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Suzanne BentonSuzanne Benton_Folded Hands_2003 -monoprint, Chine collé, 10 x 13 in2003
2003
$1,000
£748.49
€864.88
CA$1,386.67
A$1,553.24
CHF 807.51
MX$19,179.45
NOK 10,287.10
SEK 9,724.85
DKK 6,454.23
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About the Item
Suzanne Benton has been a working artist in a wide range of media for more than 60 years, with more than 150 solo exhibitions, 110 group shows, and two retrospectives of her multi-faceted work. Since 2010 alone, Benton has had seven solo shows and has been represented in 13 group shows, including the Asian Art Biennale in Dhaka, Bangladesh.
Her career as a metal sculptor, mask maker/performance artist, printmaker, painter, lecturer, workshop leader, and pioneer feminist activist artist, featured in Feminists Who Changed America 1963- 1975, has carried her throughout the United States and to more than 30 countries.
In her recent series of artworks, From Paintings in Proust and the current Circling Vermeer, Benton draws on years of inspiration and influence, approaching the Western canon of artworks first studied in her younger years as a student and artist.
Benton has been the recipient of numerous grants and awards and has received support and sponsorship from the U.S. government, collectors, foundations, and local, national and international civic and community organizations.
Represented in museum and in private collections worldwide, Benton is also the author of The Art of Welded Sculpture (Van Nostrand Reinhold, 1975) and over sixty published articles.
Benton has curated exhibitions, given printmaking workshops, and taught and lectured widely. Her feminist activism has continue to be a seminal theme in her art and life. She founded and organized the January 21, 2017 Women’s Solidarity March in St. Petersburg, Florida, which drew an unprecedented 25,000 peaceful marchers to downtown St. Petersburg. Her efforts were recognized by the Pinellas Chapter of the ACLU in Florida, which granted her the Gardner Beckett 2017 Civil Liberties Award.
The Arthur and Elizabeth Schlesinger Library on the History of Women in America in Cambridge, Massachusetts is acquiring Benton’s papers. Her feminist activist archives have been acquired by The Rutgers University Women Artists’ Archive in New Brunswick, NJ.
"I believe in the power of the artist as culture-maker and that the purpose of art is to explore humanity. Having developed my work as a bridge between cultures, I’m drawn to multicultural themes. Myth, history, biblical lore, folk legend, and the mask forms of eastern and western cultures flow through my multi-disciplinary art. This trajectory has carried me to 32 countries to study, reconfigure, and retell significant sagas and tales through a feminist American artist’s eye. The multi-disciplined artwork created in response to this immersion is deeply philosophical. Having both a knowledge of sacred texts and ancient stories and the ability to transform them into contemporary relevance, my work has become a seasoned voice that has long prepared itself to reach America’s unique and always evolving demographics, where people from all the world live, hope and dream."
Suzanne Benton
- Creator:Suzanne Benton (American)
- Creation Year:2003
- Dimensions:Height: 13 in (33.02 cm)Width: 10 in (25.4 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Darien, CT
- Reference Number:1stDibs: LU17225325792
Suzanne Benton
Suzanne Benton is a celebrated pioneer feminist activist artist who has worked in 32 countries worldwide as a metal mask maker, mask performance artist, sculptor, printmaker, painter, lecturer and workshop leader. Her seven decades-long art life continues to evolve. She is currently writing the memoir, The Spirit of Hope. Born, raised and educated in NYC (Queens College, Fine Arts alum), Suzanne Benton is a printmaker, painter, metal sculptor, mask maker/performance artist, lecturer, and workshop leader. Believing the purpose of art is to explore humanity, and that art comes alive when it relates to people’s lives, Benton has been drawn to multicultural themes steeped in myth, ritual, and archetype. This work oftentimes engages participation. Bridging cultures, venues featuring Benton's artworks and performances, have stretched from New York City to villages in remote parts of Africa, India, and Nepal, as well as philosophy and education portals from Calcutta to Cambridge. A former Fulbright Scholar (India), recipient of many grants, artist residencies, and hostings by the cultural arm US Embassies, her worldwide travels began with a 1976 to 1977 yearlong journey as a feminist pioneer to 14 countries where she welded metal masks, developed and performed what became Journey Tales, and led mask and story workshops. That pattern, spurred on by wanderlust and curiosity has brought her to Bali, Bangladesh, Bosnia, Bulgaria, Canada, China, Denmark, Egypt, England, Germany, Greece, Holland, India, Ireland, Israel, Japan, Kenya, Korea, Morocco, Nepal, Nigeria, Pakistan, Spain, Switzerland, Tanzania, Tunisia, Turkey, and Yugoslavia. Beyond exhibiting widely (150+ solo shows and representation in museums, and private collections worldwide), I’m the author of The Art of Welded Sculpture and numerous articles. the artist has been listed in, among others Who’s Who in America, Who’s Who in American Art, and Feminists Who Changed America 1963-1975, edited by Barbara Love, 2006. As a journeying artist, Benton has sought to filter the treasures of newness, of sharing, spectacle, friendship and insight into her artwork. In this ninth decade of life, and as a working artist for nearly 70 years, the artist will give occasional mask performances (March 9 at the Leepa-Rattner Museum, Tarpon Springs, FL) , in addition to her printmaking, is painting in a Late Style that arrived as a surprise during the Covid pandemic. The resultant aloneness from sheltering in place brought an uncanny level of solitude that only painting could voice. Reaching for the purist of colors, she then entered a celebratory world of Neo-Transcendental paintings called All About Color while continuing to write her memoir, The Spirit of Hope.
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“I still look at and learn from the art of the past, and enjoy making interpretations of works which I admire.” Henry Moore
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