Frontally orientated, but
projecting into space, Lynda Benglis's (b. 1941) Swinburne Egg I (2009) has a hybridity that reflects the memory of the
body in motion.
The introduction of new types of art, for instance - such as Performance, Happenings and Installations - along with new subject - matter - including things like dead sharks, dying flies, huge ice - sculptures, crowds of nude
bodies, buildings that appear to be
in motion, a collection of 35,000 terracotta figures, islands wrapped
in pink polypropylene fabric, painted
bodies, spooky
projected imagery on public buildings, and so on - have provided spectators with a range of new (sometimes shocking) experiences.
Instead he held his painting implements above the surfaces and used his
body to create active, gestural
motions that resulted
in paint being
projected onto the surface
in a loosely controlled, by uninhibited way.