Lynda Benglis: Early Works 1967-1979, Cheim & Read, New York, October 8вЂ“December 23, 2020. Lynda Benglis: An Alphabet of Forms, Pace Gallery, 510 West 25th Street, New York, May 5вЂ“July 2, 2021. Lynda Benglis, National Gallery of Art, Washington D.C., June 18, 2021вЂ“January 2, 2022. Lynda Benglis: NЕ“uds et nus, Xavier Hufkens, Brussels, September 9вЂ“October 16, 2021. Lynda Benglis: Works in Video, Gene Siskel Film Center Virtual Cinema, Chicago, Illinois, October 7вЂ“14, 2021. Lynda Benglis: Pleated Works, Mnuchin Gallery, New York, November 2вЂ“December 11, 2021. Lynda Benglis: The Frozen Gesture, Mendes Wood DM, SГЈo Paulo, April 9вЂ“May 30, 2022. Lynda Benglis: Excavation, Blum & Poe, Los Angeles, May 14вЂ“June 25, 2022.

Lynda Benglis, Nasher Sculpture Center, Dallas, Texas, May 21вЂ“September 18, 2022. Lives and works in New York and Santa Fe, New Mexico From the complex chromatic harmonies of the wax paintings to the selected use of brilliant Day-Glo pigments or phosphorescence in her latex and foam sculptures, BenglisвЂ™s exuberant engagement with color, along with her radical employment of material, sets her apart from the more achromatic focus of her Minimalist and Postminimal contemporaries. The embrace of flowing forms, color, and sensual surfaces plays a large part in BenglisвЂ™s continuous investigation of the proprioceptive, sensory experiences of making and viewing her sculptures. These works effectively convey fluidity in bothВ physical and thematic forms through the use of water as a medium. Since then, she created numerous sculptural fountains, including ChimeraвЂЇ(1988) and Double Fountain, Mother and Child, For AnandвЂЇ(2007), the latter originally installed at Le Jardin Botanique de Dijon, France, and North South East WestвЂЇ(2009), which was initially exhibited at the Irish Museum of Modern Art, Dublin. She won the competition to create a fountain for that yearвЂ™s Louisiana World Exposition in New Orleans, resulting in The Wave of the World (1983вЂ“84) in cast bronze. Benglis also introduced images of herself into the public discourse through a 1974 ArtforumвЂЇad, whichВ challenged assumptions about self-presentation and gender in the male-dominated art world.Д«englis extended her innovative use of materials into the natural realm when, in 1984, she first used water as an element in her sculptures. Physical and Psychological Moments in Time, a retrospective of video works by Benglis, was held in 1975 by Fine Arts Center Gallery, State University of New York College at Oneonta, and subsequently traveled to Stedelijk Van Abbemuseum, Eindhoven, Netherlands. Her experimental videos feature performative actions and technological mediation to explore themes of physical presence, narcissism, sexuality, and gendered identity. In the early 70s, Benglis took new media technologies as her material, producing video art at a time when it was still in its early stages as a medium. The contorted shapes, formed by the artistвЂ™s hands, express the bodily force used by Benglis throughout her career continuing with her gold sculptures of the late 1970s and early 1980s. Painted with metallic sparkle, Sculp-Metal, or layers of sprayed, vaporized aluminum, copper, zinc, or tin, the works are further complicated by the reflections of their surfaces, conflating the sculptural object with painterly space.

BenglisвЂ™s totem-like sculptures followed as long, cylindrical structures made of wire mesh, cotton bunting, and plaster that, by 1972, she began to tie into knots. The use of gravity and her body in the latex pours invoked Jackson PollockвЂ™s process, a connection immortalized in the Februedition of LifeвЂЇmagazine, which featured Benglis at work.Д¬oncurrently, she began working with pigmented polyurethane foam, building the volume of her sculptures vertically by pouring the oozing, lava-like forms against walls and in the corners of spaces or over constructed armatures and chicken wire, which she removed after the wall mounted foam pours solidified. The impulse to see these forms flow beyond the structure of a traditional support led Benglis to embrace pigmented latex, which she began pouring directly onto the floor. Her wax paintings, which began with brushed skin-like layers of pigmented beeswax and dammar resin progressed, in one series, to the use of a blowtorch as a kind of brush, manipulating colors into a marbleized surface that seemingly fought against the constraints of the lozenge-shaped Masonite panels. She initiated several bodies of work in the late 60s and early 70s that set the course for her subsequent practice. Benglis began her career in the midst of the Postminimal movement, pushing the traditions of painting and sculpture into new territories.

Rusty coblyn tucson az