art: knot-theme sculptures by lynda benglis - frosted mylar
1982 this is a digital version of an article from The Times Print Archive, before it starts online in 1996.
To keep these articles as they appear initially, the Times will not change, edit, or update them.
There are occasional copywriting errors or other problems during the digitization process.
Please send a report of such issues to archid_feedback @ nytimes. com.
The new sculpture of LYNDA benglis is on display at the Paula Cooper Gallery, 155 Worcester Street, despite being called "Idol" in Greek ", but more is the change that has occupied the artist's knot theme for the past decade.
They measure about two or three. and-
Half foot wide, made of bronze wire mesh, sprayed in metal solution
Bronze, aluminum or zinc or its combination.
Some knots are matte, some are shiny with paint, and occasionally a splash of turquoise allows the oxidation of bronze.
Each piece has its own features, but they all hang on the wall in groups, like oversized, folded bows.
In the late 1960s S, Miss Bengalis became famous as a process artist who inspired Jackson Pollock by making sculptures with liquid plastic that fell on the floor.
Next is a series of tinselly-
It looks like a knot, and since then it seems that the artist has been alternating between automatic and deliberate.
However, her material is becoming more and more precious, reaching its peak in the golden leaves she used a few years ago.
But no matter what medium, Miss bengales has shown an irresistible combination of intelligence and wildness, which tends to mask cheap things.
There is always a feeling that this is a sculptor, mainly to cover up her serious nature with humor.
Relying on it, a lot of very complex Lenovo thinking has entered these innocent worlds.
Looks like a bow tie.
In some, such as the silver
The gray "Hydra" looks like a wet curtain of a Greek classical sculptor with a new elegance and sensuality.
These are all idols with pastoral style. (
Until tomorrow. )
Other notes for this week: Will Barnet (
Dintenfass, 50 West 57 Street)
: Painters and moderators will Barnett are known for the sweetness of his subject matter --
The girl lives in a cat with the scenery and interior decoration of hair and character-
His color is sweet and sour.
After the Japanese style, the shape is very small and flat, and the effect is mainly decorative.
Until Mr . .
The portraits of Barnett come together as they are here --
Nearly 20 of them since the end of 1960s
He is also an insightful artist.
He may modify the character with some elements.
For example, hand.
But he missed him very little in his seat.
In fact, under the crowd
The artist's style is delightful and he sometimes gets away with murder like he puts little Frederick Kessler at one end of the sofa and his wife is twice as heavy as he is --
One in the other.
He also made a lot of revelations about the similarities between critic Catherine Kuch and a woman named de Freeman, but to some extent it's not unflattering, it tells about the life and taste of the subject.
Miss Kuh's eyes and eyebrows, like the wings of a bird, pose on the legal canvas she admires most. (Through Dec. 2. )
Please click on the box to verify that you are not a robot.
The email address is invalid. Please re-enter.
You must select the newsletter you want to subscribe.
View all New York Times newsletters.
James Rosenquist (
Castelli Feigen Corcoran, 1020 Madison Avenue, 78 th Street)
: This is a small exhibition of three fairly large new James Rosenquest paintings, in horizontal form, with the associated paintings on frosted Mera.
They may look like the posterior Rosen quays of yore, with organic and industrial-shaped and textured collage side by side, alternating frolicking and calculating.
But, in fact, the artist is more fierce and capricious than before.
A work consists of a huge finger with a painted nail that doubles as a pen tip and hangs on a window behind a blind man in Venice.
Another shape known as the "reflector" is similar to a piece of ice placed on a ratchetlike device.
This, in turn, sits on a metal flange, while in a separate compartment on the right, the trunk becomes a drain.
In the "deflator", ice becomes a mysterious shape wrapped in transparent pink plastic.
No one can blame Mr. Rosenquist -
Always the most violent and least infiltrated by pop artists --of mellowing. (Through Jan. 8. )Joe Zucker (
Solomon, 392 West Broadway)
: Introduction to Joe Zukel's premiere perspective exhibition, which was held a few months ago at the olbright Knox Gallery, director Robert Barker of the gallery, describing the artist's 1960s work as "rowdy ", looks like the wrong side from the track.
The same is true of the 10 new oil paintings here, although cotton balls have been replaced by shapes cut from foil, and there is evidence of painting.
Still, the noise seems more likely to be the result of research by the Chicago Institute of art than the artist's blue --
Collar background, looks a little nervous.
Most foil images relate to the characters in the "flash gordon" comics, which are placed on canvas stained with dark colors or covered with foil. Mr.
A few years ago there was the consistency of the melted sugar and now it looks more like a mixture of slime-based Zuker's robs and pigments.
The artist is clearly determined to retain his talent in decoration. (Through Dec. 1. )
Richard Fishman (
Delahunty, 291 Church Street)
: One critic described Richard Fishman as a former sculptor who "crafted" metal pieces, and he now makes "ugly objects" because he is interested in beauty.
The average height is 7 to 8 feet.
According to current standards, it does not look terrible to see the plaster spires.
But again, they are not beautiful, and their rough model surface is applied to the tar, and the metal mesh skeleton is usually visible through the tar.
Changes in the same shape are shown in several large pastel colors and look either threatening or humorous.
But except for a very beautiful brown. and-
The design of the white wood carving, like the fetish of some tribes, Sir
Fishman seems not interested in the image itself, but in its use as a means to convey his extremely turbulent emotions.
He may be an abstract expressionist born too late. (Through Jan. 8. )
A version of this review was printed on page C00015 of the National edition on November 26, 1982 with the title: ART: KNOT-
The theme sculpture of lynda benglis.