{"id":1114,"date":"2021-02-01T13:39:37","date_gmt":"2021-02-01T21:39:37","guid":{"rendered":"https:\/\/www.artandpractice.org\/?p=1114"},"modified":"2021-02-01T13:39:38","modified_gmt":"2021-02-01T21:39:38","slug":"how-senga-nengudis-performance-objects-stretched-sculpture-into-new-forms-and-how-shes-still-pressing-the-limits-today","status":"publish","type":"post","link":"https:\/\/artandpractice.org\/es\/news\/how-senga-nengudis-performance-objects-stretched-sculpture-into-new-forms-and-how-shes-still-pressing-the-limits-today\/","title":{"rendered":"C\u00f3mo los &#039;objetos de rendimiento&#039; de Senga Nengudi extendieron la escultura a nuevas formas, y c\u00f3mo ella todav\u00eda est\u00e1 presionando los l\u00edmites hoy"},"content":{"rendered":"<p>Como escultor, Senga Nengudi (n. 1943) es conocido por un material en particular: pantimedias de nailon, estiradas, atadas y rellenas de arena de diversas formas, convertidas en representaciones abstractas del cuerpo. Sin embargo, esta firma art\u00edstica instant\u00e1neamente reconocible tambi\u00e9n puede enmascarar las profundidades de su trabajo. La interpretaci\u00f3n ha sido tan fundamental para la pr\u00e1ctica de Nengudi como sus materiales. Su exposici\u00f3n reci\u00e9n inaugurada en Art + Practice en Los \u00c1ngeles, &quot;Head Back and High&quot;, revela un proceso art\u00edstico alimentado por sus asociaciones con una comunidad unida de artistas que empujaron los l\u00edmites del arte contempor\u00e1neo negro con tanta seguridad como ella misma estir\u00f3 el nailon en formas nuevas y desafiantes.<\/p>\n\n\n\n<p>Lee el art\u00edculo completo&nbsp;<strong><a href=\"https:\/\/news.artnet.com\/exhibitions\/senga-nengudi-1312703\">aqu\u00ed<\/a><\/strong>.<\/p>","protected":false},"excerpt":{"rendered":"<p>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\u2019s practice as her [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[3],"tags":[],"class_list":["post-1114","post","type-post","status-publish","format-standard","hentry","category-contemporary-art"],"acf":[],"_links":{"self":[{"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/posts\/1114","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/comments?post=1114"}],"version-history":[{"count":4,"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/posts\/1114\/revisions"}],"predecessor-version":[{"id":1330,"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/posts\/1114\/revisions\/1330"}],"wp:attachment":[{"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/media?parent=1114"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/categories?post=1114"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/tags?post=1114"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}