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Lindsey Lyons is a Los Angeles-based artist. She was born in Sarasota, Florida.
 

EDUCATION

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

EXHIBITIONS + EVENTS

2017 BINDER OF WOMEN. Ten artists. Limited edition of twenty. More details on this fall project soon.
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 Art Night SF. UN Plaza, 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 


RESIDENCIES + GRANTS

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


FEATURES

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

PUBLICATIONS

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

COLLECTIONS

Allison Smith Studio
Campins Benham-Baker, LLP
Private residences

REVIEWS

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."