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Judith Linhares

April 15, 2024

Judith Linhares (born 1940) is an American painter, known for her vibrant, expressive figurative and narrative paintings.[1][2][3] She came of age and gained recognition in the Bay Area culture of the 1960s and 1970s and has been based in New York City since 1980.[4][5][6] Curator Marcia Tucker featured her in the influential New Museum show, "'Bad' Painting" (1978), and in the 1984 Venice Biennale show, "Paradise Lost/Paradise Regained: American Visions of the New Decade."[7][8] Linhares synthesizes influences including Expressionism, Bay Area Figuration, Mexican modern art and second-wave feminism, in work that flirts with abstraction and balances visionary personal imagery, expressive intensity, and pictorial rigor.[1][9][10][11][12] Art historian Whitney Chadwick wrote, "Linhares is an artist for whom painting has always mattered as the surest path of synthesizing experience and interior life," her works "emerging as if by magic from an alchemical stew of vivid complementary hues and muted tonalities."[13] Critic John Yau describes her paintings "funny, strange, and disconcerting,"[14] while writer Susan Morgan called them "unexpected and indelible" images exploring "an oddly sublime territory where exuberant bliss remains inseparable from ominous danger."[15]

Judith Linhares
Born1940
Pasadena, California, US
EducationCalifornia College of the Arts
Known forPainting, Drawing, Printmaking
StyleFigurative, Expressionist, Feminist
WebsiteJudith Linhares
Judith Linhares, Wave, 60" x 84", oil on linen, 2010.

Linhares has been recognized with more than forty-five one-person exhibitions, major awards from the American Academy of Arts and Letters[16] and John Simon Guggenheim Memorial Foundation,[17] among many, and acquisitions by numerous public collections.[18] Critics, such as The New York Times' Ken Johnson identify her as a key forerunner to and influence on several waves of younger figurative artists.[3][19][20][21] Jennifer Riley wrote, "Linhares has practically invented the genre of imaginative figure painting largely populated by confident women engaged in activities ranging from the banal to the idiosyncratic, thus paving the way for artists such as Amy Cutler, Hilary Harkness, and Dana Schutz."[22][23] Linhares is represented by Various Small Fires (Los Angeles),[24] P.P.O.W. Gallery (New York)[25] and Anglim Gilbert Gallery (San Francisco).[26] She lives and works in Brooklyn, New York.

Life and career edit

 
Judith Linhares, Love Letters from San Jose, "At Home in San Jose" series, ink on paper, 28"x 34", 1971.

Linhares was born in Pasadena, California in 1940.[6] She began as an artist in her teens, hanging out in the beatnik world of Malibu Beach.[12][4] In 1958, she moved to Oakland to attend California College of the Arts (CCA), where she earned an BFA (1964) and MFA (1970).[6][4] Linhares was active in a vibrant Bay Area culture that embraced second-wave feminism, the hippie scene, underground comic artists S. Clay Wilson and Robert Crumb, assemblage artists Wallace Berman and Bruce Conner, and Funk and Outsider art; those influences turned her in a more populist direction, from abstraction toward figurative and narrative art.[12][4][14]

After CCA, Linhares lived in San Francisco, taught art at area colleges, and exhibited at venues such as the San Francisco Museum of Modern Art.[18][27] In 1975, the San Francisco Art Institute recognized her with the Adaline Kent Award for promising California artists.[6] In 1978, she received the first of three National Endowment for the Arts grants, and was included in Marcia Tucker's seminal New Museum exhibition, "'Bad' Painting," which brought her wider recognition as an avatar of a nascent Neo-Expressionist figurative turn in art.[7][4] In 1980, she moved to New York City, continuing to exhibit on both coasts.[18] In subsequent years, Linhares has taught extensively, notably at the School of Visual Arts (1980–2014) and New York University (1986–2006), and exhibited throughout the U.S., including major shows at Edward Thorp Gallery (New York) and Gallery Paule Anglim (San Francisco).[18] Retrospectives of her work have been held at Sonoma State University and the Greenville County Museum of Art ("Dangerous Pleasures," 1994).[28]

