Lives and works in Los Angeles, California.
Born in Sarasota, Florida.


2013 MFA, California College of the Arts, San Francisco, CA
2006 BA, Mount Holyoke College, South Hadley, MA


2019 Democracy Shop with The Binder of Women, Frieze Los Angeles, Paramount Pictures Studios, Los Angeles, CA, February 15 - 17, 2019
2018 The Sexy Beast Gala Silent Auction, with Binder of Women, Marciano Art Foundation, Los Angeles, October 20, 2018
2018 Heat Wave. Guerrero Gallery, San Francisco, August 18 - September 15, 2018
2018 Good Smoke. 0-0 LA, Los Angeles
2018 Velvet Ropes. David Risley Gallery, Copenhagen, Denmark
2018 BARKER HANGER 1, curated by Hayley Barker, Los Angeles
2018 Velvet Ropes. 0-0 LA, Los Angeles
2018 Velvet Ropes. R/SF Projects, San Francisco
2017 Binder of Women. The Pit, Los Angeles
2017 Mind's I. Dalton Warehouse, Los Angeles
2016 Eve Eve. Top, Los Angeles
2016 Traces. Adobe Books Backroom Gallery, San Francisco
2016 Hello. The Thank You House, Mammoth Lakes, California
2016 Avant Garden. Southern Exposure. San Francisco
2015 Pop up. underwatersounds, Bremerton, Washington
2015 Las Niñas. Fleet Wood, San Francisco
2015 Light Breaks. Social Print Studio, San Francisco
2015 West Coast Craft, Fort Mason Center, San Francisco
2015 Parking Lot Art Fair, San Francisco
2015 EQUILUX. Southern Exposure, San Francisco
2014 Hemp Necklace. MANIAC INC., Oakland
2013 Art Auction '13, SOMArts Cultural Center, San Francisco
2013 MFA Thesis Exhibition. California College of the Arts, San Francisco
2012 Point of No Return. Southern Exposure, San Francisco
2012 John Baldessari: Class Assignments, (optional). Wattis Institute for Contemporary Arts, San Francisco
2012 Ís: Reykjavik and the Icelandic West. College Avenue Galleries, CCA, Oakland
2011 10th Annual Art Auction. Root Division, San Francisco
2011 Annual Art Auction. The LAB, San Francisco
2010 BOOM! Southern Exposure, San Francisco
2010 Comings and Goings. Fivepoints Arthouse, San Francisco
2008 Under 100. Root Division, San Francisco
2006 Collabor8. The Nacul Center, Amherst, Massachusetts
2006 Candid. Mount Holyoke College, South Hadley, Massachusetts 


This Will Take Time / Social Print Studio Art Studio Grant and Residency, San Francisco and Point Arena, 2015
Signal Fire Alpenglow Backpacking Expedition Residency, Mount Hood, Oregon, 2013


2016 LINDSEY LYONS, Volume 5, alternative escape
2013 MFA Catalog, Graduate Program in Fine Arts, California College of the Arts, p. 48
2012 HERE, NOW vs THERE, THEN, Re-presenting FOR-SITE, pp. 57-64
2012 MFA Now Archive Project, Root Division, p. 87
2012 Now Featuring Lindsey Lyons, Little Paper Planes
2012 Root Division 10-Year Anniversary Catalogue, p. 60


On Glaciers, Light, and the Farm: My Summer in Iceland (In Glance),, 2011


Allison Smith Studio
Campins Benham-Baker, LLP
Private residences


San Francisco Chronicle, A final goodbye to summer art exhibitions
By Charles Desmarais on August 24, 2018

”The Binder of Women: Forming a collective of female artists is hardly a new idea. The Dinner Party creator Judy Chicago’s sometimes controversial efforts to bring female artists together, beginning with the quasi-academic Feminist Art Program founded at Fresno State College in 1970, may be the best known. San Francisco Women Artists, in the city’s Inner Sunset District, claims a heritage that goes back to 1887.

Not all such groups can lay current claim to the vitality demonstrated by a Los Angeles collective founded last year, though. The Binder of Women, which has about a dozen members, sent exuberant paintings and collages to its first San Francisco joint exhibition, titled “Heat Wave.” The group also chose to introduce a small number of nonmembers in a pendant show called “Reaching Point Break.””

KQED Arts, After the After-Party: California College of the Arts 2013 MFA Show
By Mark Taylor on May 23, 2013 

"...The show begins with a pile of garbage, all the discards from the installation process gathered by Ilyse Iris Magy and presented in an effort to make the show a “zero waste” event. But this detritus keeps reappearing (smashed car safety glass in Lindsey Lyons’ mysterious installation, or photographed collections in Phillip Maisel’s Stacked series); the show is populated with whole worlds of stuff. It reminds me of a line from Alfred Hitchcock’s The Birds wherein San Francisco is described as an anthill at the foot of a bridge. Many of the exhibits feel like they have been pieced together with bits found at some imaginary excavation site. These artists, these ants, have brought their individual nuggets back to the group and are wildly gesticulating, communicating through scent or the rubbing of antennae about what they have found. There are times when the CCA MFA show feels that primal."

Curiously Direct
December 20, 2012:

"Southern Exposure//Point of No Return= Annual entry-fee-free juried exhibition, themed around loose interpretations of the titular theme. As usual, there are tons of included artists working in a wide mixture of media and scales. Though I had only a brief time with the show there were some definite standout pieces, including Jacob Wick's barricade tape, Joseph Thomas's bronzed broken ipod, and a small painting by Lindsey Lyons. That painting, a small blackish abstract was situated in what is a good illustration of some of what didn't work with the show. It was hidden in a large cluster of flat works put together to conserve space (?) which didn't make sense as a group; finding a middle ground between keen editing and inclusiveness is a challenge for any such exhibition, as is balancing inclusiveness and quality (there were some less than stellar paintings included in the show) But overall I've found these So Ex shows a consistently good place to see a large amount of relatively good art in one place and especially as a place to note what stands out amid the fray."