melbourne

View of “Benglis 73/74,” 2014. From left: Cosey Fanni Tutti, Piccadilly International Vol. 10, No. 10, 1976; Sarah Lucas, Bucket of Tea, A, 1993–2013; Lynda Benglis, Female Sensibility, 1973; Janet Burchill, The Temptation To Exist etc., 1990. Installation view, Neon Parc.

“Benglis 73/74”

Neon Parc/Sutton Projects/TCB Art Inc.

View of “Benglis 73/74,” 2014. From left: Cosey Fanni Tutti, Piccadilly International Vol. 10, No. 10, 1976; Sarah Lucas, Bucket of Tea, A, 1993–2013; Lynda Benglis, Female Sensibility, 1973; Janet Burchill, The Temptation To Exist etc., 1990. Installation view, Neon Parc.

Everyone who attended art-school theory seminars from the mid-1970s on, and everyone who reads Artforum, knows that in 1974, New York artist Lynda Benglis’s gallery purchased two pages of ad space in the magazine’s November issue. That advertisement is the basis for the recent three-gallery exhibition “Benglis 73/74.” Its curator, Geoff Newton, is an artist with a taste for the textual (he sometimes paints covers of art books or magazines). For this show, he assembled works by a long list of British and American artists, from Sarah Lucas and Cosey Fanni Tutti to Robert Mapplethorpe and Benglis herself, as well as Australians including local artists the Kingpins and Tyza Stewart, and dispersed them among a long-running artist-run initiative in Chinatown (TCB Art Inc.), an established dealer’s project annex in hipster Fitzroy (Sutton Projects), and a humble, walk-up, inner-city

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