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Barton Lidice Beneš

Barton Lidice Beneš (November 16, 1942 - Hackensack, New Jersey – May 30, 2012 - New York) was an artist who lived and worked in New York City. He studied at Pratt Institute, Brooklyn, New York and Beaux-Arts, Avignon, France.

Early Life

Before Benĕs attended Pratt Institute, he lived with his grandparents in Brooklyn, New York. As a teenager he made the U.S. Olympic speed skating team, while smoking a pack of cigarettes a day. It became clear around 17 years old that Barton had a flair for the contradictory, and the romantic. He would often walk around the city bare foot saying “I thought it was romantic to be a pig”. Around this time in his life Benĕs would sneak out and go to a mob-run gay bar named New Colony. While spending time there he was asked to complete an installation for customers to view. After being hired for his first piece he was given a job designing window installations for New Colony. While working for New Colony he met a man named Howard Meyer.

Howard was a . Benĕs and Howard soon moved in with each other and began their careers from home. Not soon after in 1969 Barton was contracted and put on his first exhibit “Leather and Lace”, a show involving him strapped naked to a padded leather table. He was then changed when he traveled to Africa to create his last painting. While in Africa his views of art evolved towards an obsession with Africa’s tribal culture, artifacts, and erotica.

Mid Life

Following Benĕs trip to Africa his work becam increasingly more contradictory during the 70s and 80s. His art revolved around clever artistic puns (i.e. a book nailed shut in protest of freedom of speech). During this time his aunt Evelyn that was interested in the stories of Barton’s life in New York would write letters. Fueled by Speed she would write letters ranging from 50 to 60 pages. Through which Barton would turn the letters in to small intricate books.

While Benĕs was using his Aunt as a prompt for his art, a hustler that was hired by Benĕs began an affair with his lover Howard. Aunt Evelyn who had begun writing to Bartons friends, also began writing to the hustler Barton’s lover Howard was having the affair with. During the affair the hustler responded to Aunt Evelyn informing her of what her letters were being used for. This led to a falling out between Benĕs and his Aunt, she threatened to sue him then immediately stopped all communication with her Nephew. Later in life Benĕs attempted to reconnect with his aunt but his efforts were not successful.

In 1986 Howard Meyer was diagnosed with Kaposi’s Sarcoma and Benĕs with AIDS. The next few years after he was diagnosed, included the passing of a number of close friends. Three years afterwards Howard Meyers passed from his illness. This was the breaking point for Benĕs he watched his lover pass. Barton says that “When he died—it’s crazy but true—I saw the energy leave his body,”, “And I got on top of him to grab the energy.”. For the first time since Benĕs was diagnosed with AIDS he had an artistic impulse. Turning the emotions he was experiencing into an artistic experience. Benĕs would begin to use his friends and their memories as mementos in his pieces. Beněs made "museums" somewhat in the style of Joseph Cornell, which incorporate into shadow boxes bits and pieces that reveal the myths and ironies of life. The fragments in Beneš's museums often involve famous people and events, as do the sixteen collaged bits in this print, from a piece of Elizabeth Taylor's shoe to a crumb from the wedding cake of the Prince of Wales.

On one evening in 1990 Barton cut his hand while preparing dinner. Being used to fact that his blood is toxic he rushed for bleach. Before retrieving the bleach however, he began to focus on the artistic where his blood contained a dualistic meaning. Responding to the experience he began a series of pieces titled “Lethal Weapons”. A series of 8 different shadow boxes, each containing a different item, turned weapon with the use of syringes and Benĕs signature twist his blood. During the first showing of his exhibit in 1990 his pieces were disinfected at 160 degrees in a hospital oven, in Lund, Sweden. Due to the extreme level of discomfort that the patrons were experiencing.

After His diagnosis Barton became an advocate for the destigmatizing of AIDS. From 2003-2009 he served on the board of Visual AIDS. His artwork became a visual representation of AIDS and its history. He turned his life from a victim of the disease to a terroist. He would inflict violence on a judgemental society. His works of art showing the lethality of a disease. Benĕs finds the eroticism of his illness. He uses eroticism to cope with the world around him. When two of his friends died, as a tribute to the couple he placed both of their ashes into a three meter high hourglass. Forever binding his friends in death.

Late Life/Death

Beneš's apartment in New York contained his collection of over $1 million worth of African, Egyptian, and contemporary art, as well as his own. After his death in 2012 the interior of his apartment, including his shadow box museums, was relocated and reconstructed at the North Dakota Museum of Art, under the supervision of his friend and colleague Laurel Reuter, director of the museum. The exhibit opened in late 2013 and is called Barton's Place.

