Performance Photographs (Works)

Performance Photographs -
Performance Photographs - <i data-src=Flying, 1982/2014. Digital Print.">
Performance Photographs - <i data-src=Flying 3, 1982/2014.Digital Print,7 ½ × 9 ¼ inches (19.05 × 23.50 cm)">
Performance Photographs - <i data-src=Flying 1, 1982/2014. Digital Print,33 × 23 ½ inches (83.82 × 59.69 cm)">
Performance Photographs - <i data-src=Flying 8, 1982">
Performance Photographs - <i data-src=Flying 9, 1982">
Performance Photographs - <i data-src=Flying 7, 1982">
Performance Photographs - <i data-src=Flying 4, 1982/2014. Digital Print7 ½ × 9 ¼ inches (19.05 × 23.50 cm)">
Performance Photographs - <i data-src=Flying 6, 1982/2014. Digital Print7 ½ × 9 ¼ inches (19.05 × 23.50 cm)">
Performance Photographs - <i data-src=Flying 5, 1982/2014. Digital Print7 ½ × 9 ¼ inches (19.05 × 23.50 cm)">
Performance Photographs - <i data-src=Flying 2, 1982/2014. Digital Print,33 × 23 ½ inches (83.82 × 59.69 cm)">
Performance Photographs - <i data-src=Rapunzel, 1981. Silver gelatin print, 40 x 30 in, edition of 5 (+1 AP).Nylon mesh, human hair on wireArlington Avenue and Pico Boulevard, Los AngelesPhoto: Barbara McCullough">
Performance Photographs - <i data-src=Masked Taping 1978-79. Silver gelatin print, 40 x 30 in, edition of 5 (+1 AP).Small pieces of masking tape, my bodyLos AngelesPhoto: Adam Avila">
Performance Photographs - <i data-src=Masked Taping 1978-79. Silver gelatin print, 40 x 30 in, edition of 5 (+1 AP).Small pieces of masking tape, my bodyLos AngelesPhoto: Adam Avila">
Performance Photographs - <i data-src=Performance Piece, 1978. Silver gelatin print, triptych, 31.5 x 40 in each, edition of 5 (+1 AP).Nylon Mesh, Senga Nengudi, Maren HassingerPearl C. Woods Gallery, Los AngelesPhoto: Harmon Outlaw">
Performance Photographs - <i data-src=Performance Piece, 1978. Silver gelatin print, triptych, 31.5 x 40 in each, edition of 5 (+1 AP).Nylon Mesh, Senga Nengudi, Maren HassingerPearl C. Woods Gallery, Los AngelesPhoto: Harmon Outlaw">
Performance Photographs -
Performance Photographs - <i data-src=Performance Piece, 1978. Silver gelatin print, triptych, 31.5 x 40 in each, edition of 5 (+1 AP).Nylon Mesh, Senga Nengudi, Maren HassingerPearl C. Woods Gallery, Los AngelesPhoto: Harmon Outlaw">
Performance Photographs - <i data-src=Freeway Fets, 1978. C-print, series of 11, 12 x 18 in each, edition of 5 (+1 AP).'Through the CETA program, we were all able to make public art works. I chose to do a piece around the supporting columns of a freeway overpass right by the L.A. Convention Center. I liked this area because it gave me a sense of what parts of Africa might look like. It had a dirt floor with little palm tree shoots forcing their way through here and there. It was a place for those without homes to sleep. There were remnants of small campfires and sleeping bags under the shelf of the freeway overpass.I decided I wanted to celebrate and christen the space and my piece after it was hung. I was excited by the prospect of doing a public performance. To that date I had been content doing private studio art activities (performances) with only a photographer present as audience and documenter or with cohorts following through on ideas wherever they would lead us.'Improvisation was the key. It opened the window to chance to let the soul/unconscious do its work.' (Maren Hassinger)At times, I collaborated with Houston Conwill, Maren Hassinger and Franklin Parker, and we would meet in different parts of Los Angeles, i.e. the Greek Theater when closed, an abandoned Catholic School’s swimming pool (site for the Performance “Rapunzel” in 1981), Exposition Park, etc.I really did not ask anyone in advance formally to participate in “Freeway Fets”. We did not rehearse. I knew the concept I wished to deal with, which was a reflection of the piece we were celebrating. Each column had nylon mesh forms wrapped