Ich liebe Kunst und vor allem die Malerei. And I began thinking about the male gaze, I suppose. BALDESSARI: It’s not a very good show. Both sisters do, really. MoMA is pushing it as something new. He was the first person to give me any courage, to care about what I was doing other than myself. ', Glitter, latex and double dildos: art provocateur Lynda Benglis relives her rollercoaster career, ynda Benglis is a feminist icon. Life magazine crowned her as “the heir to Jackson Pollock” in 1971. Right now, I’m just kind of floating in the paper. The mock centerfold not only played with the tropes of porn and the male gaze, but in many ways predicted the future state of the young artist as cynosure, fantasy provider, or pop-cultural agitator. Lynda Benglis. In an art world dominated by men, she made a dazzling ascent, staging 15 solo shows in five years. I just enjoy it so much. 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. It’s a horrible feeling to see your own death ahead of you. I put my studio in such a way that you’re not aware of anything nearby, just the landscape. I’d rather be in my studio all the time.LYNDA BENGLIS. BENGLIS: Well, where are they showing something new? I pigmented each pour separately, making these piles in the corner, around the corners, up the wall in a wing. While the pours aligned her with the canonised figure of Pollock, her glitter works seem more of an up-yours to notions of good taste. I had one shower and one toilet, and it was all exposed. Installation view, Irish Museum of Modern Art, Dublin. You’ve traveled a lot more than I have. 18 works online. Benglis, today, is still working and experimenting—in New York City (she was recently working on Crescendo, a new version of her 1984 World’s Fair fountain, The Wave of the World, at Modern Art Foundry in Queens), in the Hamptons, in New Mexico, in Ahmedabad, India, among other places. The following oral history transcript is the result of a digitally recorded interview with Lynda Benglis on 2009 November 20. All Rights Reserved. “There’s a buoyancy,” she says, “a sliding, like if you’re scuba-diving or on a Ferris wheel or a rollercoaster. Lynda Benglis . 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. Die Suche nach Bildern und das Schaffen von Neuem birgt unendliche Möglichkeiten. 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. When Paula heard some people up on the roof, she said she thought she could grab the dildo and crack them over the head with it! That’s where I’ve been rubbing my fingers raw on paper. From pigmented latex to beeswax, metals, polyurethane foam, glass and paper, American sculptor Lynda Benglis, … The worst thing right now is the confluence of art and money. 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 … It’s A horrible feeling to see your own death ahead of you. and repeats commands like "Start the camera" and "I said start recording." Download the PDF View More. 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. There seemed to be no pinups unless they were essentially the object of the male gaze, so to speak. Lynda Benglis (1941- ) is a sculptor in New York, New York. Download the PDF View More. 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. Lynda Benglis: I studied both for a long time, especially pinups. Indeed, I learned later from Elayne Varian that Pollock had shown paintings at her gallery and had wanted to put them on the ceiling—I think they were done in phosphorescent. I met Bridget Riley. 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. Download PDF . For that time, you were a real Angeleno. Throughout the video, Benglis asks "Now?" Lynda Benglis (born October 25, 1941) is an American sculptor and visual artist known especially for her wax paintings and poured latex sculptures. I had made these sort of popsicle-stick paintings that was limited in format. “Why do you think that is?” the 76-year-old American artist shoots back at me, showing some of the directness Tennessee Williams noted in a besotted essay in 1977. How to be an Artist by Jerry Saltz, the American art critic, is decorated with endorsements from the likes of Grayson Perry (‘I wish I had read these rules forty years ago and carried them around like a bible’) and Tracey Emin (‘most of the time [being an artist] hurts.This book will help the pain’). 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: Have you seen the new painting show at MoMA? “I deliberately set up situations with various ideas and materials that no one had done before,” she says matter-of-factly, from behind dark glasses with white rims. I think about money now only when I buy things that I need for the art. While minimalism’s reduced forms reigned in 1960s New York, her sculptures oozed across the floor, glittering or glowing in the dark. Writing Lynda Benglis ArtForum October 2017. I came in around holiday time, and I didn’t know a thing; I couldn’t mix a drink. There seemed to be no pinups unless they were essentially the object of the male gaze, so to speak. BALDESSARI: And you’ve been working at the Modern Art Foundry, too, on a new fountain? This interview has been condensed and edited. They were showing your poured pieces. LYNDA BENGLIS: I think the only time I went to your house for a little get-together, I thought my Porsche was a bumper car. They were text pieces. In 1967, Ed Ruscha had been photographed in bed with two women in an Artforum ad. But I learned a great deal. News William Scott reviewed in … Dancing with Clay: An Interview with Lynda Benglis. BALDESSARI: You know, I always see you and your work in a constellation. 