6 spring street
new york city 10012
tel: 212.219.0166
info@jenbekman.com
holly lynton
bio
HOLLY LYNTON Lives and works in New York City EDUCATION 2000 M.F.A, Bard College, Milton Avery Graduate School of the Arts, Annandale, NY 1994 B.A., Yale University, New Haven, CT
SOLO EXHIBITION
2004
Mean Ceiling, Mixed Greens, New York City
2000
In Between, curated by Stephanie Theodore, Kathryn Markel Fine Art, New York City
SELECTED GROUP EXHIBITIONS
2003
Better Homes and Gardens, Zoller Gallery, Penn State University, PA That Sumertime Feeling, Wooster Projects, New York City Supranatural, Mixed Greens Gallery, New York City Featured artist, Mixed Greens (www.mixedgreens.com), New York City since 2002
2002
Field Trip, School House Gallery, Croton Falls, NY The Ides of March, ABC NoRio, New York City
2001
Heat, Margaret Thatcher Projects, New York City Benefit exhibition, Museum of New Art, Detroit, MI
2000
Meat Market Art Fair, New York City Foci: Points of Convergence, Bard College, Red Hook, NY Benefit exhibition, White Columns, New York City
1999-2000
Photographs by Painters, Photographers, Sculptors, Lennon, Weinberg Gallery, New York City
1999
The Warehouse, Exit Art, New York City
1997
Body Parts, Kingsgate Gallery, London Everything Cool, Platinum Gallery, New York City
BIBLIOGRAPHY
Johnson, Ken, "Art Guide Review," The New York Times, C6, 21 April 2000 Aletti, Vince, "Voice Choices Short List," The Village Voice, pp. 84-85 (photo), 25 April 2000 Morgan, Robert, "Artist Photographs: Straight and Sequential," NY Arts, international edition, volume 5, p. 13
statement
For as long as I can remember, strangers have gone to great lengths to inform me of their presumption that I am still a child. While driving I have had women on street corners shout at me—they think I'm too young to be behind the wheel of a car. And airline ticket agents always gape at my ability to fly solo, unaccompanied by an adult. In general, I am still thought to be half my age. What astonishes me about these encounters is not people's erroneous assumptions, but rather their need to admit them to me. These interactions have led me to make work that asks viewers to confront their assumptions and encourages them to look beyond first impressions.
I cull images out of my own daily life, using events that lie between the everyday and the extraordinary. They are common, but not daily or mundane interactions. The saturated color and extreme vantage points of my photographs and video immerse viewers in the images as participants rather than voyeurs. This intimacy encourages them to see multiple explanations for a single image. Without dictating how, I hope the viewer will be changed by my images. I provide no absolute conclusions, but suggest a need to search for an underlying truth that may not be immediately apparent.