and "start recording," commands that usually ground us in the present, but here serve to deepen the confusion between live signals and mediation. 1973 | 11 min Directed by Lynda Benglis Courtesy of Video Data Bank at the School of the Art Institute of Chicago (vdb.org). (5.1 x 38.1 x 14 cm.) More information is also available about the film collection and the Circulating Film and Video Library. 9:00 AM–5:00 PM 2021 Video Data Bank, http://www.vdb.org/content/prices-formats. In 2018–19, MoMA collaborated with Google Arts & Culture Lab on a project using machine learning to identify artworks in installation photos. Now. October 8 through December 23, 2020 By JONATHAN GOODMAN, December 2020 The work of Lynda Benglis, now nearly 80 years old, functions as an alternative to the minimalism that surrounded her as … Contact Us School of the Art Institute of Chicago 112 S. Michigan Avenue While Benglis's primary medium is sculpture, there was a period in the 1970s when she worked extensively in video, a new medium of the time. 1973, 00:12:16, NTSC, Farbe, Ton, B003 02. The series ended with a very controversial advertisement in the November 1974 Artforum issue. Foto: Wolfgang Vollmer Bd. By visiting our website or transacting with us, you agree to this. Acquired directly from the artist by the present owner. Our regular hours are: Blobs, oozes, spills, and puddles are usually associated with accidents – they show our clumsiness, the limits of our self control, or problems with what we’ve created. First recognized in the late 1960s for her poured latex and foam works, Benglis created work that was a perfectly timed retort to the male-dominated fusion of painting and sculpture with the advent of Process Art and Minimalism. Sie lebt in New York City, East Hampton (New York) und Santa Fe. Fax: 312.541.8073, Video Data Bank For licensing motion picture film footage it is advised to apply directly to the copyright holders. Courtesy Galerie Michael Janssen, Köln Bd. Lynda Benglis is an American artist best known for her forms created in wax, latex, metal, and foam, which expertly meld the artistic practices of painting with sculpture. B orn in Lake Charles, Louisiana, but working out of New York City all her professional life, Lynda Benglis is an internationally renowned sculptor, famous for her innovations in materials and artistic process during the 1960s and 1970s. Lynda Benglis / Cheim & Read, New York - Ceramics Now Lynda Benglis / Cheim & Read Gallery, New YorkJanuary 16 - February 15, 2014 Born in Lake Charles, Louisiana in 1941, Lynda Benglis moved to … Born in 1941. Pouring material directly onto the floor of a studio, gallery, or exhibition space, Benglis channels the artistic process of Jackson Pollock. Lynda Benglis (born October 25, 1941) is an American sculptor and visual artist known especially for her wax paintings and poured latex sculptures. Lynda Benglis. Her first color tape, Now features Lynda Benglis experimenting with the effect of unnatural color, turning up the levels until the colors are high and artificial—in turn diffusing the idea of video as an impartial or "direct" medium. Sie studierte am Newcomb College in New Orleans und schloss dort mit dem Bachelor of Fine Arts ab. Literature . Lynda Benglis (*1941 in Lake Charles / Louisiana, lebt in New York) wurde vor allem durch Arbeiten bekannt, die Malerei in andere Medien und Dimensionen übersetzten und Aspekte der Minimal Art … Lynda Benglis, Born 1941, USA. Now, Lynda Benglis: Early Work 1967-79 collects this patron saint of provocation’s diverse output, mapping an intervention into post-Minimalism as thoughtful as it is rigorous. Her first color tape, Benglis experiments with the effect of unnatural color, turning up the levels until the colors are high and artificial — which diffuses the idea of video as an impartial or "direct" medium. Oktober 1941 in Lake Charles, Louisiana, USA) ist eine US-amerikanische Künstlerin, die für ihre Skulpturen, Aquarelle, Grafiken, Fotografien und, Installationen bekannt wurde. We use our own and third-party cookies to personalize your experience and the promotions you see. Lynda Benglis, „Phantom", 1971. As a young artist living in late 1960s New York, Lynda Benglis made a name for herself by pouring latex over a floor and creating flat and brightly colored sculptures out of it. By visiting our website or transacting with us, you agree to this. If you notice an error, please contact us at [email protected]. This record is a work in progress. Landmarks, the public art program of The University of Texas at Austin, exhibited Now (1973) and archived an essay dedicated to Benglis and her work on their website. Courtesy Video Data Bank, School of the Art Institute of Chicago. The word "now", used as both question and command, focuses attention on the deceptive "real" time of video, and reveals the structure underlying her presence in the video. Please contact info@vdb.org or visit http://www.vdb.org/content/prices-formats with any questions about the license types listed here. Phone: 312.345.3550 If you have additional information or spotted an error, please send feedback to [email protected]. Now. Chicago, IL 60603, Copyright 061 LYNDA BENGLIS, Hyades, 1982 (Bronzedraht, Zink, Kupfer, Aluminium, 41 x 33 x 17", Paula Cooper, Foto eeva-inkeri) KUNSTFORUM Probe lesen „Kunstforum ist ein Magazin, das so gut wie jedes Thema, das wichtig ist, beackert hat, und es … She maintains residences in New York City, Santa Fe, New Mexico, Kastellorizo, Greece, and Ahmedabad, India. Throughout the video, Benglis asks "Now?" This is "Now (reenactment of Lynda Benglis)" by Kelly Catarino on Vimeo, the home for high quality videos and the people who love them. She posed completely naked, … In this work sexual roles are not only examined up close but are also mocked, in a chaotic burlesque that captures a brash aspect of feminist thinking. 1941, Lake Charles, LA) lives and works in New York, NY; Santa Fe, NM; Kastellorizo, Greece; and Ahmedabad, India. Lynda Benglis, Now, 1973, The Metropolitan Museum of Art, New York, USA. Lynda Benglis. 