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. “And I put some humour into the women’s movement. American, born 1941. I’m making sort of hybrid situations. Lynda Benglis is a feminist icon. 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. 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. Right: Lynda Benglis, North South East West, 2009, cast bronze fountain and steel, 66 x 184 x 184”. One gets inseparable from the other. . Mucho más que documentos. Dancing with Clay: An Interview with Lynda Benglis. [Baldessari laughs] So it didn’t bother me. And that’s really unhealthy. Lynda Benglis was born in Lake Charles, Louisiana, in 1941 and arrived in New York shortly after graduating from Newcomb College in New Orleans. 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. Judy Chicago then posed with boxing gloves, Frieze Masters, Regent’s Park, London, ends on 8 October. Paula Cooper spent the night there once. Benglis is an artist who thinks through … 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. [laughs] You went to all the openings. But I remember I saved up $500, and I blew it all on Day-Glo pigments, big, 500-pound vats. An interview of Lynda Benglis conducted 2009 November 20, by Judith Tannenbaum, for the Archives of American Art, at Benglis' studio, in New York, New York. The hair on my head stood straight up. Do you still have your place out in New Mexico? View More. I just kept meeting artists. A pioneer of free-form sculpture who radically pushed the medium in the late ’60s, she fills her biomorphic abstract works with the textures, sounds and images of the past. 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. BALDESSARI: That ad probably sold more Artforums that month than any prior. But nobody was interested. All her attention was directed at the artist and their discussion of form and process. Wie äußert sich deine Stimme im Werk? But then I feel like I’m always racing for time. I took over the gallery. The word "now", used as both question and command, focuses attention on the deceptive "real" time of video, and reveals the structure underlying her presence in the video. BENGLIS: But wait, John. BALDESSARI: You’ve been working on a series of paper forms. Biographical / Historical. 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. American sculptor Lynda Benglis joins us for this lunchtime talk with ICA Director Gregor Muir to discuss her practice. But it wasn’t functioning as a fountain. “I’m Not an Assassin!”: Fran Lebowitz on Not Sleeping, Not Writing, and Not Naming Names, Elizabeth Olsen and Paul Bettany Test Their Real-Life Chemistry, Why We Could All Use a Tavi Gevinson Podcast Right About Now, Everyone, Including Fran Lebowitz, Loves Dolly Parton, Kyle Ng of Brain Dead Wants to Connect the World. Interview magazine recently published a conversation between the artists Lynda Benglis and John Baldessari. Lynda Benglis Redefined Sculpture in the ’60s. You had to walk around it as you worked. He founded the Dallas Cowboys. I had liked her work. Michael Findlay was running the downtown location, and he asked if he could have one or two paintings to show to clients. I used it as a challenge. BALDESSARI: Do you see that constellation? I banged up the front and back of it getting to wherever I was going. It’s hard to believe because I know I didn’t think about money when I got started. Oktober 1941 in Lake Charles, Louisiana, USA) ist eine US-amerikanische Künstlerin, die für ihre Skulpturen, Aquarelle, Grafiken, Fotografien und, Installationen bekannt wurde. I spent two days hanging around at MOCA, waiting for her to show up. Night Sherbet, 1968, made of poured polyurethane foam. Then I went into the uptown gallery of Richard Feigen. Benglis looks back over her long career in this interview with TateShots. 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. 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. And jumping forward to today, I know how much of an influence you are for younger artists. HE CURRENT HAS A SOLO SHOW AT MARIAN GOODMAN GALLERY IN LONDON, AND IN NOVEMBER WILL DEBUT NEW WORKS AT STADEL MUSEUM IN FRANKFURT. But then I feel like I’m always racing for time. Hygiene ist ein Kampfbegriff. Lynda Benglis’ bahnbrechendes Selbstporträt erschien in der Novemberausgabe 1974 des „Artforum International“, eines der wenigen amerikanischen Magazine, das sich damals der zeitgenössischen Kunst widmete. Review Postwar Art Gets a Nervy Makeover New York Times September 14, 2017. by Roberta Smith . and "Do you wish to direct me?" Lynda Benglis (* 25. And I know when we both taught together at CalArts, what a huge impact you had on the students. But, in those days, you could have a loft in New York for $75. She maintains residences in New York City, Santa Fe, New Mexico, Kastellorizo, Greece, and Ahmedabad, India. View More. Die Suche nach Bildern und das Schaffen von Neuem birgt unendliche Möglichkeiten. 