International Sculpture Center
Facebook Twitter Instagram

Sculpture cover


Lynda Benglis, HILLS AND CLOUDS, 2014. Cast polyurethane with phosphorescence and stainless steel. 11 x 19 x 19 feet. Image credit: Courtesy Cheim & Read, New York.
Lynda Benglis was first recognized in the late sixties with her poured latex and foam works. Benglisís work created 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.

Lynda Benglis resides in New York, Santa Fe and Ahmedabad, India. She is the recipient of a Guggenheim Fellowship and two National Endowment for the Arts grants, among other commendations. Benglisís work is in extensive public collections including: Guggenheim Museum; Los Angeles County Museum of Art; Museum of Modern Art, New York; The National Gallery of Victoria, Melbourne, Australia; San Francisco Museum of Modern Art; Walker Art Center, Minneapolis and the Whitney Museum of American Art, New York. Lynda Benglis is represented by Cheim & Read, New York.

Benglis was the subject of an international retrospective which traveled to: The Irish Museum of Modern Art, Dublin; The Van Abbemuseum, Eindhoven; Le Consortium, Dijon; Museum of Art, Rhode Island School of Design, Providence; New Museum, New York; Museum of Contemporary Art, Los Angeles in 2009Ė2011. In 2015, Lynda Benglis: Water Sources at Storm King Art Center was the first major installation of Benglisís fountains. Throughout 2016, the Bergen Assembly in Bergen, Norway will present a cycle of events, publications, and exhibitions on various aspects of her artistic practice. Also in 2016, the Museo Internacional del Barroco in Puebla, Mexico will present a major exhibiton, titled Cuerpos, Materia y Alma.

Roberta Smith wrote in The New York Times on February 17, 2011 of Benglisís retrospective, ďWhether you have been watching Ms. Benglisís 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 artistís dream.Ē

Reproduction, including downloading of Lynda Benglis or Tony Cragg's works is prohibited
by copyright laws and international conventions without express written permission.