Born in Louisiana in 1941 and with a career spanning over 40 years, Benglis has worked in mediums as varied as bron- ze, glass, neon light, ceramics, wax, liquid latex, polyurethane, plaster as well as photography and video. Deeply con- cerned with the physicality of form, Benglis chooses materials for both their cultural associations and formal properties. Questioning the rigors of Modernism and Minimalism by merging content and form, Benglis’ foremost concern is the pictorial element. Invigorating her abstract forms with anthropomorphic, feminist and naturalistic references, she is an image-maker seeking to share an excess of associations that rouse both our physical and emotional senses. Her in u- ence today is felt amongst a new generation of artists such as Cindy Sherman, Polly Apfelbaum and Matthew Barney.
Benglis moved to New York in the late 1960’s, just after Minimalism had reached its zenith. In the 1970’s she collabora- ted with Robert Morris for several projects and had a remarkable career. Benglis plays a central position in the pluralistic art of the ‘70s and was featured in a 1974 Life Magazine article as the heir to Pollock. Lynda Benglis divides her time between New York and Santa Fe. Her numerous awards and honors include a Guggen- heim Fellowship and two National Endowment for the Arts grants. She is currently the subject of a travelling retrospec- tive exhibition which started at the Van Abbemuseum in Eindhoven with further stops at the Irish Museum of Modern Art (IMMA) in Dublin, at Le Consortium in Dijon and at the Museum of Art in Rhode Island. In the beginning of 2011 it will have its nal station at the New Museum in New York.