealthy. 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. Lynda Benglis Interview ArtForum June 8, 2018. That’s where I’ve been rubbing my fingers raw on paper. When I first met Benglis last spring, at the opening of her multivenue exhibition in Bergen, Norway, she was deeply immersed in a conversation with a young artist about molding, twisting, cutting, and gluing. Throughout the video, Benglis asks "Now?" Her Hoofers, named after a tap dance move, were made of long thin skeletons of chicken wire given a flesh of fabric and a glittery topcoat. Name Lynda Benglis Also Known as. Lynda Benglis. She said, “In Hitler’s day, this never would’ve happened!”. Night Sherbet, 1968, made of poured polyurethane foam. Benglis also did a series of magazine advertisements, where she mocked pin-up girls, Hollywood actresses, and nude female models, with the aim to confront the male belief system. The pours evolved into foam and mounds, lava-like protrusions or waves, and eventually into an ongoing series of large-scale fountains begun in 1984, which included working plumbing. Wie äußert sich deine Stimme im Werk? “Lynda Benglis” is on view from August 21 through October 23, 2019, at Pace Gallery, 229 Hamilton Avenue, Palo Alto, Calif. You don’t have to have a stretcher bar to do a painting.”. and repeats commands like "Start the camera" and "I said start recording." I’d rather be in my studio all the time.LYNDA BENGLIS. BALDESSARI: That ad probably sold more Artforums that month than any prior. BALDESSARI: That’s well said. “It was much more fun than anywhere else to go to school in the south.” She remembers students climbing out of windows using bedsheets as ropes and being warned against wearing patent shoes, since men could see up your skirt. Interview with Lynda Benglis by fbueti. Is there anything you’ve seen that you feel is really new? It was needed.”. Born in 1941 to a Greek father and American mother in the sleepy Louisiana town of Lake Charles, Benglis earned her first degree at the women’s college of Newcomb in New Orleans, where she focused on ceramics. Titel: ... Foto: Wolfgang Vollmer Bd. Hygiene ist ein Kampfbegriff. Oktober 1941 in Lake Charles, Louisiana, USA) ist eine US-amerikanische Künstlerin, die für ihre Skulpturen, Aquarelle, Grafiken, Fotografien und, Installationen bekannt wurde. 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. I n November 1974, Lynda Benglis placed an advert for her next show in Artforum magazine. 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. Then I went into the uptown gallery of Richard Feigen. Did she anticipate the impact it would have? 6 February – 1 July 2015. LYNDA BENGLIS. Here, Benglis shares key episodes from her life. They had a small space downtown. Download the PDF View More. That’s what’s so nice, too. 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. BENGLIS: For the most part, when I look back at work I’ve made in the past, it’s as if I’m visiting another time, another place, and sometimes another artist. BALDESSARI: Well, that’s a new one to me. 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. And just three years ago, on the ad’s 40th anniversary, 26 artists screamed its praises in New York magazine. There were more artists than ever before and a lot of energy.” She became friends with the sculptor Carl Andre, after meeting him in an elevator sitting on huge blocks of wood. Barnett Newman, a towering figure in the previous generation of abstract expressionists, was another friend. and repeats commands like "Start the camera" and "I said start recording." Lynda Benglis is perhaps best-known for the fame and notoriety she achieved when, in 1974, she placed a full-colour advertisement in ArtForum magazine, consisting of a nude photograph of herself with a large latex dildo. Even if it weren’t for the huge, double-ended dildo between her legs, her expression is enough to freeze you in your tracks. Installation view, Irish Museum of Modern Art, Dublin. There you go. Fountains came out of the idea of the way water moved, and they were additions to the way I was thinking materials could flow—that they’re alive. In the past few months, she has worked long into the night in her studio fashioning delicate paper sculptures that resemble shed skin. That’s because I didn’t want to see any other buildings close to me. JOHN BALDESSARI: The first thing I want to say about you, Lynda, is how much you’ve been an influence on me, all the way back to when I first started going to New York in the late ’60s and ’70s and I saw your work at Paula Cooper Gallery. BALDESSARI: I don’t know. View More. -Christopher Bollen. 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. I spend quite a bit of money just on materials. Judy Chicago then posed with boxing gloves, Frieze Masters, Regent’s Park, London, ends on 8 October. Maybe that piece was a reaction to you! I think about money now only when I buy things that I need for the art. Sie studierte am Newcomb College in New Orleans und schloss dort mit dem Bachelor of Fine Arts ab. I used it as a challenge. (Unknown). and "Do you wish to direct me?" They were showing your poured pieces. MoMA is pushing it as something new. 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