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Artists Lynda Benglis
Lynda Benglis Photo

Lynda Benglis

American Sculptor, Painter, Conceptual and Performance Artist

Movements and Styles: Conceptual Art, Performance Art, Feminist Art

Born: October 25, 1941 - Lake Charles, Louisiana

Lynda Benglis Timeline

Quotes

"I just wanted to go beyond, and create something that was visually more. I was interested in excess, buoyancy, weight, gesture of material. It was very different from abstract expressionism."
Lynda Benglis
"I think mediums are all about form. They're mediums that I can make sketch as I think of myself as doing drawings and paintings in these different mediums. I think of them as forms from nature, about nature and having illusion. Some are dependent on the walls, some are dependent on the floor and some are outside pieces."
Lynda Benglis
"My work is an expression of space. What is the experience of moving? Is it pictorial? Is it an object? Is it a feeling? It all comes from my body. [...] I am the form."
Lynda Benglis
"The method of pouring latex directly onto the floor was, for Benglis, a pragmatic solution to what she considered to be an illogical attachment to a rectilinear ground. The constrictions of the conventional painting format prohibited the kinds of composition she sought to achieve with her material processes; by attending to the interactions of color on color, rather than color on canvas, she effectively dissolved the two-dimensional surface and its assertion as a physical ground."
Susan Richmond on Lynda Benglis' "fallen paintings"
"The images of Benglis producing her large-scale sculptures [...] aggressively stage the act of production."
Amelia Jones
"Whether you have been watching Ms. Benglis's varied career for decades or know her primarily from the latex pieces and her star turn in Artforum, this exhibition pulls together and elaborates her remarkable career in a thrilling way. It proves her work to be at once all over the place and very much of a piece, as well as consistently, irrepressibly ahead of its time. This would seem to be every renegade artist's dream."
Roberta Smith on Lynda Benglis' career

"I can't deny anything the viewer reads into the work; that is the viewer's pleasure, hopefully. I am a permissive artist. I allow things to happen. I believe the viewer is half the work. Duchamp said it and I believe it."

Synopsis

Though best-described as a sculptor, Lynda Benglis is impossible to align with a single movement or medium. In 1968, she began pouring latex or polyurethane foam onto the floor of her studio and into the corners. The resulting forms were both painterly and sculptural. By the 1970s she was casting these works in bronze and incorporating other metals in unusual combinations. Furious when her innovations were ignored by the New York art world, she posed for an outrageous advertisement for an upcoming exhibition of her work, oiled up, wearing nothing but sunglasses, and brandishing an enormous dildo. This infamous act of protest, a deservedly unforgettable moment in Feminist art history, made Benglis famous but failed to call attention to the artist's superb sculptures. Only over the past decade has Benglis begun to receive recognition as a major contributor to late twentieth and twenty-first century art.

Key Ideas

Benglis was the first artist to make sculptures out of paint, eliminating the boundary between painting and sculpture (two traditionally separate art forms).
Benglis's work is a continuation of the Abstract Expressionist tradition of dripping and pouring pigment from above. She takes the process one step further, however, eliminating the canvas and pouring directly onto the floor, allowing the walls and corners to shape the piece.
In her use of candy colors, glitter and other craft materials, she distanced herself from the serious, brooding color and macho materials used by her contemporaries. In doing so, she sought to question traditional gendered distinctions in art, above all the opposition between art and craft.
Her willingness to use her own body in art films and play stereotypically feminine roles (her pornstaresque appearance in Artforum in 1974, for example) paved the way for Cindy Sherman and other artists who specialize in experimental role play, and ushered in a new era in self-portraiture.

Most Important Art

Lynda Benglis Famous Art

Fallen Painting (1968)

This work is around 30ft long and dates from a breakthrough period in Benglis's career. The artist poured latex rubber pigment in brightly-colored hues onto the floor of her studio. Unlike conventional oil or acrylic paint, the rubber remained in the shape of the artist's spill, preserving her gesture, and needed no canvas. It was a self-sufficient artwork. As Susan Richmond points out, "each pour was the product of a complex choreography, necessitating a balance of spontaneity and precision, not to mention physical endurance, as the artist frequently wielded five-gallon cans of the pigmented medium." The resulting form is sculptural; it is meant to be exhibited on the floor, and takes up a significant portion of the space in which the work is exhibited. For feminist scholar and art historian Amelia Jones, Fallen Painting is about "the depravity of the fallen woman", and resembles a "prone victim of phallic male desire."
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Lynda Benglis Artworks in Focus:

Biography

Childhood

The eldest of five children, Lynda Benglis was born into a Greek-American family and raised in Lake Charles, Louisiana. Her mother was the daughter of a preacher from Mississippi. Her father ran a business selling building materials, an early influence on her work: "I'm a real fan of surfaces. My father ... had samples of colors and plastics and laminates and woods in his car. I was always very interested."