Work edit

Critics identify several enduring characteristics in Linhares's work, even as it has evolved considerably over five decades. One is her intense commitment to art as a process of self-discovery through which she synthesizes personal experience and, more broadly, female subjectivity.[11][6][9][13] Those impulses fuel her visionary imagery and expressive color and brushwork, which sit in tension with an equally formidable commitment to the Gestalt of pictorial integrity and sharp economy of means.[29][9][30][11] In Linhares's "Dangerous Pleasures" retrospective (1994) catalogue, critic Brooke Adams called her work a "strange, luminous, hard-won pictorial universe."[4] In 2006, Los Angeles Times critic David Pagel wrote, "This give and take—between singular, iconic image and scattershot, freewheeling chaos—endows Linhares's art with moxy and verve."[1]

Linhares's ability to reconcile these tensions derives from her absorption of a dizzying array of traditions—from Symbolism to Abstract Expressionism to California Funk—whose strategies she turns to her own idiosyncratic aims.[31][22][4][9] Adams called her "a vanguardist in the reassessment of Mexican influence and spirit in modern art."[4] Pagel wrote that her work revisits German Expressionism, "recuperating its original animal innocence (and playful verve)," sans the recent layers of irony, aggression and bombast added by various Neo-Expressionisms.[1] Linhares cites expressionists Max Beckmann, James Ensor and Edvard Munch, artists negotiating "the line between figuration and abstraction" such as David Park and Bob Thompson, and surrealists Remedios Varo and Toyen, who depicted powerful, sexual women, as key inspirations.[12][32] In light of the complex welter of influences, critics consistently note Linhares's "evocative magic act"[33] of pulling off work that appears deceptively nonchalant,[34] breezy,[5] and improvisational[19] in its "easy virtuosity."[21]

 
Judith Linhares, Turkey, 64"x 60", oil on linen, 1977.

Early work edit

In the early 1970s, Linhares created narrative drawings and assemblages that appropriated commonplace or "craft" materials and feminine imagery (flowers, eggs, swan feathers, domestic scenes), pushing back against passé notions of "women's art."[6][35][36] Her "At Home in San Jose" drawing series was noted for startling, often humorous, imagery developed through introspection, which juxtaposed skeletons, devils and women in scenes of cozy domesticity or macabre religio-erotic fantasies.[37][31][9] San Francisco critic Alfred Frankenstein recognized them most for their "meticulous draftsmanship" and elegant design sense, calling her a successor to renowned Mexican printmaker José Guadalupe Posada";[38][39] others compared their spiky, linearity and ghostly imagery to the work of Aubrey Beardsley.[4]

Figurative painting: 1976–1999 edit

Linhares and critics, such as Dan Cameron, mark a four-month sojourn in Guanajuato, Mexico in 1976 as a turning point that refocused her on painting and integrated her subconscious imagery, painterly and narrative impulses, and Jungian, Surrealist, and Mexican and Outsider Art influences.[9][4][40][14] This evolution was perhaps first realized in the 1977 painting Turkey (featured in the "'Bad' Painting" show), which fused archetypal forces in an uncanny, iconic image.[4]

 
Judith Linhares, Woman with Beautiful Hair, 40"x 40", gouache on paper, 1985.

After her move to New York in 1980, Linhares's style and mastery of painting—particularly in gouache—gained momentum.[31][9][33] She developed a Symbolist allegorical world of enigmatic, bulbous-headed creatures, narcoleptic nudes, phantasms, figures in boats, and human metamorphosis, invoking dreams, myths and fairy-tales and existential, romantic and spiritual themes.[41][29][9][42] Her fantastic imagery was balanced by lush color, painterly sensual surfaces, and sure design, which critics maintained gave her vision its impact.[29][33][9][31] In paintings such as Woman with Beautiful Hair (1985) or The Beekeeper's Daughter (1990), Linhares began to focus more on single, usually female, figures in illusionistic space.[9] Through the 1990s, critics noted in her work a sunnier palette, increasingly abstract and ambiguous imagery, and a growing facility with a naïve drawing style that recalled the late work of Phillip Guston.[21][4][43][44]

