Lynda Benglis (b. 1941)
On Screen (1972)
Female Sensibility (1974)
Lynda Benglis (born October 25, 1941 in Lake Charles, Louisiana) is an American sculptor known for her wax paintings and poured latex sculptures. Benglis' work is noted for an unusual blend of organic imagery and confrontation with newer media incorporating influences such as Barnett Newman and Andy Warhol. Her early work used materials such as beeswax before moving on large polyurethane pieces in the 1970s and later to gold-leaf, zinc, and aluminum. The validity of much of her work was questioned until the 1980s due to its use of sensuality and physicality.
Like other artists such as Yves Klein, Benglis' mimicked Jackson Pollock's flinging and dripping methods of painting. Works such as Fallen Painting (1968) inform the approach with a feminist perspective. For this work, Benglis smeared Day-Glo paint across the gallery floor invoking "the depravity of the 'fallen' woman" or, from a feminist perspective, a "prone victim of phallic male desire". These brightly colored organic floor pieces were intended to disrupt the male-dominated minimalism movement with their suggestiveness and openness. In 1971, Benglis began to collaborate with Robert Morris, creating Benglis' video Mumble (1972) and Morris' Exchange (1973). Vittorio of 1979; gold leaf, gesso, plaster, cotton, and chicken wire; in the collection of the National Gallery of Art
Benglis felt underrepresented in the male-run artistic community and so confronted the "male ethos" in a series of magazine advertisements satirizing pin-up girls and Hollywood actresses. Benglis chose the medium of magazine advertisements as it allowed her complete control of an image rather than allowing it to be run through critical commentary. This series culminated with a particularly controversial one in the November 1974 issue of Artforum featuring Benglis aggressively posed with a giant latex dildo and wearing only a pair of sunglasses promoting an upcoming exhibition of hers at the Paula Cooper Gallery. One of her original ideas for the advertisement had been for her and collaborative partner Robert Morris to work together as a double pin-up, but eventually found that using a double dildo was sufficient as she found it to be "both male and female". Morris, too, put out an advertisement for his work in that month's Artforum which featured himself in full "butch" S&M regalia. Artist Barbara Wagner claims that Benglis shows that even with the appropriation of the phallus as a Freudian sign of power, it does not cover her female identity and still emphasizes a female inferiority. Rosalind Krauss and other Artforum personnel attacked Benglis' work in the following month's issue of Artforum describing the advertisement as "exploitative" and "brutalizing". Critic Cindy Nemser of The Feminist Art Journal dismissed the advertisement as well, claiming that the picture showed that Benglis had "so little confidence in her art that she had to resort to kinky cheesecake to push herself over the top." Morris' advertisement, however, generated little commentary, providing evidence for Benglis' view that male artists were encouraged to promote themselves, whereas women were chastised for doing so.
This title is available for exhibitions, screenings, and institutional use through Electronic Arts Intermix (EAI), NY. Please visit the EAI Online Catalogue for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials. -- Wiki