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CHEIM & READ
Lynda Benglis
Text by Nancy Princenthal.
Since the 1960s, Lynda Benglis (born 1941) has been celebrated for the free, ecstatic forms she has poured, thrown and molded in ceramic, latex, polyurethane and bronze. In her new work, documented in this volume, she turns to handmade paper, which she wraps around a chicken wire armature, often painting the sand-toned surface in bright, metallic colors offset by strokes of deep, coal-based black. At other times she leaves the paper virtually bare. These works reflect the environment in which they were made, the “sere and windblown” landscape of Santa Fe, New Mexico, as Nancy Princenthal writes in her essay. “It is possible to see the bleached bones of the land—its mesas and arroyos; its scatterings of shed snakeskins and animal skeletons—in the new sculptures’ combination of strength and delicacy.” Simultaneously playful and visceral, these works enter into a lively dialogue with Benglis’ previous explorations of materials and form.
Featured image is reproduced from 'Lynda Benglis.'
FORMAT: Hbk, 9.25 x 12 in. / 118 pgs / 40 color. LIST PRICE: U.S. $40.00 LIST PRICE: CANADA $54 GBP £35.00 ISBN: 9781944316044 PUBLISHER: Cheim & Read AVAILABLE: 5/23/2017 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Out of stock indefinitely AVAILABILITY: Not available TERRITORY: WORLD
Published by Cheim & Read. Text by Nancy Princenthal.
Since the 1960s, Lynda Benglis (born 1941) has been celebrated for the free, ecstatic forms she has poured, thrown and molded in ceramic, latex, polyurethane and bronze. In her new work, documented in this volume, she turns to handmade paper, which she wraps around a chicken wire armature, often painting the sand-toned surface in bright, metallic colors offset by strokes of deep, coal-based black. At other times she leaves the paper virtually bare. These works reflect the environment in which they were made, the “sere and windblown” landscape of Santa Fe, New Mexico, as Nancy Princenthal writes in her essay. “It is possible to see the bleached bones of the land—its mesas and arroyos; its scatterings of shed snakeskins and animal skeletons—in the new sculptures’ combination of strength and delicacy.” Simultaneously playful and visceral, these works enter into a lively dialogue with Benglis’ previous explorations of materials and form.
