Lynda Benglis, (North South East West Elevation), Study for Sculpture, 1979
"North South East West Elevation"
Signed, Numbered 44/100 and Dated 1979 in bright green crayon
Published by: Landfall Press
Measurements: 22.5 inches by 30 inches
Bears publishers distinctive blind stamp and artist's unique inventory number on the verso
Extremely rare vintage printed work, study for monumental Benglis sculpture by one of the most creative and important sculptors of the 20th century.
Benglis is an innovative and dexterous sculptor who has created pioneering work across many media.
Characterized by its raw materiality and post-minimalist aesthetic, the work of provocative New York artist Lynda Benglis explores biomorphic and metaphorical forms. Her raw and evocative pieces are created as the result of various materials in action—poured latex, foam, cinched metal, and dripped wax are just a few of her innovative mediums. Like her visceral poured forms, this composition toes the line between gesture and expressionism.
ABOUT LYNDA BENGLIS
A pioneer of post-minimalism, feminist, and video art, Lynda Benglis rose to prominence in the early 1970s. Benglis has been known for her aggressively provocative challenges to accepted social and aesthetic dogmas. This sometimes included outright scandal, as when a racy print ad in Artforum for a 1974 exhibition caused enough controversy among the staff that it soon led to the departure of critics Annette Michelson and Rosalind Krauss, who founded the journal Octobershortly thereafter.
Benglis is perhaps best known for her pour paintings and sculptures, which feature bright, dried puddles of latex paint rolling across the floor or areas of abstract, vaguely anthropomorphic bronze. They gesture towards Abstract Expressionism, Post-Minimalist contestations of objecthood, and allusions to the human body. In her 1969 painting Contraband, the work lays on the floor, countering the expected of paintings on the wall, and alluding to the floor-bound sculptures of minimalist artists like Carl Andre. Its swirls of Day-Glo pink, yellow, orange, and blue expand to fill both the visual and physical space of the viewer, carrying both feminine seductiveness and stereotypical masculine bombast.
Benglis’s work has been exhibited at numerous international institutions, and she was the subject of a major touring retrospective organized by the Irish Museum of Modern Art in 2011 that also appeared at the Van Abbemuseum in Eindhoven, the RISD Museum, and the New Museum.