Lynda Benglis is perhaps best-known for the full-colour advertisement she placed in Artforum magazine in 1974, consisting of a nude photograph of herself posing with a large latex dildo. A reaction to the phallocentrism of the contemporary art world, it certainly caused a stir.
Her oeuvre, however, is much wider than merely overt feminist gestures, as visitors to this enthralling 50-work survey show at the Hepworth Wakefield – the first to take place in a UK institution – will discover.
Describing her 3D sculptural pieces as paintings that have escaped from the frame of the canvas, Benglis was heralded in the 60s as the “heir to Pollock”, when she began creating her so-called Fallen Paintings, pouring liquid plastic on to the floor and against the walls. She is a lover of a wide range of materials – bronze, polyurethane, glitter, paper and film, to name but a few – and she has studios across the globe in New York, New Mexico, Greece and India.
Throughout her career, the 73-year-old artist has made a concerted effort to push against any definition and to resist categorisation. “I think artists create their own rules,” she says. “Or break them.”
She spoke to Studio International at the opening of her exhibition.
The Hepworth Wakefield
6 February – 1 July 2015
Interview by ANNA McNAY
Filmed by MARTIN KENNEDY
Click on the pictures below to enlarge
With Pleasure: Pattern and Decoration in American Art 1972–1985
With almost 100 works on show, this exhibition is outstanding for the way in which it takes the pattern and decoration movement seriously as an object of historical inquiry
The Bunker Artspace – Art as autobiography
Given a test run last autumn and reopening on 2 December, The Bunker, a private venue fronting the collection of curator-collector Beth Rudin DeWoody, is a trifecta of firsts; first to give Palm Beach a serious art scene; first to show art as an evolving aesthetic and first of what I anticipate will be the new trend – the show space as self-portrait
Phillip K Smith III: ‘The earth and the sky are the things that bind us’
As he prepares to mount an illusionistic new installation in Milan, the American space and light artist talks time, technology and theatricality
Susan Webster: ‘Ever since I’ve been young I’ve been obsessed with time’; Stuart Kestenbaum: ‘Maybe at its roots, making is about survival.’
Maine’s poet laureate Stuart Kestenbaum and artist Susan Webster talk about their recent collaborative cross-disciplinary work
Adventures of the Black Square: Abstract Art and Society 1915 – 2015
To measure the imprint that a century of abstract art has left on society, culture and politics, Adventures of the Black Square at the Whitechapel Gallery collates artwork from every corner of the globe