Sentences with phrase «pour latex»

I pour latex on glass, let it dry, then peel it up and adhere it to paper or canvas board.

Lynda Benglis (born 1941, Lake Charles, Louisiana) was first recognized in the late sixties with her poured latex and foam works.

Beginning with her poured latex «floor paintings,» and her layered wax pieces, Benglis pursued pure form, putting her at the forefront of New York Post-Minimalism.

Packing shredded paper into molds like clay to create totem - like forms, Benglis transforms paper from a surface meant for drawing or painting into a sculptural medium, a gesture that can be seen in continuity with her poured latex installations of the late «60s, that so memorably entangled painting and sculpture.

In the smaller room, Lynda Benglis presents new works in ceramic alongside early floor pieces of brightly pigmented poured latex and a selection of wall pieces in wax.

This attitude - reflected not only in Saret's wire pieces, but also in Lynda Benglis» poured latex works, Robert Morris» scattered and draped felt and Richard Serra's splashed lead - may be seen as an extension of the chance procedures of the Dadaists and, more recently, the contemporary composer John...

The diverse media look forward to today's installations and their assault on fine - art materials, including Lynda Benglis in poured Latex and as bad girl, Joe Overstreet with kites, Howardena Pindell with rope, and Louise Fishman with string.

These works include her richly layered wax paintings and poured latex and polyurethane foam sculptures of the late 1960s and early»70s; innovative videos, installations, and «knots» from the 1970s; metalized, pleated wall pieces of the 1980s and»90s; and pieces in a variety of other mediums, such as glass, ceramics, photography, or cast polyurethane, as in the case of the monumental The Graces (2003 — 05).

In addition to Benglis's extraordinary poured latex pieces from the 1960s and 1970s, drawing on themes from her childhood and her Greek roots, the exhibition includes early bronze casts, wax reliefs, and videos, revealing the creative universe of an artist who has radically reinvented the language of contemporary sculpture.

One can think of the poured latex as a response to both painting and Minimalism.

Other shows, like «High Times, Hard Times,» have seen Lynda Benglis's poured latex as a transformation of abstract painting.

Benglis broke through the 1960's New York art scene with works of poured latex and foam in brash colours, and quickly established her position as a renegade challenging the conventions and dogmatic primacy of Minimalism and Pop.

An artist impossible to align with a single movement or medium, Lynda Benglis was first recognized in the late sixties with her poured latex and foam works.

This subsequent survey focused on the exploratory breadth of materials Benglis experimented with over the course of her career: polyurethane foam, glass, enamel, stainless steel, beeswax, and poured latex.

Lynda Benglis (born October 25, 1941) is an American sculptor and visual artist known especially for her wax paintings and poured latex sculptures.

The American artist Lynda Benglis radically re-envisioned the sculpture through her early works using wax and poured latex.

A pioneer of a form of abstraction in which each work is the result of materials in action — poured latex and foam, cinched metal, dripped wax — Benglis has created sculptures that eschew minimalist reserve in favor of bold colors, sensual lines, and lyrical references to the human body.

A pioneer of temporal, vernacular materials, audacious colors, and unapologetic sensory pleasure, Lynda Benglis has brushed wax, poured latex and phosphorescent foam, layered video, air sprayed metals, stretched paper, and cut - up ceramic.

On show are Lynda Benglis» early wax paintings, her brightly colored poured latex works, the «Torsos» and «Knots» series from the 1970s, and her recent experiments with plastics, cast glass, paper, and gold leaf.

More theoretically inclined Feminist artists of the late 1980s and 1990s included: the conceptual artist Mary Kelly, now Professor of Art at the University of California, Los Angeles, whose work borrows from both Marxism and psychoanalysis; the contemporary German photographer Katharina Sieverding, who uses make - up and face - painting to explore gender borders; the German multimedia artist Iza Genzken, noted for her assemblages of household objects; the American postmodernist Lynda Benglis, best - known for her wax paintings and poured latex sculptures; and the English conceptual Helen Chadwick (1953 - 96), noted for her feminist performances and installations, but perhaps best - known for photocopying her body next to dead animals.

Benglis was first recognized in the late sixties for her poured latex and foam works during a time when the art world was dominated and controlled by male artists.

Radically re-envisioning the sculpture through her early works using wax and poured latex, the American artist Lynda Benglis is considered a pioneer of a form of abstraction in which each piece is the result of materials in action.

Lynda Benglis was first recognized in the late 1960s with her poured latex and foam works.

