Lynda Benglis, Omega, 1973

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Lynda Benglis, Omega, 1973발음듣기

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Woman: We're in the Portland Art Museum and we're looking at Judy Chicago's Pasadena Lifesaver blue series #4 1969 to 1970.발음듣기

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Being from Brooklyn, I know Judy Chicago's dinner party.발음듣기

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Man: Absolutely.발음듣기

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Woman: I'm lucky enough to live right near its permanent inflation.발음듣기

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Man: The celebration of women artists across history.발음듣기

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This work is Judy Chicago just after she changes her name from Judy Gerowitz.발음듣기

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She takes on another persona in her evolution as an artist and a person from minimalist art school to trying to make the vocabulary of the day in which she was active, raw minimalism, the factory, the men.발음듣기

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Trying to make it female.발음듣기

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Trying to make it mean something to us.발음듣기

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So when you look at this work, it's four lifesaver-like shapes.발음듣기

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Woman: So how do you see that as connected to this finding of a feminist identity?발음듣기

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Man: Oh look at it.발음듣기

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Woman: It's pink and purple and blue.발음듣기

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Man: But look at the pattern.발음듣기

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It's a translucent square 6 foot by 6 foot.발음듣기

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She has divided it into quadrants.발음듣기

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The quadrants are divided into equilateral triangles like a quilt body in the background.발음듣기

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Woman: Ahh, I see it.발음듣기

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Man: And on top she has created four lifesaver-like shapes in which color moves like a spectrum from light pastel blue and purple to dark rich purple.발음듣기

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Woman: They have a kind of frosted.발음듣기

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Man: Yes, well that's that transparent color on a plexiglass body.발음듣기

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This is not the opaqueness of paint, but the transparency of light and color, like a flaven in a room that changes the color.발음듣기

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She uses that to suggest the sensuality of a form that is both geometric and female.발음듣기

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Woman: And soft and round at the same time.발음듣기

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Man: Round and soft.발음듣기

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She takes two ideas.발음듣기

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The traditional folk form of the quilt, I think.발음듣기

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Woman: Maybe almost playing on the idea of a grid, the modernist grid.발음듣기

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Man: Yes, absolutely.발음듣기

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Woman: Let's look at this other woman artist right next to it.발음듣기

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Man: Lynda Benglis.발음듣기

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Woman: You have this purity and geometry of the Judy Chicago and then this knotted tense but gorgeous and explosive and fun form called Omega from 1973.발음듣기

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Man: This is Lynda Benglis from New Orleans, from the Mardi Gras tradition.발음듣기

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A woman who takes something from the world.발음듣기

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Those plaster-soaked bandages that they stabilize broken legs with.발음듣기

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She begins to knot then.발음듣기

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She thinks of them as organic and process and physical.발음듣기

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It's a post-minimalist practice.발음듣기

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It takes material for what it is.발음듣기

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And then like her famous art forum advertisement where she appears naked with a dildo on a two page ad confronting the machoism of minimalism.발음듣기

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Woman: Is that her holding the dildo?발음듣기

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Man: Yes and the sunglasses.발음듣기

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Woman: I had forgotten about that image.발음듣기

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Man: One of the great confrontations she stages.발음듣기

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Woman: It's still a very confrontational image.발음듣기

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Man: It was done against her friend, Robert Morris, the minimalist, and these glitter knots dismissed in their day because they weren't serious enough.발음듣기

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They were frivolous. They were playful. They were ...발음듣기

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Woman: Female. And I wonder what would have happened if a man had made them.발음듣기

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If they would have been seen as frivolous and playful and I don't know.발음듣기

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There is something about this that also reminds me of late Stella.발음듣기

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Man: Yes, of course, it ends up be antecedent and grounded in what Lynda Benglis was doing.발음듣기

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Frank Stella at this point is doing hard edged geometrics much closer to Judy Chicago.발음듣기

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Woman: That's right.발음듣기

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Man: It's a wonderful piece, animated by this black drizzling line and then the blue and the magenta and the pink and the purple glitter.발음듣기

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Woman: And it feels sort of like it's making fun of Pollock too.발음듣기

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Man: Oh absolutely.발음듣기

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Woman: Adding some Kindergarten glitter to some Pollock.발음듣기

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Man: You see, it is. I've known Lynda Benglis for 30 years.발음듣기

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I've had the privilege of working with her on exhibits and she talks about the glitter knot as a response to the hypersensitivity in masculinity of the art world's dealing with Pollock as the great breakthrough.발음듣기

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And she said, "I wanted to make him and his imagery in mind, but to make it from the process."발음듣기

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Woman: Very cool.발음듣기

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