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As a sculptor, Senga Nengudi (b. 1943) is well-known for one material in particular: nylon pantyhose, variously stretched, tied, and filled with sand, made over into abstracted renditions of the body. Yet this instantly recognizable artistic signature can also mask the depths of her work. Performance has been as fundamental to Nengudi’s practice as her materials. Her just-opened show at Art + Practice in L.A., “Head Back and High,” reveals an artistic process fueled by her associations with a tight community of artists who pushed the boundaries of black contemporary art just as surely as she herself stretched nylon into new and challenging forms.

Read the full article here.

Senga Nengudi, Performance Piece, 1978. Black and white photograph. Photo by Harmon Outlaw. Courtesy of Lévy Gorvy Gallery, New York and Thomas Erben Gallery, New York.

Senga Nengudi, Performance Piece, 1978. Black and white photograph. Photo by Harmon Outlaw. Courtesy of Lévy Gorvy Gallery, New York and Thomas Erben Gallery, New York.

Senga Nengudi, Performance Piece, 1978. Black and white photograph. Photo by Harmon Outlaw. Courtesy of Lévy Gorvy Gallery, New York and Thomas Erben Gallery, New York.

Senga Nengudi, Performance Piece, 1978. Black and white photograph. Photo by Harmon Outlaw. Courtesy of Lévy Gorvy Gallery, New York and Thomas Erben Gallery, New York.

As a sculptor, Senga Nengudi (b. 1943) is well-known for one material in particular: nylon pantyhose, variously stretched, tied, and filled with sand, made over into abstracted renditions of the body. Yet this instantly recognizable artistic signature can also mask the depths of her work. Performance has been as fundamental to Nengudi’s practice as her materials. Her just-opened show at Art + Practice in L.A., “Head Back and High,” reveals an artistic process fueled by her associations with a tight community of artists who pushed the boundaries of black contemporary art just as surely as she herself stretched nylon into new and challenging forms.

Read the full article here.