around them. Some of the forms and columns were representative of male energy, the others of female energy. On one column I inscribed names of our children, on another the names of ancestors, relatives and personal friends, some of whom succumbed to the dis-ease of being black in America. I had grave concerns about the tenuous relationships between black men and women. I wished to portray myself as a uniting spirit, a harmonizing spirit between those two factions. I asked David Hammons to be representative of male energy and Maren Hassinger to be representative of female energy. I made my costume and the head dresses of all who participated and all who wanted one. David used an art staff, one of a series he was working on at the time. He also added a coat hanger under the headpiece I created for him to expand it. I asked my ‘Studio Z’ brothers - Roho, Joe Ray, Franklin Parker, and others - to bring instruments.We all converged on the place that morning. I cleared the air and the area with a palm branch, words, and water. I told everyone the concept - we put our “spirit heads” on and the music began. I had never danced with a mask on before. As I gave myself up to the music and the situation, I became other then myself. The concept took over and fulfilled itself. Besides the invited guest there were some onlookers from the street. One comment from an onlooker was that it was like looking at an African ritual and Kabuki at the same time. I was most pleased with this comment since I have been influenced by both, particularly at the same time.'Thomas Erben GalleryExhibition infoAbout the artistMenuRapunzel, 1981. Silver gelatin print, 40 x 30 in, edition of 5 (+1 AP).Nylon mesh, human hair on wirFreeway Fets, 1978. C-print, series of 11, 12 x 18 in each, edition of 5 (+1 AP).Nylon mesh headdresRead contentFreeway Fets, 1978. C-print, 12 x 18 in, edition of 5 (+1 AP). Documentation of performance and instFreeway Fets, 1978. C-print, 12 x 18 in, edition of 5 (+1 AP). Documentation of performance and instFreeway Fets, 1978. C-print, 12 x 18 in, edition of 5 (+1 AP).Documentation of performance and insta Freeway Fets, 1978. C-print, 12 x 18 in, edition of 5 (+1 AP). Documentation of performance and inst1 2 3 4">
Performance Photographs - <i data-src=Freeway Fets, 1978. C-print, series of 11, 12 x 18 in each, edition of 5 (+1 AP).">
Performance Photographs - <i data-src=Freeway Fets, 1978. C-print, series of 11, 12 x 18 in each, edition of 5 (+1 AP). Documentation of performance and installation piece, photographer: Quaku/Roderick Young.">
Performance Photographs - <i data-src=Freeway Fets, 1978. C-print, series of 11, 12 x 18 in each, edition of 5 (+1 AP). Documentation of performance and installation piece, photographer: Quaku/Roderick Young.">
Performance Photographs - <i data-src=Freeway Fets, 1978. C-print, series of 11, 12 x 18 in each, edition of 5 (+1 AP). Documentation of performance and installation piece, photographer: Quaku/Roderick Young.">
Performance Photographs - <i data-src=Study for 'Mesh Mirage', 1977.B/W silver gelatin print,40 × 26 ⅝ in.">
Performance Photographs - <i data-src=Performance with 'Inside/Outside,' 1977. Silver gelatin print, 40 x 30in, edition of 5 (+1 AP).The sculpture Inside/Outside: nylon mesh, rubber, foamPhoto: Ken Peterson">
Performance Photographs - <i data-src=Performance with 'Inside/Outside,'1977. Silver gelatin print, 40 x 30in, edition of 5 (+1 AP).The sculpture Inside/Outside: nylon mesh, rubber, foamPhoto: Ken Peterson">
Performance Photographs - <I data-src=Studio performance with 'R.S.V.P' 1976. Silver gelatin print, 30 x 40 in, edition of 5 (+1 AP).Nylon mesh (pantyhose), sand, dried rose petals, and full length wool skirtSlauson Boulevard, Los AngelesPhoto: Ken Peterson">

Selected Works

Performance Photographs
Flying, 1982/2014. Digital Print. <i>Flying</i>, 1982/2014. Digital Print.