Artwork

Artistically Benĕs became prominent in the 1980s. First by his small arrangements of currency and shredded money, then by his miniature “museums” which were filled with various discarded items and cultural artifacts. His art often addressed taboo subjects such as AIDS and the constitution. He would contest public opinion through his use of unconventional mediums — cremation ashes, shells, bodily fluids, currency, shredded money, relics, and celebrity artifacts, and foraged items.

Beneš's travelling exhibition series about AIDS, Lethal Weapons, is the focus of an independent documentary film released in 1997.  His work has been exhibited nationally and internationally at The Cleveland Museum of Art; North Dakota Museum of Art; The Katonah Museum of Art; The New York Public Library; and Aldrich Museum of Contemporary Art, as well as Centre Pompidou, Paris; Boras Konstmuseum, Sweden; and Old Town Hall, Prague. His work is in the permanent collections of The Art Institute of Chicago, The Smithsonian, The U.S. Mint and North Dakota Museum of Art. Beneš is represented by Pavel Zoubok Gallery in New York. Barton Beneš was interviewed in the documentary film Gay Sex in the 70s.

Timeline

Selection of Solo Exhibits

2013

In Memory of Barton Lidice Benes, Galleri Andersson Sandström, Umeå

2010

Cohones, Galleri Andersson Sandström, Stockholm

2006 – 2007

New York, NY, Lennon, Weinberg, Inc., Repositoria

2004

Grand Forks, North Dakota, North Dakota Museum of Art, New Works by Barton Lidice Benes

2003

Switzerland, Basel, Galerie Gisele Linder, Barton Benes: Curiosa

2002

New York, NY, Lennon, Weinberg, Inc., Barton Lidice Benes: Curiosa.

Umeå, Sweden, Galleri Stefan Andersson, Barton Lidice Benes: Souvenirs.

2000-2001

Borås, Sweden, Borås Konstmuseum. Reliquaries. Flyttades till Uppsala Konstmuseum, Uppsala, Sverige

Museokeskus Vapriikki, Tampere, Finland (catalogue).

1999-2000

Porto, Portugal, Galeria 111. Reliquarium. Galeria 111, Lissabon, Portugal.

1999

New York, Lennon, Weinberg, Inc. Barton Benes: Reliquaries.

1998

Toronto, Canada, A Space. Spirited Away.

Umeå, Sverige, Galleri Stefan Andersson.

1997

Albuquerque, New Mexico, Coke Gallery, University of New Mexico Art Museum. Lethal Weapons.

1996

Prag, Tjeckien, Novomestska Radnice (New town hall)

1995

Lissabon, Portugal, Galeria III.

1994

Umeå, Sverige, Galleri Stefan Andersson, Lethal Weapons.

Lund, Sverige, Anders Tornberg gallery, Lethal Weapons.

Grand Forks, North Dakota, North Dakota Museum of Art. Money Madness.

1993

New York, White Columns. Lethal Weapons.

Grand Forks, North Dakota, North Dakota Museum of Art. Lethal Weapons.

1991

Chicago, Illinois, Hokin/Kaufinan Gallery.

1990

Stockholm, Sverige, Björn Olsson Gallery.

1989

Grand Forks, North Dakota, North Dakota Museum of Art.

1988

New York, Barbara Fendrick Gallery. Moneyworks.

1987

Washington, D.C., Fendrick Gallery

1986

Rohnert Park, Karlifonien, Sonoma State University. Moneyworks.

Moscow, Idaho, University of Idaho.

Los Angeles, Karlifonien, Feingarten Galleries. Misc.

New Orleans, Louisiana, Center of Contemporary Art.

Stockholm, Sweden, Galleri Zero.

1985

Albuquerque, New Mexico, Hoshour Gallery. Shrines.

Cleveland, Ohio, Federal Reserve Board. Master of Disguise.

Manhattan, Kansas, Strecker Gallery.

New York, Kathryn Markel Gallery. Graven Image.

Dallas, Texas, Federal Reserve Board. Master of Disguise.

New York, Craig Cornelius Galleri. Semi-Precious.

Chicago, Illinois, Hokin/Kaufman Gallery.

Lund, Sweden, Anders Tornberg Gallery. Requiem.

1984

St. Louis, Missouri, Brentwood Gallery.

