In 1969, Lynda Benglis withdrew her large latex floor painting, Contraband, from the exhibition Anti-Illusion: Procedures/Materials. Looking beyond the logistical problems that caused Benglis to pull the work, I suggest that it challenged the conceptual and formal parameters of the exhibition from its inception. Taking hints from feminism, modernist painting, camp aesthetics, psychedelic imagery, pop, and minimalism, Benglis’s latex pours unify an array of movements, styles, and political positions that have often been treated as antithetical. Although the refusal of traditional binaries was typical of the neo-avant-garde, Benglis’s work was “contraband” because it challenged the inflexible dictum that feminist art and modernist painting are mortal enemies. With Contraband, she drew on abstract expressionist techniques for communicating feeling by exploiting the dialectic of spontaneity and order in Pollock’s drip paintings. Simultaneously, she drew attention to gender through sexed-up colors and materials. Rather than suggesting that gender difference is repressed by abstract expressionist painting’s false universalizing, Benglis shows that modernist techniques for communicating feeling are crucial for the feminist project of understanding the public significance of seemingly private experience.

中文翻译：

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不太可能的匹配：琳达·本格里斯的《违禁品》中的现代主义和女权主义


1969 年，琳达·本格里斯 (Lynda Benglis) 从“反幻觉：程序/材料”展览中撤回了她的大型乳胶地板画作《违禁品》。除了导致 Benglis 撤回该作品的后勤问题之外，我认为它从一开始就对展览的概念和形式参数提出了挑战。从女权主义、现代主义绘画、营地美学、迷幻意象、流行和极简主义中汲取灵感，Benglis 的乳胶浇注统一了一系列经常被视为对立的运动、风格和政治立场。尽管拒绝传统二元是新前卫艺术的典型特征，但本格里斯的作品却是“违禁品”，因为它挑战了“女权主义艺术和现代主义绘画是不共戴天的敌人”的僵化格言。在《违禁品》中，她利用了抽象表现主义技巧，通过利用波洛克滴画中的自发性和秩序的辩证法来传达情感。同时，她通过性感的颜色和材料引起人们对性别的关注。本格里斯并没有暗示性别差异被抽象表现主义绘画的虚假普遍化所压制，而是表明，现代主义的情感交流技术对于女权主义项目理解看似私人经验的公共意义至关重要。