Early Training

Lynda Benglis Biography

In 1964, she received a BFA from Newcomb College, New Orleans, and she subsequently became a teacher at Jefferson Parish, Louisiana. At this time she married her first husband, art historian Michael Kampen, whom she describes as "the only good-looking graduate-school guy at a girls' school." The marriage lasted only a matter of months and ended with Benglis throwing a brick at his car. Very soon afterward she moved to New York, where she continues to live and work.

Benglis went to study painting under abstract artist Reuben Tam at the Brooklyn Museum Art School. It was here that she met Gordon Hart, a Scottish painter whom she would later marry. She would later say that she only married Hart to help him avoid the draft. During her time at art school, she met budding artists Frank Stella, Bridget Riley, and Barnett Newman.

Despite her training in painting and her frequent use of paint as a material in her work, she soon moved away from a traditional canvas-based approach and started to make a series of sculptural works in various media. Her work was first exhibited at the influential Bykert Gallery in New York in 1968, where she had been working as an assistant to the gallery's owner, Klaus Kertess. Her first solo show was exhibited by the Paula Cooper Gallery, the first gallery to open in New York's SoHo district. Paula Cooper subsequently represented her for several years.

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Lynda Benglis Biography Continues

Mature Period

Lynda Benglis Photo

In the late 1960s and 1970s, Benglis' experimentations with a range of media and art forms began to receive widespread notice. She says of herself, "I think I thrived in the New York scene. When I arrived pop art was peaking and pop art had a lot of irony and took on a kind of irony about the artists themselves, they were not shy ... they mocked the material which is art. So when I was in the art world, at a very young age, I saw that I didn't want to think just one way. That I wanted to ask many questions within the context of the materials that I use, and I continue to do that." She freed paint from canvas, pouring it directly onto the floor. In 1970, Life magazine ran a double-page spread on her which compared her process to that of Jackson Pollock, cementing her growing reputation.

Pop art and Minimalism were beginning to dominate the art scene. Among the older and more established artists who were supportive of her work, were the Minimalist Carl Andre and Andy Warhol. Warhol asked her to appear naked in one of his films. She refused. Benglis was among the women artists who noticed a male hegemony that was defining artistic practice, and permitting the use of certain materials considered masculine (stone, bricks, clay, steel, paint, etc.) while forbidding others. She sought to undermine this through her alternative use of materials that ran against the grain, and through her presentation of herself as a work of art.

In spite of this, Benglis and her work have a complex relationship with feminism. She is the author of one of the most controversial images in the history of feminist art. When Robert Morris, an artist with whom she had worked collaboratively and in dialogue, placed an advertisement in Artforum magazine depicting himself in S&M gear, she soon replied with her own advertisement in the magazine in November 1974. She filled the spread with a confrontational image of herself wearing nothing but a pair of sunglasses and holding an oversized dildo (Robert Morris helped her pick it out). The image continues to spark conversation on gender bias in the art world; in the 1970s, it provoked a range of reactions from humor to outrage, and raised questions about persistent sexism in New York art circles, the role of pornography in contemporary life, and what it meant to be a feminist. To some, the image was a brave protest against the unequal treatment of women. To others, the artist's hyper-sexualized nudity perpetuated the very problem she sought to confront. The image itself provided no easy answers or helpful solutions.

Lynda Benglis

Despite being predominantly based in New York, she also traveled the world, spending time at her grandparents' house on the Greek island of Megisti, which she now owns. She also became acquainted with New Mexico, and has two studios in the desert outside Santa Fe. She continues to be a keen traveler, saying that "travel is when I can relax."

