Louise Bourgeois (born 1911) and Lynda Benglis (born 1941) are poles apart yet closely linked. Maintaining a visible space between an age bracket, Bourgeois’s work is endemic with vulvas and castrated phalluses embedded in Surrealism and Freudian traumas. While Benglis leads the way of Postminimalism and is recognized for her stimulating feminism and process-based creations made from poured polyurethane or plaster-soaked gauze. Yet in contrasting works created by both of them around 1970, this exhibition “Circa 70: Lynda Benglis and Louise Bourgeois” at Cheim & Read in New York teases out their surprising similarity. Their artistic creation will be displayed through 31 August 2007.
“Avenza Revisited II” by Louise Bourgeois is a 1968-9 bronze with silver nitrate patina sculpture measuring 51 1/2 x 41 x 75 1/2 inches (130.8 x 104.1 x 191.8 centimeters), edition 6 of 6.
“End of Softness” by Louise Bourgeois, a 1967 bronze with gold patina sculpture measuring 7 x 20 3/8 x 15 1/4 inches ( 17.8 x 51.8 x 38.7 centimeters), edition 6 of 6.
“Quartered Meteor” by Lynda Benglis, a 1969 lead sculpture measuring 57 1/2 x 65 1/2 x 64 1/4 inches ( 146.1 x 166.4 x 163.2 centimeters), edition 1 of 3.
Bravo” by Lynda Benglis, a 1972 stainless steel, copper and babitt sculpture measuring 27 x 10 x 10 inches ( 68.6 x 25.4 x 25.4 centimeters).
