AIC's 52nd Annual Meeting

Lynda Benglis, an artist with a prolific career spanning over several decades, has left an indelible mark on the art world with her innovative and unconventional approach to materials and techniques. Spanning several decades, her work has consistently pushed the boundaries of artistic expression. Notably, her pioneering use of non-traditional materials has presented distinctive challenges for conservators seeking to preserve her ground-breaking artworks.



This paper focuses on Benglis' iconic latex artworks, particularly those created between 1968 and 1970. These works involve the artist pouring pigmented latex rubber onto the floor, yielding distinctive aesthetic and tactile qualities. Conserving Benglis' latex pieces entails addressing the unique challenges stemming from the materials and techniques utilized during their creation. The inherent nature of latex necessitates specialized conservation approaches that balance preserving the original appearance of the artworks while mitigating further degradation.



This study examines the latex works from this period held in public institutions, with a specific focus on "Contraband" (1969) in the Whitney Museum of American Art and "Planet" (1969) in the Detroit Institute of Arts. Close collaboration with Benglis and her studio is also crucial to comprehending the precise timeline and methods employed in producing these works. A technical study was also undertaken to compare the materials used in these two sculptures, which include natural rubber latex and various fluorescent pigments. Based on these results and Benglis’s description of her processes, reproductions of pigmented latex were prepared and aged under elevated temperatures to assess how the materials properties are affected with exposure to different humidity conditions. Results were then connected with the condition issues noted in Benglis’s latex artworks.



By delving into the intricate interplay between aesthetics, materiality, and conservation, this paper dissects the multifaceted challenge of conserving the latex paintings. It investigates the technical aspects of her distinctive artistic process, dissecting the complex composition of the latex medium and its interactions with environmental factors that contribute to degradation. Furthermore, the study elucidates the novel conservation techniques required to preserve both the visual and tactile elements of these works, given their three-dimensional surfaces. By unraveling the intricacies of Benglis’ artistic process, analyzing material behavior over time, and developing innovative conservation methodologies, this paper offers insights into the nuanced world of conserving Benglis' latex artworks, honoring her legacy and adding to the scholarship of art conservation.