Judith Bernstein, a Yale alumna from 1967, has cemented her status as a fiercely provocative artist for over five decades. Her unwavering cultural, political, and social critiques propelled her into the art world spotlight in the early 1970s. Bernstein became known for her monumental charcoal drawings featuring phallic-screw hybrids, displayed at prestigious venues like AIR Gallery and MoMA P.S. 1. A New York Times critic, Ken Johnson, lauded these pieces as “bravura performances of draftsmanship” and “masterpieces of feminine protest” during her 2012-2013 New Museum solo show.
Bernstein’s latest exhibition, “Money Shot,” showcases new paintings from her Anti-Trump series, a progression from her “Birth of the Universe” paintings that began in 2011. These works are characterized by blatant sexual iconography, simultaneously humorous and unsettling, combined with contemporary slang and catchphrases that leave no room for misinterpretation. The “Money Shot” series also marks the artist’s return to vibrant, fluorescent paints, a medium she initially explored in the late 1960s. This bold use of color amplifies the visceral impact of her imagery and strengthens the “money shot” message she aims to deliver.
Bernstein’s renowned “The Birth of the Universe” series has garnered international acclaim, exhibited at institutions such as the New Museum, Kunsthall Stavanger, and Studio Voltaire, and galleries like Mary Boone Gallery and Petzel Gallery. In October 2017, The Drawing Center in New York hosted her solo exhibition, “Judith Bernstein: Cabinet of Horrors,” featuring new works on paper created in response to Donald J. Trump’s presidency. This exhibition, like “Money Shot,” underscores Bernstein’s commitment to using her art as a powerful form of social and political commentary.
For further details about the “Money Shot” exhibition, please contact [email protected]. For press inquiries, reach out to [email protected].
