Can non-representational art reflect social change?
Tag: Lynda Benglis
Posted inArt
Lynda Benglis Is Back — Knots, Pours, Dildos, and All
The patron saint of provocation is back with Early Work 1967-79, her first major New York show since 2011.
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Can a Porn Website Liberate Women in Art?
The Pleasure Principle at Maccarone wavers between issues of women’s representation and those of pornography and art, without fully committing to either.
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The Frozen Gestures of Lynda Benglis
Benglis always carried the painting process into her work, resulting in a visual representation of material in action.
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When Art Refuses to Let Go
Delirious at the Met Breuer is an exhibition filled with beautiful but comparatively polite works by habitually transgressive artists.
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The Feminist Avant-Garde, Now More than Ever
Their only solution was to make their revolution their own way, without help and without precedent.
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A Timely but Limited Look at Feminist Art from the 1970s
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.
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A Year of Lynda Benglis Shows in a Norwegian City
The Norwegian city of Bergen, home to about 265,000 people, is getting a full dose of Lynda Benglis this year.
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When a Splotch Isn’t Just a Splotch
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.”
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A Los Angeles Mega-Gallery Opens with Museum Ambitions
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.
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Best of 2015: Our Top 10 Exhibitions Across the United States
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.
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Priestesses at Play: Lynda Benglis at Storm King
MOUNTAINVILLE, NY — This year, among the di Suveros, the Serras, and other Modernist guardians, the autumn leaves adorn Lynda Benglis’s large works in cast metal and polyurethane.