Lynda Benglis produced a series of work, beginning in 1968, that upset contemporary notions of what was acceptable as high art: forms that appeared soft and oozing when art was supposed to be rigid and geometric; polychrome and even fluorescent when the prevailing color was gray; sparkle-y when such effects were associated with ballroom dancing and parade costumes.
Lynda Benglis’ Odalisque (Hey Hey Frankenthaler) is on the floor; her For Carl Andre is the nearly black blob filling a corner in the left rear. Installation view of WACK! Art and the Feminist Revolution at The Geffen Contemporary at MoCA, 2007, photo by Brian Forrest, courtesy The Museum of Contemporary Art, Los Angeles It’s International Women’s Day. I know because I’ve been listening to all those songstresses on WXPN, you know, Joan Armatrading, Lorena McKennitt, etc, etc. So it seems like the perfect day to bring you news from WACK! Art and the Feminist Revolution, an exhibit of feminist ... More » »