Lynda Benglis

Early Work, 1967 – 1979

Cheim & Read / Ortuzar Projects and Viewing Room
(see below)
New York
Upper East Side / Tribeca
Oct 8th 2020 — Dec 23rd 2020

Find out more: Cheim & Read | Ortuzar Projects

Editor's note: The exhibition at Ortuzar Projects concludes on December 5, 2020.

Lynda Benglis has spent more than five decades exploring the possibilities within her sprawling sculptural “pours,” for which she literally pours liquid latex and polyurethane over removable scaffolding-like structures, resulting in seemingly gravity-defying, organically formed shapes.

This fall, Cheim & Read and Ortuzar Projects jointly present “Lynda Benglis: Early Work, 1967 – 1979.” Across three spaces, the exhibition showcases significant experimental forays conducted by the artist early in her career, specifically during the late 1960s through the 1970s, when she was initially becoming situated in New York City’s art world.

Cheim & Read: 23 East 67th Street, 2nd Floor, New York, NY, 10065
Ortuzar Projects: 9 White Street, New York, NY, 10013
Ortuzar Viewing Room: 23 East 67th Street, 3rd Floor, New York, NY, 10065

Lynda Benglis, Charlie, 1973.

  • Through
    Jun 6th

    A traveling exhibition of 69 oil paintings, watercolors and works on paper aims to chart Milton Avery’s trajectory and contextualize his work for a new generation.

  • Through
    May 29th

    Inspired by fractals, Renee Cox’s deity-like collages of Black figures constitute an Afrofuturist creation myth.

  • Through
    Jun 6th

    An economical survey of Jonas Mekas, “The Camera Was Always Running” serves as a touching introduction to the Lithuanian filmmaker and champion of avant-garde cinema.

  • Through
    May 28th

    The work in Valentina Vaccarella’s “Bless this Life” rests on a simple irony: monogrammed, embroidered French bridal linens pulled taut across stretcher bars and besmirched by rough images of modern madams.

  • Through
    Jun 6th

    Daniel Lie’s “Unnamed Entities” at the New Museum challenges the antiseptic aim of curation and conservation by imagining a different kind of organic art that needs to be nurtured rather than preserved.

  • Ongoing

    Dia’s recent acquisition of works by Charles Gaines forms the basis of this survey, which includes the artist’s first forays into mathematics-based grid drawings and other early experiments in medium and form.

  • Ongoing

    Day’s End, an elegiac memorial to and stubborn ghost of eras bygone, will also serve as silent witness to the inevitable changes to come.

  • Through
    Jan 2nd 2023

    The sonic encounters provoked by Camille Norment’s elaborate acoustic artworks serve as agents for social consciousness.

  • Through
    May 28th

    The words masterful and mastery assert themselves the instant one encounters the works in “My Body,” both for Nancy Grossman’s command of a wide range of skills and her active state of dominance, identity and selfhood.