Post-2000: pastoral nudes and still lifes edit

In the 2000s, Linhares has turned to female nudes (often monumental), visionary landscapes, floral still lifes (e.g., Star Vase, 2003), and animals.[11][45] Critic Roberta Smith called the work her most assured,[2] while others suggested that Linhares breathed new life into seemingly exhausted genres.[22][46][1] These "deftly messy images of carefree, meaty stick figures"[1] and "fantastical tableaux" depict nude (or more aptly, nudist) women set against candy-striped skies and terrain—often free of men—picnicking, communing and working in a languid ease that suggests a lightly worn, but confident feminism.[47][48][49][50] John Yau described them as investigations of an alternative world, "Eden before the arrival of Adam and the snake."[14] Painted in bright Fauvist colors that critics described as juicy, madcap, and almost edible,[10][51][52] with blocky, charged, gestural brushstrokes, the paintings seemed to re-imagine de Kooning's violent nudes in an act of identification with the figures.[11]

 
Judith Linhares, Star Vase, 22" x 26", oil on linen, 2003.

In late works, from Starlight (2005) to Wave (2010, top) to Dig (2017), Linhares's commitment to the primacy of composition[35] came to the fore, as she pushed the limits of representation, perspective and coherence.[53][54] Writer Madison Smartt Bell (among many) identified "a solid integrity of composition that few latter-day figurative painters can rival, which he credited to Linhares's deep-rooted habit of beginning paintings with abstract fields of color, out of which she gradually pulls her subject.[12][4][13] Others have described her paintings as "single-image novellas" that "read with power and immediacy the way the great abstract paintings do."[55] Reviewing the 2006 show, "Rowing in Eden," Jennifer Riley wrote, "Shapes, figures, and colors are arranged like characters on a stage and painted with a deftness that makes this difficult-to-achieve work appear effortless."[22]

In 2019, Linhares appeared in the Boston Museum of Fine Arts exhibition "Contemporary Art: Five Propositions" and had a solo show, "Hearts on Fire," at P.P.O.W.[56][32] Reviewers noted that these later paintings—flowers, animals and nudes in landscapes emerging from bands of abstract color—created a fairy tale world that followed an internal logic and sense of randomness all its own.[23][32] They described the work, High Desert (2018), for example, as a brightly colored, visionary riff on Henri Rousseau’s The Sleeping Gypsy,[23] whose composition included a nude reclining on a crocheted, patchwork blanket, a watchful lion, and a Technicolor sky likened to "a deconstructed Sol LeWitt wall drawing."[32] The Sarasota Museum of Art exhibition "Judith Linhares: The Artist as Curator" (2021) considered the intuitive process and creative inspirations shaping Linhares's practice, with a range of her own paintings, items from her studio including collected objects, photographs and journals, and works by five artists: Bill Adams, Ellen Berkenblit, Karin Davie, Dona Nelson and Mary Jo Vath.[57][58]

Recognition and collections edit

Linhares has been recognized with awards from the Artists' Legacy Foundation (2017),[59][60] Joan Mitchell Foundation (2013),[61] American Academy of Arts and Letters (2008),[16] Pollock-Krasner Foundation (2000), Anonymous Was a Woman (1999), Guggenheim Foundation (1997),[17] Adolph and Esther Gottlieb Foundation (1993), and National Endowment for the Arts (1993, 1987, 1979).[62] Her work sits in numerous public collections, including the Whitney Museum of American Art, Smithsonian American Art Museum,[63] San Francisco Museum of Modern Art,[64] de Young Museum,[65] San Jose Museum of Art, Berkeley Art Museum, Oakland Museum, Crocker Art Museum, Zimmerli Art Museum, Weisman Art Museum, Weatherspoon Art Museum, and New Britain Museum of American Art, among many.[62]

