Lynda Benglis and Mia Westerlund Roosen Exhibitions in New York Explore Feminist Sculpture

Two concurrent exhibitions in New York present contrasting approaches to feminist sculpture. At Cheim & Read, Lynda Benglis displays a survey of works from 1967 to 2004, revealing her brash exploration of form and material. The show includes early pieces like "Embryo II" (1967), a wax-encrusted pole, and the recent "Bikini Incandescent Column," a large hanging lampshade. Benglis, once considered an enfant terrible, gained notoriety for a 1974 Artforum advertisement featuring herself nude with a dildo, which caused editorial scandal. Her career has oscillated between process-driven aesthetics and baroque sensibility, with works ranging from polyurethane foam puddles to monumental installations. She subverted male-dominated minimalism with organic, anatomical references. Meanwhile, at Lennon, Weinberg, Mia Westerlund Roosen presents six new sculptures named after historical or mythological women, such as "Clio" (2003), which combines pulsating forms with hand-worked concrete surfaces. Roosen's work, inspired by the women's movement, explores erotic content through pared-down abstraction and site-specific installations, including a 1994 outdoor exhibition at Storm King. Both artists share connections to Louise Bourgeois's nebulous forms and a focus on sexual and political themes. The exhibitions run until April 3, 2004, at their respective Chelsea and SoHo locations.