2017. Goodwin Fine Art, Denver, CO. "The Birds"
2016. Filter Space, Chicago, IL. "Bare Handed"
2015. Goodwin Fine Art, Denver, Co. "Bare Handed"
2015. Dina Mitrani Gallery, Miami, FL. "Bare Handed"
Agrarian labors with biblical passion at Miller Yezerski
By Cate McQuaid GLOBE CORRESPONDENT JUNE 17, 2014
“I left New York for Massachusetts farm country in part to live the locavore life, defined mainly as eating locally, sustainably, and organically,” writes photographer Holly Lynton in her artist’s statement. “What I hadn’t anticipated is how it is more often than not an extension of people’s spiritual lives.” Lynton’s spellbinding color photographs at Miller Yezerski Gallery of farm life in the Pioneer Valley convey an elemental connection to animals, the earth, and ritualized agricultural practices, from sheering sheep to curing tobacco. The imposing, often tense physicality of the men, women, and animals and the incidentally dramatic lighting turn barns and compost heaps into stages for conflict, surrender, and transfiguration. Art history echoes through these images, which recall Depression-era photographs of struggling farm families and gestures from Renaissance narrative paintings. “Sienna, Turkey Madonna, Shutesbury, MA” depicts a young woman gathering turkeys on a tabletop — apparently for slaughter, if the feathers flying overhead are an indication. She tilts her head as Mary does in works by Leonardo, Dürer, and others to gaze on the infant Jesus. She embodies tenderness and resolve. Smoke used to cure tobacco billows through barns, turning men into shadows. The steep composition of “Lift, Hadley, MA,” as one worker passes tobacco leaves up to another through light-infused smoke, recalls WPA-era murals of steelworkers, or paintings of Christ being brought down from the cross. In “Shedding Light, Amherst, MA,” the dark, rickety silhouette of a barn lit from behind could be a metaphor for a frail mortal undergoing enlightenment. All of Lynton’s farm images carry such freight: Life is a struggle filled with love and purpose, and therein lies grace.
April 25, 2000
It's a familiar story: the young (in this case, 27) female Yale grad ('94) whose staged color photographs flirt provocatively with issues of sex, desire, identity, and self-determination. But Holly Lynton isn't likely to get lost in the crowd; the 22 image sin her first New York solo show are so subtle, accomplished and ambiguous they;re hard to forget. The artist herself, deceptively girlish, appears in the pictures, most often along with a stocky older man who lets her ride piggyback and dance with her bare feet on his shoes but whose sexual aura is hardly fatherly. Full of tentative gestures and thwarted heat, Lynton's work knows more than it tels THROUGH APRIL 29, Kathryn Markel Fine Arts, 560 Broadway, at Prince Street, 226-3608. (Aletti)
October 23, 2006
Exploring the possibilities for fantasy in her own back yard, Lynton turns it into a wild kingdom for a series of color photographs that assume the point of view of a playful and inquisitive child. Lynton's nearly naked little girl and a bare-chested friend take on a fairy-tale presence in a landscape rendered mysterious by worm's-eye-view closeups. He's a giant seen through a scrim of leaves; she's a sprite, crouching to catch a sprinkler's spray in her mouth. But some of the most intriguing images are unpopulated: a tunnel in the snow; a bird caught behind the netting on a raspberry bush; leaves, petals, dead bees, and dry ice floating in a plastic pool. Through Oct. 28. (Bekman, 6 Spring st. 212-219-0166.)