References edit

  1. ^ a b c d e f Pagel, David. Judith Linhares: Divine Intoxication, Orange, CA: Chapman University, 2006.
  2. ^ a b Smith, Roberta. "As Chelsea Expands, a Host of Visions Rush In," The New York Times, June 1, 2001. Retrieved October 24, 2018.
  3. ^ a b Johnson, Ken. "Judith Linhares," The New York Times, April 14, 2006. Retrieved October 24, 2018.
  4. ^ a b c d e f g h i j k l m Adam, Brooks. "The Labyrinth of Judith Linhares," Dangerous Pleasures: The Art of Judith Linhares, Survey catalogue essay, Sonoma, CA: Sonoma State University Art Gallery, 1994, p. 7–30.
  5. ^ a b Saltz, Jerry. "Judith Linhares," The Village Voice, April 5–11, 2006, p. 73.
  6. ^ a b c d e f Linhares, Philip. Adeline Kent Award 1975, Essay, San Francisco, CA: San Francisco Art Institute, 1976.
  7. ^ a b Tucker, Marcia. 'Bad' Painting, Catalogue, New York: The New Museum, 1978. Retrieved October 24, 2018.
  8. ^ The New Museum. "Paradise Lost/Paradise Regained: American Visions of the New Decade," Organized by Lynn Gumpert, Ned Rifkin, and Marcia Tucker. Exhibitions. Retrieved October 31, 2018.
  9. ^ a b c d e f g h i j Cameron, Dan. "Judith Linhares Weaves a Spell," Arts Magazine, Vol. 60, No. 4, December 1985, p. 76-9.
  10. ^ a b Berwick, Carly. "Judith Linhares", ARTnews, Summer 2006, p. 181.
  11. ^ a b c d e Egan, Shannon. "A Venus of Wild Nights: The Female Nude in Paintings of Judith Linhares," The Gettysburg Review, Autumn 2009, Vol. #22, #3, p. 413–416.
  12. ^ a b c d e Bell, Madison Smartt. "Judith Linhares by Madison Smart Bell", BOMB Magazine, Fall 2006, p. 78-85. Retrieved October 24, 2018.
  13. ^ a b c Chadwick, Whitney. Sweet Talk, Catalogue essay, New York: Edward Thorp Gallery, 2001.
  14. ^ a b c d Yau, John. "Judtih Linhares, "Riptide," The Brooklyn Rail, March 4, 2011. Retrieved October 31, 2018.
  15. ^ Morgan, Susan. "Judith Linhares," Catalogue essay, Flora and Fauna, New Berlin, NY: Sam & Adele Golden Gallery, 2015.
  16. ^ a b "American Academy of Arts and Letters Announces 2008 Art Awards," Artforum, March 18, 2008. Retrieved October 24, 2018.
  17. ^ a b John Simon Guggenheim Memorial Foundation. "Judith Linhares". Fellows. Retrieved October 12, 2018.
  18. ^ a b c d Edward Thorp Gallery. Judith Linhares: Riptide, Catalogue, New York: Edward Thorp Gallery, 2011.
  19. ^ a b Brody, David. "Hippie Edenists Adrift: Judith Linhares at Edward Thorp," ArtCritical, March 23, 2011. Retrieved October 24, 2018.
  20. ^ Dunham, Judith. "Quiet Mentor: Reviews from San Francisco". Vanguard, Volume 11, September 1983.
  21. ^ a b c Desmarais, Charles. "In the galleries, 3 women's approach to art and authenticity," SF Gate, February 2, 2018. Retrieved October 24, 2018.
  22. ^ a b c d Riley, Jennifer. "Judith Linhares," The Brooklyn Rail, April 10, 2006. Retrieved October 24, 2018.
  23. ^ a b c Yau, John. "In Judith Linhares’s Sinless World," Hyperallergic, February 24, 2019. Retrieved April 6, 2022.
  24. ^ Various Small Fires. Judith Linhares, Artist page. Retrieved October 24, 2018.
  25. ^ P.P.O.W. Judith Linhares, Selected work. Retrieved October 24, 2018.
  26. ^ Anglim Gilbert Gallery. Judith Linhares, Retrieved October 24, 2018.
  27. ^ Linhares, Philip. Four Women, Catalogue essay, San Francisco, CA: San Francisco Art Institute, 1974.
  28. ^ Sonoma State University Art Gallery. Dangerous Pleasures: The Art of Judith Linhares, Survey catalogue, Sonoma, CA: Sonoma State University Art Gallery, 1994.
  29. ^ a b c Cohen, Ronnie. "New York Review", ARTnews, Volume 82, October, 1983, p. 176.
  30. ^ FitzGibbon, John. "L is for Linhares," California A to Z, Catalogue essay, Youngstown, OH: Butler Institute of American Art, 1990.
  31. ^ a b c d Morris, Gay. "Judith Linhares: Strange Pleasure", Art in America, November 1994, p.139.
  32. ^ a b c d Press, Clayton. "Judith Linhares, 'Hearts on Fire,' At P.P.O.W., New York," Forbes, February 14, 2019. Retrieved April 6, 2022.
  33. ^ a b c Van Proyen, Mark. "Eccentric Allegories", Art Week, February 18, Vol 15. No.7, 1984.
  34. ^ Wilson, Michael. "Judith Linhares," Artforum, February 2011. Retrieved October 24, 2018.
  35. ^ a b Samet, Jennifer. "Beer with a Painter: Judith Linhares," Hyperallergic, November 10, 2012. Retrieved October 24, 2018.
  36. ^ Judith Linhares website. Archive: 1970–1979. Retrieved October 24, 2018.
  37. ^ Frankenstein, Alfred. "Bold and Macabre Drawings", San Francisco Chronicle, May 17, 1972.
  38. ^ Frankenstein, Alfred. "She's Somebody to Watch", San Francisco Chronicle, January 16, 1973, p. 44.
  39. ^ Frankenstein, Alfred. "Judith Linhares Show: Facing Down Death and the Devil", San Francisco Chronicle, January 16, 1976, p. 44.
  40. ^ Weeks, H. J. "Judith Linhares at Paule Anglim", Art Week, 1977, p. 58.
  41. ^ Price, Richard. "Judith Linhares," Arts Magazine, Volume 57, Number 10, June, 1983, p 6.
  42. ^ Judith Linhares website. Archive: 1980–1989. Retrieved October 24, 2018.
  43. ^ Cotter, Holland. "Judith Linhares," The New York Times, February 21, 1997.
  44. ^ Judith Linhares website. Archive: 1990–1999. Retrieved October 24, 2018.
  45. ^ Judith Linhares website. Archive: 2000–2006. Retrieved October 24, 2018.
  46. ^ Osberg, Annabel. "Judith Linhares," Artillery, January 17, 2018. Retrieved October 12, 2018.
  47. ^ Mizota, Sharon. "Judith Linhares paints the joys of life, on her own terms," Los Angeles Times, January 20, 2018. Retrieved October 24, 2018.
  48. ^ Kreimer, Julien. "Judith Linhares," Art in America, June/July 2011, No. 6, p. 184-5. Retrieved October 24, 2018.
  49. ^ Durón, Maximilíano. "P.P.O.W. Now Represents Judith Linhares," ARTnews, April 12, 2018. Retrieved October 24, 2018.
  50. ^ Smith, Roberta. "Judith Linhares," The New York Times, March 25, 2011. Retrieved October 24, 2018.
  51. ^ Joelson, Suzanne. "Judith Linhares", Time Out New York, April 20–26, 2006, p. 78.
  52. ^ Golden, Devin. Judith Linhares: Riptide, Catalogue essay, New York: Edward Thorp Gallery, 2011.
  53. ^ Nys, Shana. "Within the Cave at Durden and Ray," Huffington Post, September 18, 2015. Retrieved October 24, 2018.
  54. ^ Judith Linhares website. Archive: 2006–2012. Retrieved October 24, 2018.
  55. ^ Young, Geoffrey. A Garland for Judith Linhares, Albany, NY: University of Albany Art Museum, 2007.
  56. ^ Art Basel. Animal Nature, 2019, Judith Linhares, Artwork. Retrieved April 15, 2022.
  57. ^ Sarasota Museum of Art. "Judith Linhares: The Artist as Curator." 2021. Retrieved April 15, 2022.
  58. ^ Lederer, Phil. "The Sarasota Art Museum’s new executive director wants to turn a hidden gem into the crown jewel," Continental Mag, January 2022. Retrieved April 15, 2022.
  59. ^ Artists' Legacy Foundation. "Judith Linhares Receives Artists' Legacy Foundation 2017 Artist Award," August 29, 2017. Retrieved October 24, 2018.
  60. ^ Greenberger, Alex. "Judith Linhares Wins Artists' Legacy Foundation's Artist Award," ARTnews, August 29, 2017. Retrieved October 24, 2018.
  61. ^ Joan Mitchell Foundation. "Judith Linhares," Artist Grants, Painters & Sculptors Program, 2012. Retrieved October 24, 2018.
  62. ^ a b Garrett, Ashley. "A conversation with Judith Linhares," Figure/Ground, January 2014. Retrieved October 24, 2018.
  63. ^ Smithsonian American Art Museum. "Judith Linhares," Art + Artists. Retrieved October 24, 2018.
  64. ^ San Francisco Museum of Modern Art. "Judith Linhares," Collections. Retrieved October 24, 2018.
  65. ^ Fine Art Museums of San Francisco. Judith Linhares, Collections. Retrieved October 24, 2018.

External links edit

  • Official website
  • Judith Linhares papers, circa 1955-2014, Archives of American Art, Collection
  • Judith Linhares, P.P.O.W.
  • Judith Linhares, Various Small Fires.

April 15, 2024
judith, linhares, born, 1940, american, painter, known, vibrant, expressive, figurative, narrative, paintings, came, gained, recognition, area, culture, 1960s, 1970s, been, based, york, city, since, 1980, curator, marcia, tucker, featured, influential, museum,. Judith Linhares born 1940 is an American painter known for her vibrant expressive figurative and narrative paintings 1 2 3 She came of age and gained recognition in the Bay Area culture of the 1960s and 1970s and has been based in New York City since 1980 4 5 6 Curator Marcia Tucker featured her in the influential New Museum show Bad Painting 1978 and in the 1984 Venice Biennale show Paradise Lost Paradise Regained American Visions of the New Decade 7 8 Linhares synthesizes influences including Expressionism Bay Area Figuration Mexican modern art and second wave feminism in work that flirts with abstraction and balances visionary personal imagery expressive intensity and pictorial rigor 1 9 10 11 12 Art historian Whitney Chadwick wrote Linhares is an artist for whom painting has always mattered as the surest path of synthesizing experience and interior life her works emerging as if by magic from an alchemical stew of vivid complementary hues and muted tonalities 13 Critic John Yau describes her paintings funny strange and disconcerting 14 while writer Susan Morgan called them unexpected and indelible images exploring an oddly sublime territory where exuberant bliss remains inseparable from ominous danger 15 Judith LinharesBorn1940Pasadena California USEducationCalifornia College of the ArtsKnown forPainting Drawing PrintmakingStyleFigurative Expressionist FeministWebsiteJudith Linhares Judith Linhares Wave 60 x 84 oil on linen 2010 Linhares has been recognized with more than forty five one person exhibitions major awards from the American Academy of Arts and Letters 16 and John Simon Guggenheim Memorial Foundation 17 among many and acquisitions by numerous public collections 18 Critics such as The New York Times Ken Johnson identify her as a key forerunner to and influence on several waves of younger figurative artists 3 19 20 21 Jennifer Riley wrote Linhares has practically invented the genre of imaginative figure painting largely populated by confident women engaged in activities ranging from the banal to the idiosyncratic thus paving the way for artists such as Amy Cutler Hilary Harkness and Dana Schutz 22 23 Linhares is represented by Various Small Fires Los Angeles 24 P P O W Gallery New York 25 and Anglim Gilbert Gallery San Francisco 26 She lives and works in Brooklyn New York Contents 1 Life and career 2 Work 2 1 Early work 2 2 Figurative painting 1976 1999 2 3 Post 2000 pastoral nudes and still lifes 3 Recognition and collections 4 References 5 External linksLife and career edit nbsp Judith Linhares Love Letters from San Jose At Home in San Jose series ink on paper 28 x 34 1971 Linhares was born in Pasadena California in 1940 6 She began as an artist in her teens hanging out in the beatnik world of Malibu Beach 12 4 In 1958 she moved to Oakland to attend California College of the Arts CCA where she earned an BFA 1964 and MFA 1970 6 4 Linhares was active in a vibrant Bay Area culture that embraced second wave feminism the hippie scene underground comic artists S Clay Wilson and Robert Crumb assemblage artists Wallace Berman and Bruce Conner and Funk and Outsider art those influences turned her in a more populist direction from abstraction toward figurative and narrative art 12 4 14 After CCA Linhares lived in San Francisco taught art at area colleges and exhibited at venues such as the San Francisco Museum of Modern Art 18 27 In 1975 the San Francisco Art Institute recognized her with the Adaline Kent Award for promising California artists 6 In 1978 she received the first of three National