Washington, D.C., Federal Reserve Board. Master of Disguise.

Richmond, Virginia, Reynolds/Minor Gallery. Moneyworks.

Coral Gables, Florida, Netsky Gallery. Moneyworks.

1983

Albuquerque, New Mexico, Hoshour Gallery. Souvenirs.

Washington, D.C., Fendrick Gallery. Money Matters.

New York, Kathryn Markel Gallery.

1982

Lund, Sverige, Anders Tornberg Gallery. Moneyworks.

New York, Kathryn Markel Gallery.

Sheboygan, Wisconsin, John Michael Kohler Arts Center. Ruins and Artifacts.

Stockholm, Sverige, Futura Gallery.

New York, P.M. & Stein Gallery. Shellworks.

Iowa City, Iowa, University of Iowa Museum of Art. Letters from Aunt Evelyn

and Other Artifacts.

1981

Dallas, Texas, Taylor Art.

1980

New York, Kathryn Markel Gallery.

Lund, Sverige, Galleriet. Stampworks.

1979

Washington, D.C., Fendrick Gallery. Ruins and Artifacts.

1978

Amsterdam, Holland, Stempelplaats. Rubberstamps Works.

1977

New York, Franklin Furnace. Bookworks.

Washington, D.C., Fendrick Gallery. Shell Shocked.

New Orleans, Louisiana, Bienville Gallery. Selectef Parts of Letters from My Aunt Evelyn.

1976

Princeton, New Jersey, Princeton Gallery of Fine Art.

1975

New York, Center for Book Arts. Letters from Aunt Evelyn.

Los Angeles, Karlifonien, Feingarten Galleries, Sculptured Books.

Los Angeles, Karlifonien, David Stuart Gallery. Sculptured Books.

1974

New York, Allan Stone Gallery. Sculptured Books.

1972

New Orleans, Louisiana, Bienville Gallery. Leather and Lace.

1967

Edinburgh, Skottland, Traverse Gallery. Edinburgh International Festival.

Selection of Group Exhibits

2008

New York, NY, Lennon, Weinberg, Inc., Flow Chart, July 8- August 15

2007

Katonah, NY, Katonah:  Museum of Art, Tools as Art: The Hechinger Collection,

Yonkers, NY, Hudson River Museum, I WANT Candy: The Sweet Stuff in American Art

Flagstaff, AZ, Northern Arizona University Art Museum, Contemporary Reliquaries: Housing the momentos of Our Day, July 6 – October 20 (catalogue).

Charleston, WV, Clay Center for the Arts & Sciences of West Virginia, In the Realm of the Senses: Selections from the Collections of James Cottrell and Joseph Lovett

Ottawa, Canada, Bank of Canada, Sacred Money / Damned Money

East Islip, NY, Islip Art Museum, Making the Most of It

Ahlen,  Germany, Kunstmuseum Ahlen, Diagnosis [Art]: Contemporary Art Reflecting Medicine. Travelling to Museum im Kulturspeicher Wurzburg,

2006

Tallahassee, FL, Mary Brogan Museum of Art & Science, Currency: Art as Money / Money as Art (catalogue).

Portland, OR, Hoffman Gallery of Contemporary Art, Lewis & Clark College, Artists and Specimens: Documenting Contemporary Experience

New York, NY, Schroeder Romero, Money Changes Everything

Rochester, NY, Memorial Art Gallery, Extreme Materials

Washington DC, National Academy of Sciences, Museum Muses: Barton Lidice Benes and Justine Cooper

2005

New York, Lennon, Weinberg, Inc. Group Exhibition: Gallery Artists

2005 - 2006

Quebec, canada, Musée de la civilisation, Argent Sacré, Sacré Argent!

2005

New York, Pavel Zoubok, COLLAGE: signs & surfaces.

2004 - 2005

Denver, CO, Museum of Contemporary Art, PILLish: Harsh Realities and Gourgeous Destinations.

Orlando, FL, Orlando Museum of Art, Co-Conspirators: Artist and Collector,

Selections from The Collection of James Cottrell and Joseph Lovett, Samuel Dorsky Museum of Art, New Platz, NY, Chelsea Art Museum, New York

New York, NY, Lennon, Weinberg, Inc. Group Show.

2003 - 2004

NY, NY, Museum of Art and Design, Triennial 9: Form and Contents: Corporal Identity - Body Language.

2003

Katonah, New York, The Katonah Museum of Art, Food Matters: Explorations in Contemporary Art. Exhibition catalougue (färg reproduction).

