Lynda benglis dildo

It all began with a woman with a phallus. She was Lynda Benglis, a year-old rising star in the New York art firmament of the early s, Post-Minimal division. The instrument in question was a large, cast-latex double-headed dildo that Ms. Benglis held defiantly between her thighs in a now infamous color photograph. It was the historic dust-up that ensued when this photograph appeared, in , in Artforum, the leading art magazine of the time.
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26 Female Artists on Lynda Benglis and the Art World’s Gender Problems (NSFW)

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Lynda Benglis - Wikipedia

The exhibition opened with the video Now , which shows Benglis facing and giving instructions to a recorded image of herself in acid-toned pinks and blues. Do you wish to direct me? The dumbness of her shiny protruding tongue brought to mind the unsettling character of the sensuality innocently displayed by children or animals. It was surprising to recognize, in the degradation of the recorded image, caused by layering different generations of tape, an aesthetic re-created by some contemporary video artists who introduce digital artefacts to mimic the visual noise of processed videotape. Wing , an aluminium cast of poured polyurethane foam, seemed to ooze out of the wall to form molten metallic folds. Scarab , made of stainless steel mesh and shiny pleated aluminium, resembled a tangled centipede or stylized armadillo, suspended high up on a wall.
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Lynda Benglis Artworks

The following is a statement by Andrew Bonacina curator at the Hepworth Wakefield museum regarding the recent retrospective exhibition Lynda Benglis Feb. The exhibition is the largest presentation of her work in the UK, featuring over 50 works that span the entirety of a prolific career. The most infamous of these was published in the pages of Artforum in Its inclusion in the magazine resulted in a handful of editors resigning in protest.
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The below artworks are the most important by Lynda Benglis - that both overview the major creative periods, and highlight the greatest achievements by the artist. 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.
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