Endowment for the Arts grants and was included in Marcia Tucker s seminal New Museum exhibition Bad Painting which brought her wider recognition as an avatar of a nascent Neo Expressionist figurative turn in art 7 4 In 1980 she moved to New York City continuing to exhibit on both coasts 18 In subsequent years Linhares has taught extensively notably at the School of Visual Arts 1980 2014 and New York University 1986 2006 and exhibited throughout the U S including major shows at Edward Thorp Gallery New York and Gallery Paule Anglim San Francisco 18 Retrospectives of her work have been held at Sonoma State University and the Greenville County Museum of Art Dangerous Pleasures 1994 28 Work editCritics identify several enduring characteristics in Linhares s work even as it has evolved considerably over five decades One is her intense commitment to art as a process of self discovery through which she synthesizes personal experience and more broadly female subjectivity 11 6 9 13 Those impulses fuel her visionary imagery and expressive color and brushwork which sit in tension with an equally formidable commitment to the Gestalt of pictorial integrity and sharp economy of means 29 9 30 11 In Linhares s Dangerous Pleasures retrospective 1994 catalogue critic Brooke Adams called her work a strange luminous hard won pictorial universe 4 In 2006 Los Angeles Times critic David Pagel wrote This give and take between singular iconic image and scattershot freewheeling chaos endows Linhares s art with moxy and verve 1 Linhares s ability to reconcile these tensions derives from her absorption of a dizzying array of traditions from Symbolism to Abstract Expressionism to California Funk whose strategies she turns to her own idiosyncratic aims 31 22 4 9 Adams called her a vanguardist in the reassessment of Mexican influence and spirit in modern art 4 Pagel wrote that her work revisits German Expressionism recuperating its original animal innocence and playful verve sans the recent layers of irony aggression and bombast added by various Neo Expressionisms 1 Linhares cites expressionists Max Beckmann James Ensor and Edvard Munch artists negotiating the line between figuration and abstraction such as David Park and Bob Thompson and surrealists Remedios Varo and Toyen who depicted powerful sexual women as key inspirations 12 32 In light of the complex welter of influences critics consistently note Linhares s evocative magic act 33 of pulling off work that appears deceptively nonchalant 34 breezy 5 and improvisational 19 in its easy virtuosity 21 nbsp Judith Linhares Turkey 64 x 60 oil on linen 1977 Early work edit In the early 1970s Linhares created narrative drawings and assemblages that appropriated commonplace or craft materials and feminine imagery flowers eggs swan feathers domestic scenes pushing back against passe notions of women s art 6 35 36 Her At Home in San Jose drawing series was noted for startling often humorous imagery developed through introspection which juxtaposed skeletons devils and women in scenes of cozy domesticity or macabre religio erotic fantasies 37 31 9 San Francisco critic Alfred Frankenstein recognized them most for their meticulous draftsmanship and elegant design sense calling her a successor to renowned Mexican printmaker Jose Guadalupe Posada 38 39 others compared their spiky linearity and ghostly imagery to the work of Aubrey Beardsley 4 Figurative painting 1976 1999 edit Linhares and critics such as Dan Cameron mark a four month sojourn in Guanajuato Mexico in 1976 as a turning point that refocused her on painting and integrated her subconscious imagery painterly and narrative impulses and Jungian Surrealist and Mexican and Outsider Art influences 9 4 40 14 This evolution was perhaps first realized in the 1977 painting Turkey featured in the Bad Painting show which fused archetypal forces in an uncanny iconic image 4 nbsp Judith Linhares Woman with Beautiful Hair 40 x 40 gouache on paper 1985 After her move to New York in 1980 Linhares s style and mastery