The First Art Newspaper on the Net    Established in 1996 Saturday, October 23, 2021


Xavier Hufkens opens an exhibition of works by Lynda Benglis
Installation view. Photo: Allard Bovenberg.



BRUSSELS.- For Nœuds et nus, pioneering American artist Lynda Benglis (b. 1941) returns to Brussels with a group of recent sculptures in paper and bronze.

Featuring a series of wall-mounted paper sculptures in ethereal nude tones and a large-scale, highly polished golden bronze, the exhibition shines a spotlight on the sensuous tactility at the crux of Benglis’ practice. Although bronze and paper couldn’t be more different, both materials share a similar capacity for physical transformation. Bronze becomes molten and paper softens under the influence of the primal elements of fire and water. This fleeting moment of mutability is what fascinates Benglis in her working process and lies at the heart of the exhibition.




To make her tubular and lightweight paper sculptures, the artist draped wet sheets of handmade paper over chicken wire armatures, which were also fashioned by hand. Their subtle flesh tones and minimal adornment can be interpreted as a reference to the human body, and more specifically, the representational form of the nude. Benglis explains: “They are like skins basically – that is how I think of them. They describe the form and the skeletal structure that is always kind of in motion. Very mutable, it is kind of like clay, but the clay becomes paper. It dries so beautifully, and the wrinkles are all part of it, and the colour change is part of it, so it is like painting with physical paper. The gestures are in the drying, in the push and pull of the wire, plucking like a guitar.” Childhood memories of the natural world – landscape, trees and water in particular – play a crucial role within the artist’s creative practice. A number of works refer to Benglis spending time on the Kastellorizo Island in Greece or birdwatching with her grandfather in Mississippi.

Benglis’ sculptures reveal the processes behind their making – the shaping, modelling, pushing, and pulling that brings them to life – and this is no less true of her free-standing bronze work Power Tower. Here, Benglis returns to the knot, a form important to her since the 1970s and one she associates with expansion and growth. Her bronzes derive from earlier small, elemental, hand-formed clay works from her Elephant Necklace series. To describe Benglis’ work in 1974, the critic Robert Pincus-Witten famously coined the term “the frozen gesture”, a concept that merges material temporality with gestural freedom. The Elephant Necklace series is a key example of the frozen gesture’s formal volatility, opposing the modernist impulse towards fixity. Once the forms are enlarged in bronze, they no longer seem frozen; their shining surface allowing for an even greater sense of movement. Benglis likens the knotted forms to the blown-out car tyres that litter the sides of motorways; the metal makes them faster and more changeable. In fact, the forms that Benglis chose to enlarge are the ones she considers the fastest of the Elephant Necklace series. The bronze knot becomes a convoluted mirror, reflecting and activating the environment around it.

The true subject of Benglis’ evocative and highly expressive forms is the artist’s synergetic engagement with her materials. Although both kinds of work are rooted in a similar process – the shaping of soft, organic substances, be it clay and paper, with hands and fingers – they each evoke different kinds of actions, movements and sensations. While Power Tower communicates power and motion, the paper sculptures exude a quiet stillness. By demonstrating the plasticity and mutability of these materials and the processes through which they are shaped, Benglis makes the act of artistic creation itself visible.

Lynda Benglis (b.1941, Lake Charles, Louisiana, USA) lives and works in New York and Santa Fe, New Mexico. Her work is currently the subject of an eponymous exhibition at the National Gallery of Art, Washington D.C. (18 June 2021 to 2 January 2022). In May 2022, The Nasher Sculpture Center, Dallas, TX, will open a major exhibition focussed on the artist’s recent work. Recent solo exhibitions include Lynda Benglis: In the Realm of the Senses, Museum of Cycladic Art, Athens (2019-2020); Lynda Benglis: Elephant Necklace, Ogden Museum of Southern Art, LA, New Orleans (2019-2020); Lynda Benglis: Bird’s Nest, The Harwood Museum of Art, University of New Mexico, Taos, NM (2019).










Today's News

September 10, 2021

Art fairs come blazing back, precarious but defiant

Art Basel and UBS publish 'Resilience in the Dealer Sector: A Mid-Year Review 2021'

A blue-chip art bonanza: Macklowe Collection goes to Sotheby's

Why art struggled to address the horrors of 9/11

Hindman Auctions to present Native American Art Auction this month

New York exhibition celebrates Dior's American influence

The first Dutch Neanderthal now has a face

Artpace San Antonio announces a transformative gift from Janet Lennie Flohr

Royal Institute of British Architects announces 2021 National Award winners

Cao Fei wins the Deutsche Börse Photography Foundation Prize 2021

'Our Secret Fire: Contemporary Artists and the Alchemical Tradition' opens at Hirschl & Adler

Funding gap forces British Council to scale back

National Museum of Women in the Arts announces new acquisitions

The Approach opens solo exhibitions by Jack Lavender and Sara Barker

Cooke Latham Gallery opens an exhibition of paintings by Francisco Rodriguez

James Allen St. John original artwork for century-old Edgar Rice Burroughs novels heading to Heritage Auctions

Frederik Vercruysse opens a show with new and exclusive prints and objects editions at Spazio Nobile Gallery

Schomburg Center for Research in Black Culture exhibition marks the 55th anniversary of the Harlem Institute of Fashion

Phillips announces The Crossover with Saint Fleur and Project Backboard

Xavier Hufkens opens an exhibition of works by Lynda Benglis

MFA Boston appoints theo tyson as Curator of Fashion Arts

Michael Constantine, dad in 'My Big Fat Greek Wedding,' dies at 94

rodolphe janssen opens two new exhibitions of works by Thomas Lerooy and Betty Tompkins

JD Malat Gallery opens Physis, a solo exhibition by Spanish artist Luis Olaso

National Gallery of Canada welcomed more than 75,700 visitors this summer since reopening in mid-July

Rehabilitation of Alcohol Addicts: Importance of Rehab Clinics

Playing PKV Games Domino through Applications Get Various Benefits




Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 



Founder:
Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

sa gaming free credit

Royalville Communications, Inc
produces:

ignaciovillarreal.org avemariasound.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. The most varied versions
of this beautiful prayer.
Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site Parroquia Natividad del Señor
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful