In Benglis’s latest works, the forces of gravity that defined her seminal poured latex and polyurethane pieces are traded for luminous bronzes.
Can non-representational art reflect social change?
The patron saint of provocation is back with Early Work 1967-79, her first major New York show since 2011.
The Pleasure Principle at Maccarone wavers between issues of women’s representation and those of pornography and art, without fully committing to either.
Benglis always carried the painting process into her work, resulting in a visual representation of material in action.
Delirious at the Met Breuer is an exhibition filled with beautiful but comparatively polite works by habitually transgressive artists.
Their only solution was to make their revolution their own way, without help and without precedent.
Far from perfect, this exhibition marks a step toward empowering voices that could do much to liberate our own identity from the cultural codes by which it continues to be confined.
The Norwegian city of Bergen, home to about 265,000 people, is getting a full dose of Lynda Benglis this year.
This two-gallery extravaganza takes up the tricky gambit of featuring “artists whose work involves a methodical and controlled process of creating seemingly freeform or random daubs and spots.”
LOS ANGELES — Hauser Wirth & Schimmel, the local outpost of mega-gallery Hauser & Wirth, will open its massive hybrid art space to the public on Sunday.
We love NYC and LA and all the art they have to offer, but we know they’re only two towns of many across the country mounting great exhibitions large and small.