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. News Lynda Benglis reviewed in Art Observed New York - Lynda Benglis: "Early Work 1967-1979" at Cheim & Read and Ortuzar Projects By D. Creahan December 23, 2020. So maybe we should hear about how you started making those poured works. Every artist does a self-portrait at one period. Thick with sparkles, they’re positively girly and camp. I couldn’t pour wax on the floor and make it work, and I wasn’t interested in straight canvases . From the description of Oral history interview with Lynda Benglis, 2009 Nov. 20 [sound recording]. Sie studierte am Newcomb College in New Orleans und schloss dort mit dem Bachelor of Fine Arts ab. 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. I love paper. BALDESSARI: That’s important because Paula Cooper, as far as I was concerned, was the place you look at paintings. I was mocking the whole issue of figure ground. I have a question. Lynda Benglis, Hills and Clouds, 2014, cast polyurethane with phosphorescence and stainless steel, 3.1 × 5.5 × 5.5 m. Photograph: Jerry L. Thompson Photograph: Jerry L. Thompson In 2014, to mark the 40th anniversary of the image’s publication, New York magazine asked 25 female artists to comment. And then when I saw your work, I thought, “Wow, this is fantastic. Lynda Benglis. 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. Lynda Benglis came to Greece in 1952, and her grandmother took her to the Parthenon and the Acropolis. (Unknown). These works—made from vats of latex, which she pigmented—became her iconic “pour,” or “spill,” pieces. Benglis arrived in New York in 1964, finding an art world that was “very open to new ideas. Sie lebt in New York City, East Hampton (New York) und Santa Fe. This past January, Benglis spoke to her good friend and onetime CalArts colleague, the artist John Baldessari. I was frightened that maybe the hurricane had taken it away. Lynda Marie Benglis. 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. 1973 | 00:11:45 | United States | English | Color | Mono | 4:3 | Video . . “Yes,” she says, “but they’re also about celebration. 1981 brass and copper Female Sensibility. MS. BENGLIS: I was just commenting – my sister just called me, and she has probably more talent than I do – more real talent. Skye Sherwin. BENGLIS: I long for you to do some paintings, John, because I love that mosquito. Worin siehst du deine Aufgabe als Künstler? Die Regierenden ordnen sie an, Demonstranten sprechen von "Hygiene-Diktatur". A major survey of your work is opening at The Hepworth Wakefield in Yorkshire on 6 February. 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. People think art is money or money is art—it’s the same thing. 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. The Hepworth Wakefield. And I’m just finishing repairs on that World Fair’s piece, the one from 1984 that disappeared for a while and I didn’t know where it was. Inspired by the ‘shocking colours’ of Chinatown … Benglis at work in 1969. Who were some of the artists you met when you first moved to New York in the ’60s? She electrified the art world of 1970s New York, savaging its macho culture with what became one of feminism’s most notorious images. As she arrives in Britain for Frieze Masters, we meet the radical prankster, Last modified on Thu 26 Mar 2020 10.33 EDT. My gallery there was Galerie Hans-Jürgen Müller, and he had borrowed some of the poured, semiflexible pieces, but then I wanted to do an in situ exhibition of foam works. Review Postwar Art Gets a Nervy Makeover New York Times September 14, 2017. by Roberta Smith . Later I met Barnett Newman. And there was a lady working in the building, and she was appalled. 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 Frieze Masters, the fair focused on greats from ancient Greece to now. She maintains residences in New York City, Santa Fe, New Mexico, Kastellorizo, Greece, and Ahmedabad, India. BENGLIS: Oh, yeah. BENGLIS: Exactly. Lynda Benglis (1941- ) is a sculptor in New York, N.Y. Benglis is known for working with wax and latex. BALDESSARI: Well, you never know how you influence other artists. Linked Open Data Linked Open Data URI. At some point, she French-kisses her double in the monitor. Download the PDF View More. Sie lebt in New York City, East Hampton (New York) und Santa Fe. There, she saw the Caryatids, so the work ‘Knossos’ in the exhibition also connects with that. 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. I got that dildo up on 42nd Street. Lynda Benglis Interview ArtForum June 8, 2018. MS. TANNENBAUM: This is Judith Tannebaum interviewing Lynda Benglis at the artist's loft on 100 Price Street in New York, on November 20, 2009, tape two. Judy Chicago then posed with boxing gloves, ready to take on the boy’s club. Buy things that I wanted to say, actually—and that ’ s about the crowd waiting to and! 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