Judith Bernstein

This Thursday join myself, Joan Semmel, and Joyce Kozloff in conversation at The Jewish Museum’s Feminist Roundtable!! Thursday, March 26. 6:30 - 8 PM. The roundtable is in conjunction with the exhibition Joan Semmel: In the Flesh featuring my piece War is Good Business – Invest Your Sons, 1966. @thejewishmuseum @semmeljoan @joycekozloff @olneygleason

Fun event at Valeria Napoleone with Colette Lumiere!!! @valerianapoleone @colettelumiere

Olney Gleason closed tomorrow as part of the general strike in solidarity with those in struggle against ICE! See Artnet’s latest article on gallery closures, featuring my work, Liberty, 1995. @olneygleason @artnet

Thrilled to be represented by @olneygleason !!! My Dick in a Head drawings were recently included in their FAB booth at Frieze London! Looking forward to being a part of this exciting new gallery in NYC ❤️ @edgleason @nickolney

Thrilled to be included in the 10th anniversary group show at @lylesandking !!! @mira_schor @olneygleason

FRÄULEIN ISSUE 39 #DESIRE IS OUT NOW! Sexual imagery meets political critique: Judith Bernstein exposes societal wounds with a bold visual language - yes including penises. @hansulrichobrist in conversation with @judith_bernstein @judith_bernstein by @instamaxmonty for @hungermagazine Creative Direction #GötzOffergeld @oor_studio Art Direction @mikemeire Magazine Design @charlotte.cassel and @marielautsch #fräuleinmagazine #issue39 #desire

@officemagazinenyc featured ATLT in honor of our 5th anniversary, including an interview with longtime collaborator Judith Bernstein! Judith comments, “Making art is my passion and obsession. I make art for my own needs and not for the popular market. Art for me is a calling and not just a business. It’s my rage at injustice! The politics change, but there are many underlying issues that remain the same– economic and social inequity, political repression, gender bias, and the horrors of warfare.” “Art for me is a calling and not just a business” @judith_bernstein Photography by @dbp_ Writer @vittoriabenzine

Just out in Fräulein Magazine, my conversation with Hans Ulrich Obrist!!! Looks absolutely FAB!!!! @fraeuleinmagazine @hansulrichobrist @edgleason @nickolney @kasmingallery @theboxla @maramay8 @karmainternational

Judith Bernstein, “Cock in the Box”, 1967 Charcoal and pastel on paper “Cock in the Box” is one of @judith_bernstein earliest drawings, executed in the same year she graduate from Yale as one of the university’s first female art students. “I started drawing dicks when I was a student at Yale in 1966. I was doing anti-war work about Vietnam and focused on the dick as a symbol of male aggression. They were anti-war, feminist and sexual all rolled into one image.” Born in 1942 in Newark, NJ, feminist pioneer Judith Bernstein has developed a reputation as one of the most unwaveringly provocative artists of her generation. She was a founding member of A.I.R. Gallery (the first gallery devoted to showing female artists) where she had her first solo exhibition in 1973. She was an early member of many art and activist organizations including Guerrilla Girls, Art Workers’ Coalition, and Fight Censorship. Quote from the interview “Judith Bernstein: Men have the organ, but they don’t own the image,” by Paul Laster @conceptual_fine_arts #judithbernstein #burgercollection

From the Smithsonian American Art Museum (@americanart ): Freedom” is from a series of word drawings that artist Judith Bernstein created in the 1990s focusing on both the highest aspirations (“Justice,” “Equality”) and harsh realities (“Fear,” “Evil”) of American life. In densely applied charcoal, the “F” of “Freedom” dominates the left side, like a flag flying proudly from a pole. The rest of the word appears in looping cursive, punctuated at upper right by a handprint. With her forceful, kinetic mark-making, Bernstein seems to affirm both the political freedoms Americans hold dear and the personal freedoms she has asserted throughout her life—to be an artist, to have a political voice, and to make the work she wants to make. “Freedom” is currently on view #atSAAM Image: 1 - Judith Bernstein, “Freedom,” 1995, charcoal on paper, Smithsonian American Art Museum, Museum purchase, 2022.30A,B, Courtesy the artist and Kasmin, New York 2 - Installation view of Judith Bernstein, “Freedom,” 1995; Smithsonian American Art Museum, 2025

The preview of my solo at Art Basel: Feature sector opens tomorrow! Public days open June 19-22. Excited to share my never-before-exhibited painting, The Dance (After Matisse), 1993!!! Booth D15, Messe Basel, Messeplatz 10, June 17-22, 2025.

Opening Next Week – Judith Bernstein (@judith_bernstein ) at Art Basel Ahead of @artbasel 2025, we’re looking back to the 1970s, when Bernstein’s charcoal screws broke new ground in feminist art. As the Vietnam War waged on, Bernstein created overpowering, anthropomorphic screws in expressionist gestures that conflated war and sexual aggression. Bernstein never ceased creating these works after the Philadelphia Civic Center Museum notoriously censored one in 1974—the work was since acquired by The Metropolitan Museum of Art in 2023—and she continued to exhibit the series at MoMA PS1, The Brooklyn Museum, and in a 1978 solo exhibition at Brooks Jackson Iolas Gallery in New York. At Art Basel, Bernstein will restage a selection of charcoal screws from her 1978 exhibition alongside a never-before-exhibited 22-foot canvas from the 1990s. Judith Bernstein at Art Basel Booth D15 Messe Basel, Switzerland June 17–June 22, 2025 Plan your visit at the link in our bio. _ Artworks © Judith Bernstein. Installation view of Judith Bernstein’s solo exhibition at Brooks Jackson Iolas Gallery, New York, 1978. Courtesy of the artist; Portrait of Judith Bernstein, 2025. Photo: Charlie Rubin; Judith Bernstein, Horizontal, 1973. The Metropolitan Museum of Art, New York, Janet Lee Kadesky Ruttenberg Fund, in memory of William S. Lieberman, 2023. Photo: Kasmin, New York.