LYNDA BENGLIS | RACER SERIES #3 MARCH
California Straight Ahead: Property from the Collection of Dr. David Sanders and Prof. Jesse Dukeminier
RACER SERIES #3 MARCH
stainless steel wire mesh, sprayed zinc, bronze, silver plating
13 by 8½ by 3¼ in. (33 by 21.5 by 8.3 cm.)
Executed in 1989.
This work is in very good condition overall. All elements are present and stable. There are some tonal shifts to the patina inherent to the artist’s working method and chosen media. There is some minor dust in some of the crevices.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.
Margo Leavin Gallery, Los Angeles
Acquired from the above by the present owner in 1989
Los Angeles, Margo Leavin Gallery, Lynda Benglis: New Sculpture, July - August 1989
“Benglis’s metalized forms seem to germinate, to have a torque and a pulse, yet simultaneously seem devoid of any sense of interior; they are mysteriously vivified… They suggest powerful physical sensations and natural forces, such as gravitational pull or the invisible processes of growth and decay… Many of Benglis’s forms from the 1980s are distinctly floral, and reflect her longstanding interest in the exotic, magnificent forms of plant life. She characteristically superimposes metaphors, however, and her work remains simultaneously highly figurative; it frequently appears like deeply carved luxuriant folds of baroque drapery that has been strangely vacated. Benglis’s metalized knots are at times large bows that have been manipulated into ecstatic anthropomorphic configurations… Usually centralized, obviously organic, …these forms are comparable to the burgeoning, biologically images similarly apparent, for example, in the paintings of Georgia O’Keefe, and their ‘female’ context was often taken as discomfiting.”
(Susan Krane, “Lynda Benglis: Theaters of Nature”, Lynda Benglis: Dual Natures, p. 52, catalogue for exhibition at the Hight Museum of Art, Atlanta)