Benglis broke through the 1960's New York art scene with works of poured latex and foam in brash colours, and quickly established -LSB-...]

Another has, perhaps, formless formalism, including Hesse, Benglis's poured Latex, and Mary Heilmann.

For the exhibition, Benglis will show one of her early floor pieces composed of brightly pigmented poured latex, as well as new works and a selection of earlier wall works.

Not exact matches

After reading the directions, I poured some yellow latex paint into the paint sprayer and connected it to an extension cord from my garage.

Comprised of hundreds of individual dyed fabric pieces, Apfelbaum \'s installations reference modern art history — the 1950s poured works of Morris Louis and Helen Frankenthaler, and Lynda Benglis \'s latex floor pieces.

Benglis made these using multicoloured skeins of pigmented latex, poured over the floor to create formations like petrol on water or sloughed - off reptile skins.

In the late 1960s Lynda Benglis became famous for her radical re-envisioning of sculpture and painting through her early works using wax and latex, which she poured on to the ground to take painting off the canvas and into architectural space.

Odalisque: Hey Hey Frankenthaler, 1969 poured pigment latex, 168 x 34 1/2 inches Collection of Dallas Art Museum

This career survey includes selections from her wax paintings, latex \ «pours \», folded and fanned metal works, ceramics, and recent cast bronze and urethane pieces.

Her interest in process led her to expand the possibilities of material from latex pourings and expansions to more precious materials such as glass and gold.

She is best known for pouring industrial materials such as latex and foam — often directly onto the floor, echoing Jackson Pollock's style of painting — to compose abstract, biomorphic forms.

Benglis created a series of «pour pieces,» in which she poured brightly colored liquid latex on the floor.

In the catalogue accompanying the New Museum exhibition, she discusses the genesis of her initial pours of viscous latex in 1967: «It was in the air... what can be done after Pollock, Morris Louis.»

In 1968, she began creating her «Fallen Paintings» by pouring brightly colored latex in overlapping flows directly onto the floor, critically engaging with earlier painters like Jackson Pollock and Helen Frankenthaler.

Benglis has played with solidifying liquid forms in space since the late 1960s, when she first poured pigmented latex directly onto a gallery floor.

The singular artist Lynda Benglis is widely known for her poured - latex sculptures and fallen paintings of the 1960s, as well as her videos and gilt works.

She one - upped Jackson Pollock's action paintings in the late 1960s by pouring pools of swirling pigmented latex directly on the floor and obscuring the distinction between painting and sculpture.

She adopted the vast scale and industrial materials favored by Minimalists like Donald Judd and Carl Andre, but let her colorful latex pouring allude to bodily gestures, fluids and topographies, and harden into a kind of skin.

Lynda Benglis (b. 1941) is an American artist best known for her use of poured sculptural forms made from wax, latex, metal, and foam.

Corinna: What you don't see everyday when you walk into a gallery is an artist right there on the floor in front of you, pouring out plaster from a Trader Joe's container onto a latex thingee.

The exhibition will showcase the wide variety of materials that Bourgeois used throughout her career, including carved wooden vertical forms in the late 1940s, amorphous and labyrinthine poured forms in latex and plaster in the 1960s, carved marble pieces in the late 1960s and early 1970s, Cell installations of the 1990 - 2000s, and fabric and red gouache works late in her career.

On a bedsheet, sourced from a thrift shop with its price tag still attached, the artist has poured thick layers of richly colored latex paint that recalls patterns in the night sky or an aerial view of a turbulent river.

A selection of Lynda Benglis's work — from her process - oriented poured - latex sculptures and fallen paintings of the 1960s to the videos and pleated gilt sculptures that followed — is being exhibited across four institutions, in as many countries, each iteration with its own curatorial conceit.

Lynda Benglis focuses on the way in which the artist's interest in process has led her to expand the possibilities of material from latex pourings and expansions to more precious materials such as glass and gold.

Commonly cited examples, which are repeated in the catalog, include, among others, Lynda Benglis» pouring of pigmented latex directly on a floor, on which it hardened; Richard Serra's works in which he cast molten lead into the corner where floor met wall (one of which has been reproduced at SFMOMA); Robert Smithson's pouring of viscous asphalt down a hillside outside Rome; and Eva Hesse's «Rope Piece,» in which lengths of rope were let to hang loosely in a space in three - dimensional mimicry of the skeins of pigment in Pollock's drip paintings.