I’ve made it a point to highlight underrepresented women in western art history, and I have written about Latin Americans and Eastern Europeans, and yet still no black artists. But I mean, how many black artists are mentioned in the same breath as Max Bill? Why are there still enti
Senga Nengudi’s (*1943) media-spanning oeuvre situates itself at the threshold of sculpture and object-related performance, making a crucial contribution to postminimalism. Known for abstract-poetic work that uses such ordinary materials as nylon stockings, the Colorado Springs-based artist casts new light on the relationship between work and viewer while critically exploring socio-political realities.
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Lévy Gorvy represents Senga Nengudi.
“Head Back and High: Senga Nengundi, Performance Objects (1976-2017)” at Art + Practice in L.A. gives us a unique hybrid kind of sculpture.
Lévy Gorvy represents Senga Nengudi.
“Head Back and High: Senga Nengundi, Performance Objects (1976-2017)” at Art + Practice in L.A. gives us a unique hybrid kind of sculpture.
Senga Nengudi RSVP, 1978 Pantyhose and sand 54 x 24 x 2 inches The Collection of Gregory & Diane Pitts Photo: Joshua White/jwpictures.com
I’ve made it a point to highlight underrepresented women in western art history, and I have written about Latin Americans and Eastern Europeans, and yet still no black artists. But I mean, how many black artists are mentioned in the same breath as Max Bill? Why are there still enti
In advance of her first retrospective outside the US, avant-garde artist Senga Nengudi discusses her emergence onto an international stage after a long career.
Senga Nengudi RSVP Reverie Pink, 2011 Pantyhose, sand and copper 20 x 8 x 2 inches Photo: Joshua White/jwpictures.com
Senga Nengudi: "I've always been intrigued with materials that are connected to time and place.”
“An entire exhibition could come out of one’s handbag.” This phrase, from the catalogue essay accompanying Senga Nengudi’s “Alt” (by professor of art ...
I’ve made it a point to highlight underrepresented women in western art history, and I have written about Latin Americans and Eastern Europeans, and yet still no black artists. But I mean, how many black artists are mentioned in the same breath as Max Bill? Why are there still enti
“An entire exhibition could come out of one’s handbag.” This phrase, from the catalogue essay accompanying Senga Nengudi’s “Alt” (by professor of art ...
ARTISTS HAVE LONG USED EVERYDAY OBJECTS as inspiration, tools and materials, often transforming and utilizing them in entirely new and unrecognizable ways. A generation before Brazilian...
“Head Back and High: Senga Nengundi, Performance Objects (1976-2017)” at Art + Practice in L.A. gives us a unique hybrid kind of sculpture.
I’ve made it a point to highlight underrepresented women in western art history, and I have written about Latin Americans and Eastern Europeans, and yet still no black artists. But I mean, how many black artists are mentioned in the same breath as Max Bill? Why are there still enti
Lévy Gorvy represents Senga Nengudi.
Since the 1960s Nengudi has created works that blur the line between sculpture and performance
The legendary sculptor and performance artist talks liquid sculpture, the politics of dance and the liberating qualities of nylon hosiery
Senga Nengudi’s (*1943) media-spanning oeuvre situates itself at the threshold of sculpture and object-related performance, making a crucial contribution to postminimalism. Known for abstract-poetic work that uses such ordinary materials as nylon stockings, the Colorado Springs-based artist casts new light on the relationship between work and viewer while critically exploring socio-political realities.
We explore the work of American artist Senga Nengudi, who has just opened two major shows in New York, and will be awarded the Nasher Prize for Sculpture 2023 in April
The legendary sculptor and performance artist talks liquid sculpture, the politics of dance and the liberating qualities of nylon hosiery
Lévy Gorvy represents Senga Nengudi.
Art about motherhood has been devalued just about as long as the work of raising children has. But starting in the 20th century, we can find many examples of artworks that use the images or materials of motherhood to great effect.
ARTISTS HAVE LONG USED EVERYDAY OBJECTS as inspiration, tools and materials, often transforming and utilizing them in entirely new and unrecognizable ways. A generation before Brazilian...
