Artist Taloi Havini and Ruth McDougall, curator of Pacific art at Queensland Art Gallery and Gallery of Modern Art, discuss Havini's first Australian solo exhibition, Reclamation .
'This year's Biennale of Sydney seems like a corrective,' writes Soo-Min Shim, 'prioritising autonomy in an international exhibition format that has all too often omitted or sidelined First Nations artists.'
In the United States, parallels have been drawn between the HIV/AIDS crisis and what is unfolding with Covid-19. These connections feed into P·P·O·W's online exhibition, Hell is a Place on Earth. Heaven is a Place in Your Head .
Lynda Benglis (b. 1941, Lake Charles, LA) lives and works in New York, NY; Santa Fe, MX; Kastellorizo, Greece; and Ahmedabad, India. First recognized in the late 1960s for her poured latex and foam works, Benglis created work that was a perfectly timed retort to the male-dominated fusion of painting and sculpture with the advent of Process Art and Minimalism. Known for her exploration of metaphorical and biomorphic shapes, she is deeply concerned with the physicality of form and how it affects the viewer, using a wide range of materials to render dynamic impressions of mass and surface: soft becomes hard, hard becomes soft, and gestures are frozen.Read More
Benglis’s work has been the subject of recent solo exhibitions at major museums around the world, including Kistefos-Museet, Jevnaker, Norway (2018); Museo Internacional del Barroco, Puebla, Mexico (2016); Bergen Assembly, KODE Art Museums of Bergen, Norway (2016); Aspen Art Museum, Aspen, CO (2016); Hepworth Wakefield, West Yorkshire, UK (2015); and Storm King Art Center, New Windsor, NY (2015).
Benglis is the recipient of a Guggenheim Fellowship and two National Endowment for the Arts grants, among other commendations. Her work is held in numerous public collections including Dallas Museum of Art, Dallas, TX; Detroit Institute of Arts, Detroit, MI; Solomon R. Guggenheim Museum, New York, NY; High Museum of Art, Atlanta, GA; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Los Angeles County Museum of Art, Los Angeles, CA; Museum of Contemporary Art, Los Angeles, CA; Museum of Fine Arts, Boston, MA; Museum of Fine Arts, Houston, TX; Metropolitan Museum of Art, New York, NY; Museum of Modern Art, New York, NY; National Gallery of Art, Washington D.C.; National Gallery of Victoria, Melbourne, Australia; New Orleans Museum of Art, New Orleans, LA; Philadelphia Museum of Art, Philadelphia, PA; San Francisco Museum of Modern Art, San Francisco, CA; Tate Modern, London, UK; Walker Art Center, Minneapolis, MN; and Whitney Museum of American Art, New York, NY
Text courtesy Blum & Poe.
In 1974, Lynda Benglis created one of the iconic works of recent art history, Centrefold . The work was presented as an advertisement in Artforum and featured the artist naked, save for a pair of sunglasses, her body oiled, her hip thrust forward, holding an enormous dildo. Benglis has explained the work as “a study of the...
It was a Friday afternoon mid-fashion week, but within the calm surrounds of Lynda Benglis’ airy Prince Street loft, that chaos couldn’t have felt further away. Beneath one of the 76-year-old sculptor’s globular polyurethane wall pieces, the performance artist India Menuez, 24, sat on the floor stroking the elf-like ears of Benglis’ dopey...
Julia Stoschek opened her collection of time-based media art to the public ten years ago, and to celebrate the anniversary she has invited the British artist Ed Atkins to curate an exhibition from her holdings. Generation Loss: 10 Years of the Julia Stoschek Collection (until 10 July 2018) opened this week at Stoschek's Düsseldorf gallery.
Over the course of her long career, Lynda Benglis has defied easy categorization. From her earliest days in New York, where she moved after graduating from Newcomb College in New Orleans in 1964, her buoyantly outspoken personality and boundless curiosity made her a familiar figure in Manhattan’s transformative 1960s art scene. Her early circle of...
Three contrasting types of work comprise Lynda Benglis’ current exhibition at Cheim & Read. Standing alone in the gallery’s first room is a towering cast aluminum piece: The Fall Caught (2016), a vaguely anthropomorphic form leaning against a wall, large enough to stand beneath. Up close, the material process is clear: spray foam...
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