Napa, Karlifonien, COPIA The American Center for Wine Food & the Arts, Sweet Tooth.

2002 - 2003

Naples, Florida, Naples Museum of Art, Show Me the Money, the Dollar as Art.

Palm

Museum, Fresno Metropolitan Museum, Boston Federal Reserve.

2002

Los Angeles, Karlifonien, Post, Fake!

New York, New York, Pamela Auchincloss Project Space, Lysis: Profound Loss, Identity and Healing.

Brooklyn, New York, Jessica Murray Projects, Grotto.

Fresno, Karlifonien, The Conley Art Gallery, Carlifonia State University, Fresno, From Stone and Plate: Contemporary Prints from the Tamarind Institute.

New York, NY, Lennon, Weinberg, Inc. New Year New York New York.

2001

New York, NY, Pavel Zoubok, Inc., Rupture & Revision: Collage in America.

San Francisco, CA, Carlifonia College of Arts and Crafts, Extra Art: A Survey of Artists’  Ephemera, 1960-1999

New York, NY, Senior & Shopmaker Gallery, A Private Reading: The Book as Image and Object. Continuing on as Selections From A Private Reading: The Book as Image and Object.

Ridgefield, CT, Aldrich Museum of Contemporary Art, Art at the Edge of the Law.

2000

New York, NY, Allan Stone Gallery. Fortieth Anniversary.

Washington, DC, Fine Arts Gallery, Federal Reserve Board Building, Money Making: The Fine Art of Currency at the Millennium.

Moscow, Russia, State Tretyakov Gallery, The View from Here.

1999 – 2000

Hartford, Connecticut, Real Art Ways, Bodies of Resistance, vidare till National Society

for Arts Gallery, Durban, South Africa.

1999

Greenwich, Connecticut, Bruce Museum of Arts and Science, The Art of Time.

1998

The Estate Project, Artists Living with HIV/AIDS hemsida presenterad på The Museum of Modern Art, World AIDS Day, The Virtual Collection.

1997

New York, The Nathan Cummings Foundation. Not Sacred.

Holland, Michigan, De Pree Gallery, Hope College. Searching for the Spiritual.

1996

Manchester, England, Cornerhouse Gallery, Nottingham, England, Nottingham Castle Museum; Walsall England, Walsall Museum. Brenda and Other Stories.

Umeå, Sverige. Umedalen Skulptur ’96.

New York, Curt Marcus Gallery. The Baseball Show.

New York, Beacon Hill Fine Art. Federal Reserve Collection.

New York, Beacon Hill Fine Art. Polities American Style: Issues and Images.

1995

Paris, France. FICA 1995.

Lissabon, Portugal, Cultural Art Fair.

Sao Paulo, Brazil, Galeria Millan. USA Within Limits.

Albuquerque, New Mexico, Albuquerque Museum of Art. Common Ground 1995.

Helsingfors, Finland, Galerie Anhava. Anders Tornberg Collection.

1994

Hagen, Tyskland, Ernst Osthaus Museum of Hagen. AIDS Theme.

New York, Plasma Space. Cultus.

Seattle, Washington, Greg Kucera Gallery. This is My Body.

Göteborg, Sverige, Göteborgs Konstmuseum. Love and Death.

New York, Lennon, Weinberg, Inc. Truth be Told: It’s All About Love.

New York, Stuart Levy Fine Art. Eros and Identity.

Honolulu, The University of Hawaii, Manoa Art Gallery. The Fifth International Shoebox Sculpture Exhibition.

Salina, Kansas, Salina Art Center. The Realm of the Coin Money in American Art, 1960-1990.

1993

Oslo, Norge, Heine-Onstad Kunstcenter. AIDS Theme.

Prag, Tjeckien, Galerie Vaclava Spaly. Exil V N.Y.

New York, Exit Art. The Design Show.

Bergen, Norge, Art Association of Bergen. AIDS Theme.

New York, White Columns. White Columns Update.

Washington, D.C., Nancy Drysdale Gallery. Sex-Money-Politics.

Palm Beach, Florida, Palm Beach Museum. Art-Money-Myth.

New York, Bernice Steinbaum Gallery. Group Exhibition.

The Realm of the Coin: Money in American Art, 1960-1990. Turnerande utställning: Fullerton Museum Center, Fullerton, Karlifonien; Hyde Collection, Glen Falls, New York; Harold Washington Library Center, Chicago, Illinois; Queens Museum, Flushing, New York.Miami Beach, Florida, Barbara Gillman Gallery. Group Exhibition.

