Exhibition

Tea Party

with Ann Agee, Polly Apfelbaum, Lynda Benglis, Hanne Friis, Virgil Marti, Maria Nepomuceno, Beverly Semmes, and Yeesookyung

June 6 – July 11, 2025

Images

Maria Nepomuceno

Untitled, 2014

clay, beads, and wood

114 1/8 x 94 1/2 x 78 3/4 inches

Hanne Friis

Column, 2019

hand-stitched cotton and satin

104 3/8 x 21 5/8 x 21 5/8 inches

Beverly Semmes

Red Robe, 2024

crushed rayon velvet, acrylic over photograph printed on canvas

81 x 27 x 6 inches

Beverly Semmes

Winter Wheat, 2021

ink and acrylic over photograph printed on canvas

64 x 40 inches

Beverly Semmes

Glitter Triptych, 2023

ink, acrylic, velvet, faux fur, polyester, printed canvas, tape, and glitter bricks

67 x 122 x 16 inches

Lynda Benglis

Lagniappe I, 1978

cast paper, acrylic, and glitter

edition 25/26

36 x 12 1/2 x 5 inches

Lynda Benglis

Swinburne Egg I, 2009

tinted polyurethane, edition 1/3

41 x 28 x 15 inches

Polly Apfelbaum

Green Space, 2007

dye on synthetic velvet

440 x 128 inches

Virgil Marti

On Some Faraway Beach, 2013

urethane, medium-density fibreboard, and silver plating

72 x 36 x 4 inches

Yeesookyung

Translated Vase 2019 TVCW2, 2019

ceramic shards, epoxy, and 24k gold leaf

42 1/8 x 30 3/8 x 25 5/8 inches

Ann Agee

Lamp Base Sculpture, Flower Style (Large) #1, 2012

glazed porcelain

20 x 6 1/2 x 6 1/2 inches

Ann Agee

Lamp Base Sculpture, Flower Style (Large) #2, 2012

glazed porcelain

20 x 6 1/2 x 6 1/2 inches

Ann Agee

Mantel Clock with Flowers, 2012

glazed porcelain

15 1/2 x 14 x 7 inches

Press Release

Locks Gallery is pleased to present Tea Party, a group exhibition with Ann Agee (b. 1959), Polly Apfelbaum (b. 1955), Lynda Benglis (b. 1941), Hanne Friis (b. 1972), Virgil Marti (b. 1962), Maria Nepomuceno (b. 1976), Beverly Semmes (b. 1958), and Yeesookyung (b. 1963). This exhibition features sculptures and mixed media works that transform traditionally decorative materials into subversive and sensuous art forms. Through playful material experimentation as well as cultural and art historical references, these eight artists go beyond a referential relationship to quintessentially “feminine” idioms. Objects intended to become decorative or functional become displays of embodied labor. Tradition is broken apart, and domesticity and excess is rendered wrought and profound, a twisted site of expansive power and joy.

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