• On left: Money Shot - Yellow, 2016
    On right: Trump Asteroids, 2017
  • Money Shot - Blue Balls, 2017

JUDITH BERNSTEIN

Art Portrait

Interview Kathleen Hefty
Photography Brendan Burdzinski

 

It was interesting to me because graffiti is actually deeper than you think. It’s comes, in a way, from the subconscious. And that actually started me with the scatological graffiti, from where I started on the anti-Vietnam work and it was a great trajectory that I still hold today.

KH First of all, have you always been so outspoken?
JB Absolutely! I started out from the beginning outspoken! My work is autobiographical and for the last 50+ years it has been about my rage at injustice and the connection be- tween the political and sexual. I started with my Fuck Vietnam Series in 1966 when I was a graduate student at Yale. Later I moved into my Screw, Signature, and Birth of the Universe Series. And of course my latest Anti-Trump Series: Cabinet of Horrors and Money Shot. No matter how I am tackling the subject, it’s never as horrendous as the is-
sues I’m dealing with—in this case Donald Trump.
KH How long have you lived in New York?
JB Since 1967! When I graduated [from Yale] I came to New York, which was obviously the place you wanted to be be- cause there was so much activity happening and it was the art center of the world. I was one of the 20 women who started the Gallery AIR, Artists in Residents.
I suggested TWAT – Twenty Women Artists Together, but I was ahead of my time even those days [laughs]. It was the first feminist gallery in the world. Without that we wouldn’t have had a place to show.

 

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