1992

Paris, Frankrike, Bibliotheque Nationale. De Bonnard A Baselitz: Chefs-d’oevre de l’estampe du XXe Siecle.

Malmö, Sverige, Malmö Konsthall. The Schyls Collection.

Wichita, Kansas, Edwin A. Ulrich Museum of Art. Volumation: The Book as an Art Object.

Hartford, Connecticut, Wadsworth Athenaeum. Open Mind: The Sol Lewitt Collection.

Harrisburg, Pennsylvania, Susquehanna Art Museum. Fantasy and Dreams.

Hong Kong, Hong Kong Arts Center. Americana/1992.

Lund, Sverige, Anders Tornberg Gallery. All Words Suck.

Brookville, New York, Hillwood Art Museum, Long Island University. Egyptomania.

Paris, Frankrike, Galerie Caroline Corre. Le Livre Dans Tous Les Etats.

Austin, Texas, Laguna Gloria Art Museum. The Realm of the Coin: Money in American Art, 1960-1990.

1991

North Miami, Florida, Center For Contemporary Art. Collage/Unglued

New York, Art Advisory Service, Museum of Modern Art. In Flight

Lund, Sverige, Anders Tornberg Gallery, Spirit of the Shamin

Bryssel, Belgien, Sonia Berryer Gallery. Livres D’Artistes

Gainesville, Florida, Harn Museum of Art, university of Florida. Southeast Bank Collects: A Corporate, View of Contemporary Art

New York, ABC Headquarters. In Bloom

New York, The Gallery. Money Art? Reste vidare till Miami, Florida, Hokin Gallery och Scottsdale, Arizona, Elaine Horwitch Galleries.

New York, Hofstra University, Emily Lowe Gallery. The Realm of the Coin.

Rohnert Park, Karlifonien, University Art Gallery, Sonoma State University. Imagery Series

Collection: from Glen Ellen Winery.

1990

New York, Alternative Museum. Day of the Dead.

Madison, Wisconsin, University of Wisconsin. Fendrick at Foster.

Africa, Book Arts in the USA: Traveling show.

Lund, Sverige, Anders Tornberg Gallery. Round About, About Round.

Chicago, Illinois, Hokin/Kaufman Gallery. On Paper.

New York, Barbara Fendrick Gallery. The Book as Art/The Book in Art.

Washington, D.C., National Museum of American Art. New Acquisitions.

Washington, D.C., National Building Museum. Tools As Art: The Hechinger Collection.

Berkeley, Karlifonen, Simon James Gallery, Group exhibition.

Yonkers, New York, Hudson River Museum. Nature of the Beast.

New York, Solo Gallery, Prints.

Stockholm, Sverige, Björn Olsson Gallery, New York Works.

Bayside, New York, Queensborough Community College Art Gallery,

Book Arts-Sculpture Work.

Lund, Sverige, Anders Tornberg Gallery. Object of Thought.

1988

Albuquerque, New Mexico, Albuquerque Museum. Common Ground 88.

New York, Longwood Arts Gallery, Bronx Council on the Arts. Rooms with a View.

Grand Forks, North Dakota, North Dakota Museum of Art. Contemporary Book Art.

New York, L.I.N.T.A.S, Worldwide Headquarters. Razzle” Dazzle!.

1987

Sheboygan, Wiscounsin, Kohler Arts Center. Paper 88.

Chicago, Illinois, Hokin/Kaufman Gallery. Small Works.

Paris, Frankrike, Galerie Caroline Corre. Le Livre Dans Tour Les Etats:Traveling Exhibition.

New York, Stux Gallery, The Glitering Prize.

New York, Crown Point Press, Prints in Parts.

River Falls, Wisconsin, University of Wisconsin, Contemporary Book Arts.

Tulsa, Oklahoma, The Philbrook Museum, The Eloquent Object.

1986

Cleveland, Ohio, The Cleveland Museum, Paper Now: Bent Molded and Manipulated.

Köpenhamn, Danmark, Brandts Pakhas Gallery, Pay Attention: 14 Americans.

Rockford, Illinois, Rockford Art Museum, Obsessive Expressions.

Wilmington, Delaware, Delaware Art Museum, Corporations Collect.

Palm Beach, Florida, Hokin Art Galleries, Group Exhibition.

New Orleands, Louisiana, Contemporary Arts Center, The Fine Art of Making Money.