Flying 3, 1982/2014. Digital Print, 7 ½ × 9 ¼ inches (19.05 × 23.50 cm) <i>Flying 3</i>, 1982/2014.Digital Print,7 ½ × 9 ¼ inches (19.05 × 23.50 cm)
Flying 1, 1982/2014. Digital Print, 33 × 23 ½ inches (83.82 × 59.69 cm) <i>Flying 1</i>, 1982/2014. Digital Print,33 × 23 ½ inches (83.82 × 59.69 cm)
Flying 8, 1982 <i>Flying 8</i>, 1982
Flying 9, 1982 <i>Flying 9</i>, 1982
Flying 7, 1982 <i>Flying 7</i>, 1982
Flying 4, 1982/2014. Digital Print 7 ½ × 9 ¼ inches (19.05 × 23.50 cm) <i>Flying 4</i>, 1982/2014. Digital Print7 ½ × 9 ¼ inches (19.05 × 23.50 cm)
Flying 6, 1982/2014. Digital Print 7 ½ × 9 ¼ inches (19.05 × 23.50 cm) <i>Flying 6</i>, 1982/2014. Digital Print7 ½ × 9 ¼ inches (19.05 × 23.50 cm)
Flying 5, 1982/2014. Digital Print 7 ½ × 9 ¼ inches (19.05 × 23.50 cm) <i>Flying 5</i>, 1982/2014. Digital Print7 ½ × 9 ¼ inches (19.05 × 23.50 cm)
Flying 2, 1982/2014. Digital Print, 33 × 23 ½ inches (83.82 × 59.69 cm) <i>Flying 2</i>, 1982/2014. Digital Print,33 × 23 ½ inches (83.82 × 59.69 cm)
Rapunzel, 1981. Silver gelatin print, 40 x 30 in, edition of 5 (+1 AP). Nylon mesh, human hair on wire Arlington Avenue and Pico Boulevard, Los Angeles Photo: Barbara McCullough <i>Rapunzel</i>, 1981. Silver gelatin print, 40 x 30 in, edition of 5 (+1 AP).Nylon mesh, human hair on wireArlington Avenue and Pico Boulevard, Los AngelesPhoto: Barbara McCullough
Masked Taping 1978-79. Silver gelatin print, 40 x 30 in, edition of 5 (+1 AP). Small pieces of masking tape, my body Los Angeles Photo: Adam Avila <i>Masked Taping</i> 1978-79. Silver gelatin print, 40 x 30 in, edition of 5 (+1 AP).Small pieces of masking tape, my bodyLos AngelesPhoto: Adam Avila
Masked Taping 1978-79. Silver gelatin print, 40 x 30 in, edition of 5 (+1 AP). Small pieces of masking tape, my body Los Angeles Photo: Adam Avila <i>Masked Taping</i> 1978-79. Silver gelatin print, 40 x 30 in, edition of 5 (+1 AP).Small pieces of masking tape, my bodyLos AngelesPhoto: Adam Avila
Performance Piece, 1978. Silver gelatin print, triptych, 31.5 x 40 in each, edition of 5 (+1 AP). Nylon Mesh, Senga Nengudi, Maren Hassinger Pearl C. Woods Gallery, Los Angeles Photo: Harmon Outlaw <i>Performance Piece</i>, 1978. Silver gelatin print, triptych, 31.5 x 40 in each, edition of 5 (+1 AP).Nylon Mesh, Senga Nengudi, Maren HassingerPearl C. Woods Gallery, Los AngelesPhoto: Harmon Outlaw
Performance Piece, 1978. Silver gelatin print, triptych, 31.5 x 40 in each, edition of 5 (+1 AP). Nylon Mesh, Senga Nengudi, Maren Hassinger Pearl C. Woods Gallery, Los Angeles Photo: Harmon Outlaw <i>Performance Piece</i>, 1978. Silver gelatin print, triptych, 31.5 x 40 in each, edition of 5 (+1 AP).Nylon Mesh, Senga Nengudi, Maren HassingerPearl C. Woods Gallery, Los AngelesPhoto: Harmon Outlaw
&lt;i&gt;Performance Piece&lt;/i&gt;, 1978. Silver gelatin print, triptych, 31.5 x 40 in each, edition of 5 (+1 AP).Nylon Mesh, Senga Nengudi, Maren HassingerPearl C. Woods Gallery, Los AngelesPhoto: Harmon Outlaw
Performance Piece, 1978. Silver gelatin print, triptych, 31.5 x 40 in each, edition of 5 (+1 AP). Nylon Mesh, Senga Nengudi, Maren Hassinger Pearl C. Woods Gallery, Los Angeles Photo: Harmon Outlaw <i>Performance Piece</i>, 1978. Silver gelatin print, triptych, 31.5 x 40 in each, edition of 5 (+1 AP).Nylon Mesh, Senga Nengudi, Maren HassingerPearl C. Woods Gallery, Los AngelesPhoto: Harmon Outlaw
Freeway Fets, 1978. C-print, series of 11, 12 x 18 in each, edition of 5 (+1 AP). 'Through the CETA program, we were all able to make public art works. I chose to do a piece around the supporting columns of a freeway overpass right by the L.A. Convention Center. I liked this area because it gave me a sense of what parts of Africa might look like. It had a dirt floor with little palm tree shoots forcing their way through here and there. It was a place for those without homes to sleep. There were remnants of small campfires and sleeping bags under the shelf of the freeway overpass. I decided I wanted to celebrate and christen the space and my piece after it was hung. I was excited by the prospect of doing a public performance. To that date I had been content doing private studio art activities (performances) with only a photographer present as audience and documenter or with cohorts following through on ideas wherever they would lead us. 