Paris Photo 2018: Joan Lyons Solo Presentation

Joan Lyons' exhibition is featured in ArtDaily. "Highlights from the exhibition include Untitled (Bedspread), 1969, the earliest work in the exhibition, is a sharp, ironic commentary on the status of women in the late 1960s. The repeated image of an anonymous, nude woman that has been screenprinted onto a fabric bedspread is a fierce response to the idea that women are best 'barefoot and pregnant.' The work also references practices widely considered to be women’s work including sitchery, quilting and the “lesser” decorative arts."

Joan Lyons' booth at Paris Photo 2018 was included in The Art Newspaper's article "Picture This: From €10,000 to €1.3M, What to Buy at Paris Photo." Gareth Harris writes, "New York’s Steven Kasher gallery is bringing the under-the-radar work of the US photographer Joan Lyons, aged 81, to the attention of collectors and connoisseurs. “Lyons is an early feminist photographer. People are interested now in  marginal identities and perspectives,” Kasher says."

Joan Lyons' booth at Paris Photo was featured in Cultured Magazine's article titled "The Woman of Paris Photo 2018." "Lyons’ practice encompasses a range of processes, from pinhole photography, offset lithography and Xerography to screen-printing and photo-quilt making. Her work often features her own image; her extraordinary large-scale silkscreen on fabric, Bedspread (1969), is a stunning panel of her nude figure that evokes the iconography of saints."

Artnet included SKG’s booth in its roundup of the 5 “Must-See Booths at Paris Photo this Year.” This year’s presentation is an ode to the pioneering feminist artist Joan Lyons. “Lyons employed all aspects of photo-making materials, evoking the realm of domesticity and using her own body as a medium for exploration.” Come visit us at Booth D15!

CNN featured Joan Lyons’ work in an article titled “The Female Photographers Who Vanished from Museums.” Matthew Ponsford writes, “American photographer Joan Lyons produced introspective images of her own experience that fought back prevailing beliefs that photos should be universal and objective. Instead, she used Polaroid, Xerox machines and other alternative methods of image making to create personal images that were inseparable from her experience.”