1973, 12 min, color, sound Now takes on video's claims to immediacy and authenticity, as Benglis juxtaposes live performance with her own prerecorded image. Lynda Benglis, “Bravo” (1973–1974), stainless steel, copper, babbitt. As in On Screen, she makes faces and sounds in reply to the images on a monitor; at one point she appears to kiss herself. Lynda Benglis (b. If you would like to reproduce an image of a work of art in MoMA’s collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), please contact Art Resource (publication in North America) or Scala Archives (publication in all other geographic locations). The soundtrack features phrases such as "now!" Please note this work is a unique variant from a series of three. and repeats commands like "Start the camera" and "I said start recording." We have identified these works in the following photos from our exhibition history. For access to motion picture film stills please contact the Film Study Center. She maintains residences in New York City, Santa Fe, New Mexico, Kastellorizo, Greece, and Ahmedabad, India. Her first color tape, Benglis experiments with the effect of unnatural color, turning up the levels until the colors are high and artificial — which diffuses the idea of video as an impartial or "direct" medium. Born in Louisiana, Benglis began her artistic studies at Newcomb College (now part of Tulane University). If you would like to publish text from MoMA’s archival materials, please fill out this permission form and send to [email protected]. All requests to license audio or video footage produced by MoMA should be addressed to Scala Archives at [email protected]. Lynda Benglis Now. Our site uses technology that is not supported by your browser, so it may not work correctly. Lynda Benglis (*1941 in Lake Charles, Louisiana, lebt in New York) ist eine amerikanische Künstlerin, die als Malerin, Plastikerin und Videokünstlerin arbeitet, international aber besonders in den siebziger Jahren für ihre feministischen Aktivitäten bekannt wurde. 140 LYNDA BENGLIS, Contraband, 1969, im HIntergrund: untitled (VW), 1970. Lynda Benglis Now 1973 Not on view; While Benglis's primary medium is sculpture, there was a period in the 1970s when she worked extensively in video, a new medium of the time. Lynda Benglis (born October 25, 1941) is an American sculptor and visual artist known especially for her wax paintings and poured latex sculptures. Now, at 77, Benglis is more prolific than ever: After her show at Pace, she will open the exhibition “In the Realm of Senses” at the Museum of Cycladic Art in November, with 30 works selected by the art historian David Anfam, and next May, the Nasher Sculpture Center in Dallas will hold a major solo exhibition dedicated to her groundbreaking work in sculpture. In this work sexual roles are not only examined up close but are also mocked, in a chaotic burlesque that captures a brash aspect of feminist thinking. Executed in 1974. Lynda Benglis' 1986 minimalist sculpture, "Minerva," measures 55 x 38 x 8 ins. Now, at 77, Benglis is more prolific than ever: After her show at Pace, she will open the exhibition “In the Realm of Senses” at the Museum of Cycladic Art … The word "now", used as both question and command, focuses attention on the deceptive "real" time of video, and reveals the structure underlying her presence in the video. Please, Acquired through the generosity of Barbara Pine, © 2021 Lynda Benglis. Lynda Benglis (* 25. Her works often seem to drip and spill. They are inspired by the Greek-American artist's lifelong love of the sea, and they frequently come in candy colors. Mon.–Fri. Now, Lynda Benglis: Early Work 1967-79 collects this patron saint of provocation’s diverse output, mapping an intervention into post-Minimalism as thoughtful as it is rigorous. and is made of bronze, nickel, and chrome. Lynda Benglis: Beyond Process (International Library of Modern and Contemporary Art) After Modernist Painting: The History of a Contemporary Practice (International Library of Modern and Contemporary Art, Band 3) Surface Design Publications: International in scope, articles on contemporary fiber-based art forms realized through concept, process, and materials. This title was in the original Castelli-Sonnabend video art collection. 1941) Smile incised with the artist's signature and dated 'Benglis 74' (lower center) lead 2 x 15 x 5 ½ in. 1973 | 00:11:45 | United States | English | Color | Mono | 4:3 | Video, Collection: Early Video Art, Single Titles, Tags: Feminism, Performance, Video History. If you would like to reproduce text from a MoMA publication or moma.org, please email [email protected]. Oktober 1941 in Lake Charles, Louisiana, USA) ist eine US-amerikanische Künstlerin, die für ihre Skulpturen, Aquarelle, Grafiken, Fotografien und, Installationen bekannt wurde. Leben und Werk. This artwork is meant to be viewed from right to left. This title is also available on I Say I Am: Program 2. Motion picture film stills or motion picture footage from films in MoMA’s Film Collection cannot be licensed by MoMA/Scala. After earning her BFA in 1964, she moved to New York to study painting at the Brooklyn Museum Art School. To find out more, including which third-party cookies we place and how to manage cookies, see our privacy policy. and "Do you wish to direct me?" They’re also made during the first steps in the artistic process – when paint is squeezed from a tube or wet clay is plopped onto a table. Benglis also did a series of magazine advertisements, where she mocked pin-up girls, Hollywood actresses, and nude female models, with the aim to confront the male belief system. Lynda Benglis (* 25. That project has concluded, and works are now being identified by MoMA staff. Provenance. Photo courtesy of Toomey Tourrell Fine Art. A three-person exhibition of work by Lynda Benglis, Eric N. Mack, and Kelley Walker—now on view at our 524 West 26th Street location—examines the artists’ shared interest in vernacular and the liminal space between media. S. Richmond, Lynda Benglis: Beyond Process, London, 2013, p. 145, no. 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