'Improvisation was the key. It opened the window to chance to let the soul/unconscious do its work.' (Maren Hassinger) At times, I collaborated with Houston Conwill, Maren Hassinger and Franklin Parker, and we would meet in different parts of Los Angeles, i.e. the Greek Theater when closed, an abandoned Catholic School’s swimming pool (site for the Performance “Rapunzel” in 1981), Exposition Park, etc. I really did not ask anyone in advance formally to participate in “Freeway Fets”. We did not rehearse. I knew the concept I wished to deal with, which was a reflection of the piece we were celebrating. Each column had nylon mesh forms wrapped around them. Some of the forms and columns were representative of male energy, the others of female energy. On one column I inscribed names of our children, on another the names of ancestors, relatives and personal friends, some of whom succumbed to the dis-ease of being black in America. I had grave concerns about the tenuous relationships between black men and women. I wished to portray myself as a uniting spirit, a harmonizing spirit between those two factions. I asked David Hammons to be representative of male energy and Maren Hassinger to be representative of female energy. I made my costume and the head dresses of all who participated and all who wanted one. David used an art staff, one of a series he was working on at the time. He also added a coat hanger under the headpiece I created for him to expand it. I asked my ‘Studio Z’ brothers - Roho, Joe Ray, Franklin Parker, and others - to bring instruments. We all converged on the place that morning. I cleared the air and the area with a palm branch, words, and water. I told everyone the concept - we put our “spirit heads” on and the music began. I had never danced with a mask on before. As I gave myself up to the music and the situation, I became other then myself. The concept took over and fulfilled itself. Besides the invited guest there were some onlookers from the street. One comment from an onlooker was that it was like looking at an African ritual and Kabuki at the same time. I was most pleased with this comment since I have been influenced by both, particularly at the same time.' Thomas Erben Gallery Exhibition info About the artist Menu Rapunzel, 1981. Silver gelatin print, 40 x 30 in, edition of 5 (+1 AP).Nylon mesh, human hair on wirFreeway Fets, 1978. C-print, series of 11, 12 x 18 in each, edition of 5 (+1 AP).Nylon mesh headdres Read content Freeway Fets, 1978. C-print, 12 x 18 in, edition of 5 (+1 AP). Documentation of performance and instFreeway Fets, 1978. C-print, 12 x 18 in, edition of 5 (+1 AP). Documentation of performance and instFreeway Fets, 1978. C-print, 12 x 18 in, edition of 5 (+1 AP).Documentation of performance and insta Freeway Fets, 1978. C-print, 12 x 18 in, edition of 5 (+1 AP). Documentation of performance and inst 1 2 3 4 <i>Freeway Fets</i>, 1978. C-print, series of 11, 12 x 18 in each, edition of 5 (+1 AP).'Through the CETA program, we were all able to make public art works. I chose to do a piece around the supporting columns of a freeway overpass right by the L.A. Convention Center. I liked this area because it gave me a sense of what parts of Africa might look like. It had a dirt floor with little palm tree shoots forcing their way through here and there. It was a place for those without homes to sleep. There were remnants of small campfires and sleeping bags under the shelf of the freeway overpass.I decided I wanted to celebrate and christen the space and my piece after it was hung. I was excited by the prospect of doing a public performance. To that date I had been content doing private studio art activities (performances) with only a photographer present as audience and documenter or with cohorts following through on ideas wherever they would lead us.'Improvisation was the key. It opened the window to chance to let the soul/unconscious do its work.' (Maren Hassinger)At times, I collaborated with Houston Conwill, Maren Hassinger and Franklin Parker, and we would meet in different parts of Los Angeles, i.e. the Greek Theater when closed, an abandoned Catholic School’s swimming pool (site for the Performance “Rapunzel” in 1981), Exposition Park, etc.I really did not ask anyone in advance formally to participate in “Freeway Fets”. We did not rehearse. I knew the concept I wished to deal with, which was a reflection of the piece we were celebrating. Each column had nylon mesh forms wrapped around them. Some of the forms and columns were representative of male energy, the others of female energy. On one column I inscribed names of our children, on another the names of ancestors, relatives and personal friends, some of whom succumbed to the dis-ease of being black in America. I had grave