In 1979, she traveled to Ahmedabad, India, where she was the artist-in-residence for a well-known family who lived in a door-less house designed by Le Corbusier. Robert Rauschenberg and Robert Morris had both previously held the position, and had recommended her. It was on this trip that she met her life partner Anand Sarabhai, her host's son. Sarabhai died in 2003, an event which affected her and her work deeply. Talking about some of her mid-2000s ceramic sculptures, she says "there was a lot of black in the beginning because I lost my partner of over 30 years, Anand Sarabhai."

Late Period

Lynda Benglis Portrait

Benglis continues to practice as an artist today, and the variety of her work is testament to the current pluralism of artistic styles which was born in the 1970s, and which she herself helped to create. Elisabeth Lebovici argues that Benglis wants to avoid being pigeon-holed, and consequently pursues "an extraordinary undermining operation", both of her own work and of dominant trends in whatever period she is working in. This creative freedom has allowed her to create such recent works as her 2013 Jicarilla series in semi-glazed ceramics and Pi Tangerine in 2009, a ball of urethane dyed with orange pigment.


Legacy

Until recently, Lynda Benglis' work received relatively little critical notice and surprisingly few large solo exhibitions. In recent years, however, several notable institutions have exhibited her work. Retrospectives have been held at the Irish Museum of Modern Art, Dublin (2009), the Museum of Contemporary Art, Los Angeles (2011) and the Hepworth Wakefield, West Yorkshire (2015). Her work has also been included in the seminal 2007 exhibition, "WACK! Art and the Feminist Revolution" at MOCA, Los Angeles.

Her influence on a younger generation of artists is also becoming more evident and is now fairly well documented. For example, the photographer Cindy Sherman has claimed that seeing Benglis' Artforum advertisement constituted "one of the most pivotal moments of my career." As Laura Hoptman, a curator at MoMA puts it, "anybody who is using that bodily biomorphism is Benglis. Anybody who is being very out with her sexuality is Benglis."

Influences and Connections

Influences on artist

Artists, Friends, Movements

Influenced by artist

Artists, Friends, Movements

Lynda Benglis
Interactive chart with Lynda Benglis's main influences, and the people and ideas that the artist influenced in turn.
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View Influences Chart

Artists

Louise BourgeoisLouise Bourgeois
Andy WarholAndy Warhol
Jackson PollockJackson Pollock
Barnett NewmanBarnett Newman

Friends

Frank StellaFrank Stella
Bridget RileyBridget Riley

Movements

Pop ArtPop Art
Performance ArtPerformance Art
Abstract ExpressionismAbstract Expressionism
Process ArtProcess Art
Lynda Benglis
Lynda Benglis
Years Worked: 1960s - present

Artists

Cindy ShermanCindy Sherman
John BaldessariJohn Baldessari
Roxy PaineRoxy Paine
Matthew BarneyMatthew Barney

Friends

Robert MorrisRobert Morris
Carl AndreCarl Andre

Movements

Video ArtVideo Art
Body ArtBody Art
Feminist ArtFeminist Art

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Cite this page

Content compiled and written by Anna Souter

Edited and revised by Ruth Epstein

" Artist Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Anna Souter
Edited and revised by Ruth Epstein
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Useful Resources on Lynda Benglis

Videos

Books

Websites

Articles

More

The books and articles below constitute a bibliography of the sources used in the writing of this page. These also suggest some accessible resources for further research, especially ones that can be found and purchased via the internet.

biography

Lynda Benglis: Beyond Process Recomended resource

By Susan Richmond

Lynda Benglis

By Dave Hickey and Elisabeth Lebovici

analysis and movements

WACK! Art and the Feminist Revolution

By Cornelia Butler

Body Art: Performing the Subject

By Amelia Jones

Cheim and Read

Gallery representing the Lynda Benglis

Shape Shifter: Lynda Benglis Recomended resource

By Julian Kreimer
Art in America
December 1, 2009

A Life of Melting the Status Quo

By Hilarie M. Sheets
New York Times
February 10, 2011

'I keep arriving'

By Julie L. Belcove
Financial Times
February 3, 2012

Lynda Benglis - Sensuality, sex toys and sea creatures in major retrospective

By Hannah Ellis-Peterson
The Guardian
February 5, 2015

More Interesting Articles about Lynda Benglis

interviews

Lynda Benglis - "You cannot kill creativity" Recomended resource

Dazed Digital
February 6, 2015

Dancing with Clay: An Interview with Lynda Benglis Recomended resource

Art in America
January 30, 2014

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