Lund, Sverige, Anders Tornberg Gallery, Face It.

1985

New York, New York University, Grey Gallery, Precious.

New York, Queensborough Community and Albright Colleges. The Parodic Power of Popular Art.

Huntington, New York, Heckscher Museum, Sights for Small Eyes.

Paris, Frankrike, Centre Pompidou, Livres D’Artistes.

New York, Avenue B Gallery, Assemblages – The Definitive Assemblage Show. Woodstock, New York, Kleinart Arts Center, Group Exhibition.

Paramus, New Jersey, The Bergen Museum of Art and Science, Collage, the State of the Art

Newark, New Jersey, Rutgers University, Robeson Center Gallery, Books as Sculpture.

1984

Sheboygan, Wisconsin, John Michael Kohler Arts Center, Remains to Be Seen.

New York, New York Public Library, Center for Book Arts: 10th Anniversary.

Norfolk, Virginia, Chrysler Museum, Precious.

Cleveland, Ohio, Cleveland Museum, Book Artists Have Made.

Munich, Tyskland, Renate Fassbender Gallery, Fluxist.

Paris, Frankrike, Galerie Caroline Corre, Group Exhibition.

Albuquerque, New Mexico, Hoshour Gallery, Noir & Blanc & Rouge.

Malmö, Sverige, Malmö Konsthall, Koks-Konster.

Los Angeles, Karlifonen, Newspace, Money in Art.

Lund, Sverige, Galleriet, Black and White.

1983

Madison Wisconsin, Elevehjem Museum of Art, University of Wisconsin, Breaking the Bindings: American Book Art Now.

Malmö, Sverige, Malmö Konsthall, Food Art.

New Britian, Conneticut, New Britain Museum of American Art, Fragment/Fragmentary/Fragmentation.

Paris, Frankrike, Center National Des Arts Plastiques, Noeuds & Ligatures.

1982

Paris, Frankrike, Grand Palais, Salon du Livres.

New York, Marisa Del Rey Gallery, Found Objects.

White Plains, New York, White Plains Public Library, The Museum Gallery, Stories Your Mother Never Told You.

1981

New York, The Queens Museum, The Book: 7 Artists, 7 Visions.

Washington, D.C., Renwick Gallery, National Museum of American Art, Animal Image.

New York, Alternative Museum. Icons, Logos – Word As Image.

Los Angeles, Karlifonien, Craft and Folk Art Museum, The Mas as Metaphor.

Lund, Sverige, Galleriet, Vakna!.

Reading, Pennsylvania, Albright College, Freedman Gallery, Messages.

1980

Richmond, Virginia, Institute of Contemporary Art, The Virginia Museum, Decorative Fabricators.

Yarnamo, Sverige, Gallery Liljan, New York Today.

Miami, Florida, Florida International University, Other Media.

Newark, New Jersey, Newark Public Library, The Book.

1979

Dayton, Ohio, The Dayton Art Institute, Patterns +.

London, England, Victoria and Albert Museum, The Open and Closed Book.

Boulder, Colorado, University of Colorado, Mail Etc., Art.

New York, Arthur A. Houghton, Jr. Gallery, The Copper Union, Bookmakers.

1978

Greensboro, North Carolina, Weatherspoon Art Gallery, University of North Carolina, Art on Paper.

Los Angeles, Karlifonien, Los Angeles Institute of Contemporary Art, Bookworks.

Amsterdam, Holland, Stempelplaats, Bookworks.

Portland, Maine, Westbrook College, The Art of the Printed Book.

1977

Buffalo, New York, Albright-Knox Gallery, Artists Books.

Washington, D.C., Fendrick Gallery, The American Table.

La Jolla, Karlifonien, Mandeville Art Gallery, University of Carlifonia,

San Diego, The Artists’ Book.

References

1. The Curious Closets of Barton Benes
2. https://www.visualaids.org/artists/detail/barton-lidice-bene
3. http://www.gsa.se/artists/barton-lidice-benes/biography/
4. http://www.artnet.com/artists/barton-lidice-benes/biography
5. http://www.ndmoa.com/timeline
6. Autopathology and the Erotic the Works of Jo Spence and Barton Lidice Benes
7. http://www.ndmoa.com/pr-gfh-112213
8. http://www.nytimes.com/1999/06/25/arts/art-in-review-barton-lidice-benes.html
9. http://www.nytimes.com/2012/06/19/arts/design/barton-lidice-benes-provocative-artist-dies-at-69.html