Lynda Benglis USA, b. 1941

Lynda Benglis (b. 1941) is an American artist best known for her use of poured sculptural forms made from wax, latex, metal, and foam. She moved to New York at the apex of Minimalism in the 1960s and, from then, her work has engaged with both the physicality and process of material-based practices while simultaneously confronting femininity in the context of a male-dominated art world. Using brightly colored polyurethane foam and incorporating wide-ranging influences, such as Abstract Expressionism, Process Art, Minimalism, Feminist art, geological forms, and ceremonial totems, Benglis developed her instantly recognizable sculptural language of undulating, oozing biomorphic forms.

Benglis never confined herself to a single medium or technique, instead choosing to experiment with wax, rubber, glass, and metal, among others, to achieve unique textures and striking visual effects. Her works challenge conventions and often evoke a sense of frozen motion, capturing moments of pure energy. Throughout her career, Benglis also explored video and photography, using them as means to question gender roles and sexuality. One of her most provocative pieces is the famous self-portrait published in "Artforum" in 1974, where she openly challenged the sexist norms of contemporary art, sparking intense debates.

Her works have been exhibited in numerous prestigious museums and galleries worldwide, including the Museum of Modern Art (MoMA) and the Whitney Museum of American Art in New York, the Tate Modern in London, and the Centre Pompidou in Paris. Her influence extends far beyond artistic boundaries, as she was a central figure in the feminist movement of the 1970s and continues to inspire contemporary artists who seek to challenge established norms. With a career spanning over five decades, Lynda Benglis remains a formidable creative artist, constantly exploring new forms of expression and material, such as the latest series of marble sculptures, and maintaining her ability to surprise and challenge both audiences and critics.