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Contraband movie12/28/2023 The trade name was DayGlo, and I ordered 500 pounds of the colors, and had them in my small studio and would go into larger studios and actually pigment large vats of rubber latex, and I would pour the painting on waxed linoleum and sometimes directly on the floor. ![]() Lynda Benglis: My name is Lynda Benglis and the name is Contraband. Creo que, si bien pinto con sustancias líquidas, estoy creando objetos con dimensión, que tienen un sentido de su propio espacio, pero que demandan algo de la audiencia, que debe caminar para verlos bien. Por algún motivo, todavía me considero pintora. No está… Se mueve, es el gesto congelado, en cierto sentido. Lynda Benglis: La obra en sí es una especie de reclamo. Le dio este nombre a la obra porque le recuerda a los derrames tóxicos de petróleo en las masas de agua. Narrator: Benglis creció en Luisiana, cerca del pantano Contraband. La escala la determinaban los lugares donde hacía el trabajo. Cuando iba a estudios más amplios, pintaba contenedores grandes con el látex de caucho y vertía la pintura sobre linóleo encerado y, a veces, directamente en el suelo. El nombre del negocio era DayGlo pedí 500 libras de los colores y los puse en mi pequeño estudio. Sabía que la pintura tendría una combinación de colores y que, en este caso, usaría látex de caucho… este tipo de caucho tiene un grado de viscosidad importante, similar a una crema bien, bien espesa justo antes de convertirse en manteca. Lynda Benglis: Me llamo Lynda Benglis y el nombre de la obra es Contraband. In doing so, Contraband might even question art’s relationship to the environment and the resources we extract from it. This reference, along with the artwork’s faded Day Glo hues and industrial scale, brings to mind the destruction of natural landscapes. The work’s title, Contraband, references a bayou of the same name near her childhood home in Louisiana, and Benglis said the work reminded her of oil slicks on the water. But her approach was influenced by nature, politics, bodily emissions, and contemporary technologies. Like many of her contemporaries, Benglis didn’t try to represent specific images or content in her work. On the left side of the spill, orange, yellow, and red gather to resemble bumbling lava, a gooey portal where some greens and blues swirl and puddle. ![]() The blue “center” extends tendrils of varying sizes to the upper right where the blue latex pools, almost suggesting a river’s course meeting the mouth of an ocean. The spill’s center is primarily dark blue with pink, yellow, and flecks of green swirled within. Composed of blue, green, red, orange, yellow, and the hues made from colors mixing, this work offers a non-shape as a deliberate alternative to the rigidity of paintings stretched on canvas. It is positioned diagonally in the middle of the gallery space. The spill measures just over 9 feet tall and 33 feet wide and is about an inch thick. Contraband is an irregularly shaped pigmented latex “spill” displayed on the floor. Narrator: Lynda Benglis, Contraband, 1969. ![]() ![]() Contraband is an irregularly shaped pigmented latex “spill” displayed on the floor.
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