Lee Bontecou

In conversation with Mona Hadler, Lee Bontecou describes her passion as emotional responses evolving from political and social stances originating with her upbringing during World War II (Hadler 1994.).  She also denotes her inspiration for her earlier works as resonating from the Cold War arms race and Sputnik (Duncan 2004.).  “Bontecou has stressed that she sees technology through nature, pointing out the relationship of the helicopter or of Sputnik to the dragonfly (Hadler, p57.).” She presents her responses within an oppositional language of mix media sculptures and drawings utilizing organic and geometric shapes. Constructed of her sculptures consist of varying combinations of plastic, wire, canvas, welded steel, velvet and other clothes, while her drawings were of graphite, soot and ink & ink/prints (Hadler 1994.).

      “Bontecou has culled her imagery from life itself (Ashton, p1.).” This relates to the life of the mind as well as visual life. She not only perceives all the beauty in the natural world but also the cruelty.  The goal within her work is to emit emotions, not only her personal feelings, but to also get the viewer to give the work their own personal meaning.  Enhance freedom of interpretation is her neglect in titling her work.  Works can range from easily identifiable to abstract and open to viewer interpretation (Ashton 2005.). 

      Bontecou’s works consist of depict an array of objects, from airplane propellers, skeletal structure, fish, and cannons to black holes conveying “…a blank television screen, a camera lens, a cave, a wound, the pupil of an eye, a crater, a skeletal socket, a porthole, a periscope, a gun barrel…(Duncan, p152).” She began her career using conventional sculptural approaches, creating an armature and applying materials to create a freestanding form.  However, in the 1960’s she moved on to create her signature works as protruding wall reliefs (Duncan 2010.).

Ashton, D. (2005). On Lee Bontecou. Raritan, 24(4), pp 1-12.

Duncan, M. (2004). Catching up with Bontecou. Art in American, 92(6), pp150-159.

Hadler, M. (1994). Lee Bontecou’s warnings. Art journal, 53(4), pp 56-61.