Curated by Caroline Hancock and Judith Tannenbaum
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. IMMA’s installation (the artist’s first solo in a European museum) will foreground the inextricability of synthetic and bodily material by emphasizing the artist’s staging of selves and concomitant media interventions, including the controversial 1974 ad in which Benglis posed as a suntanned, lubed-up, dildo-wielding vixen. A fully illustrated monograph boasts an interview, an extensive chronology, and new essays alongside a surfeit of ephemera.
