monotype on handmade paper
34 1/2 x 27 inches (framed)
Lynda Benglis’ oozing, poured latex sculptures challenged the tenets of the cool, rationalist, male-dominated Minimalist movement that dominated 1960s New York. These undulating pieces helped establish a feminine Postminimalist aesthetic. Benglis’ exuberant, visceral forms straddle the line between organic figures and abstract shapes. The artist has also used polyurethane foam to create her magma-like flows and made cylindrical structures of plaster, wire mesh, and cotton that she ties into knots and paints with vaporized metals. Glitter is also prominent throughout her work. Additionally, Benglis has made wax paintings—they feature a mixture of beeswax and resin on Masonite panels, which she has marbleized using a blowtorch. Benglis has exhibited in cities around the world. Her work belongs in the permanent collections of the Art Institute of Chicago, the Centre Pompidou, the Museum of Modern Art, and the Tate, among others.
Lynda Benglis created Garner Tullis/Lynda Benglis A-11 in collaboration with Garner Tullis, one of the most prolific printmakers of the 20th century, known for his creative approaches, unique handmade paper and projects with numerous leading contemporary artists including Sam Francis, Helen Frankenthaler and Sean Scully. Benglis and Tullis worked on approximately fifty monotypes together at his San Francisco facility, the Institute for Experimental Printmaking. The biomorphic and spiral shapes within the monotype recall the organic forms that permeate the sculptural practice for which she is so well known.