concerns about the tenuous relationships between black men and women. I wished to portray myself as a uniting spirit, a harmonizing spirit between those two factions. I asked David Hammons to be representative of male energy and Maren Hassinger to be representative of female energy. I made my costume and the head dresses of all who participated and all who wanted one. David used an art staff, one of a series he was working on at the time. He also added a coat hanger under the headpiece I created for him to expand it. I asked my ‘Studio Z’ brothers - Roho, Joe Ray, Franklin Parker, and others - to bring instruments.We all converged on the place that morning. I cleared the air and the area with a palm branch, words, and water. I told everyone the concept - we put our “spirit heads” on and the music began. I had never danced with a mask on before. As I gave myself up to the music and the situation, I became other then myself. The concept took over and fulfilled itself. Besides the invited guest there were some onlookers from the street. One comment from an onlooker was that it was like looking at an African ritual and Kabuki at the same time. I was most pleased with this comment since I have been influenced by both, particularly at the same time.'Thomas Erben GalleryExhibition infoAbout the artistMenuRapunzel, 1981. Silver gelatin print, 40 x 30 in, edition of 5 (+1 AP).Nylon mesh, human hair on wirFreeway Fets, 1978. C-print, series of 11, 12 x 18 in each, edition of 5 (+1 AP).Nylon mesh headdresRead contentFreeway Fets, 1978. C-print, 12 x 18 in, edition of 5 (+1 AP). Documentation of performance and instFreeway Fets, 1978. C-print, 12 x 18 in, edition of 5 (+1 AP). Documentation of performance and instFreeway Fets, 1978. C-print, 12 x 18 in, edition of 5 (+1 AP).Documentation of performance and insta Freeway Fets, 1978. C-print, 12 x 18 in, edition of 5 (+1 AP). Documentation of performance and inst1 2 3 4
Freeway Fets, 1978. C-print, series of 11, 12 x 18 in each, edition of 5 (+1 AP). <i>Freeway Fets</i>, 1978. C-print, series of 11, 12 x 18 in each, edition of 5 (+1 AP).
Freeway Fets, 1978. C-print, series of 11, 12 x 18 in each, edition of 5 (+1 AP). Documentation of performance and installation piece, photographer: Quaku/Roderick Young. <i>Freeway Fets</i>, 1978. C-print, series of 11, 12 x 18 in each, edition of 5 (+1 AP). Documentation of performance and installation piece, photographer: Quaku/Roderick Young.
Freeway Fets, 1978. C-print, series of 11, 12 x 18 in each, edition of 5 (+1 AP). Documentation of performance and installation piece, photographer: Quaku/Roderick Young. <i>Freeway Fets</i>, 1978. C-print, series of 11, 12 x 18 in each, edition of 5 (+1 AP). Documentation of performance and installation piece, photographer: Quaku/Roderick Young.
Freeway Fets, 1978. C-print, series of 11, 12 x 18 in each, edition of 5 (+1 AP). Documentation of performance and installation piece, photographer: Quaku/Roderick Young. <i>Freeway Fets</i>, 1978. C-print, series of 11, 12 x 18 in each, edition of 5 (+1 AP). Documentation of performance and installation piece, photographer: Quaku/Roderick Young.
Study for 'Mesh Mirage', 1977. B/W silver gelatin print, 40 × 26 ⅝ in. <i>Study for 'Mesh Mirage'</i>, 1977.B/W silver gelatin print,40 × 26 ⅝ in.
Performance with 'Inside/Outside,' 1977. Silver gelatin print, 40 x 30 in, edition of 5 (+1 AP). The sculpture Inside/Outside: nylon mesh, rubber, foam Photo: Ken Peterson <i>Performance with 'Inside/Outside,'</i> 1977. Silver gelatin print, 40 x 30in, edition of 5 (+1 AP).The sculpture Inside/Outside: nylon mesh, rubber, foamPhoto: Ken Peterson
Performance with 'Inside/Outside,'1977. Silver gelatin print, 40 x 30 in, edition of 5 (+1 AP). The sculpture Inside/Outside: nylon mesh, rubber, foam Photo: Ken Peterson <i>Performance with 'Inside/Outside,'</i>1977. Silver gelatin print, 40 x 30in, edition of 5 (+1 AP).The sculpture Inside/Outside: nylon mesh, rubber, foamPhoto: Ken Peterson
Studio performance with 'R.S.V.P' 1976. Silver gelatin print, 30 x 40 in, edition of 5 (+1 AP). Nylon mesh (pantyhose), sand, dried rose petals, and full length wool skirt Slauson Boulevard, Los Angeles Photo: Ken Peterson <I>Studio performance with 'R.S.V.P'</i> 1976. Silver gelatin print, 30 x 40 in, edition of 5 (+1 AP).Nylon mesh (pantyhose), sand, dried rose petals, and full length wool skirtSlauson Boulevard, Los AngelesPhoto: Ken Peterson

Senga Nengudi

Performance Photographs
About Senga Nengudi

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