of painting particularly in gouache gained momentum 31 9 33 She developed a Symbolist allegorical world of enigmatic bulbous headed creatures narcoleptic nudes phantasms figures in boats and human metamorphosis invoking dreams myths and fairy tales and existential romantic and spiritual themes 41 29 9 42 Her fantastic imagery was balanced by lush color painterly sensual surfaces and sure design which critics maintained gave her vision its impact 29 33 9 31 In paintings such as Woman with Beautiful Hair 1985 or The Beekeeper s Daughter 1990 Linhares began to focus more on single usually female figures in illusionistic space 9 Through the 1990s critics noted in her work a sunnier palette increasingly abstract and ambiguous imagery and a growing facility with a naive drawing style that recalled the late work of Phillip Guston 21 4 43 44 Post 2000 pastoral nudes and still lifes edit In the 2000s Linhares has turned to female nudes often monumental visionary landscapes floral still lifes e g Star Vase 2003 and animals 11 45 Critic Roberta Smith called the work her most assured 2 while others suggested that Linhares breathed new life into seemingly exhausted genres 22 46 1 These deftly messy images of carefree meaty stick figures 1 and fantastical tableaux depict nude or more aptly nudist women set against candy striped skies and terrain often free of men picnicking communing and working in a languid ease that suggests a lightly worn but confident feminism 47 48 49 50 John Yau described them as investigations of an alternative world Eden before the arrival of Adam and the snake 14 Painted in bright Fauvist colors that critics described as juicy madcap and almost edible 10 51 52 with blocky charged gestural brushstrokes the paintings seemed to re imagine de Kooning s violent nudes in an act of identification with the figures 11 nbsp Judith Linhares Star Vase 22 x 26 oil on linen 2003 In late works from Starlight 2005 to Wave 2010 top to Dig 2017 Linhares s commitment to the primacy of composition 35 came to the fore as she pushed the limits of representation perspective and coherence 53 54 Writer Madison Smartt Bell among many identified a solid integrity of composition that few latter day figurative painters can rival which he credited to Linhares s deep rooted habit of beginning paintings with abstract fields of color out of which she gradually pulls her subject 12 4 13 Others have described her paintings as single image novellas that read with power and immediacy the way the great abstract paintings do 55 Reviewing the 2006 show Rowing in Eden Jennifer Riley wrote Shapes figures and colors are arranged like characters on a stage and painted with a deftness that makes this difficult to achieve work appear effortless 22 In 2019 Linhares appeared in the Boston Museum of Fine Arts exhibition Contemporary Art Five Propositions and had a solo show Hearts on Fire at P P O W 56 32 Reviewers noted that these later paintings flowers animals and nudes in landscapes emerging from bands of abstract color created a fairy tale world that followed an internal logic and sense of randomness all its own 23 32 They described the work High Desert 2018 for example as a brightly colored visionary riff on Henri Rousseau s The Sleeping Gypsy 23 whose composition included a nude reclining on a crocheted patchwork blanket a watchful lion and a Technicolor sky likened to a deconstructed Sol LeWitt wall drawing 32 The Sarasota Museum of Art exhibition Judith Linhares The Artist as Curator 2021 considered the intuitive process and creative inspirations shaping Linhares s practice with a range of her own paintings items from her studio including collected objects photographs and journals and works by five artists Bill Adams Ellen Berkenblit Karin Davie Dona Nelson and Mary Jo Vath 57 58 Recognition and collections editLinhares has been recognized with awards from the Artists Legacy Foundation 2017 59 60 Joan Mitchell Foundation 2013 61 American Academy of Arts and Letters 2008 16 Pollock Krasner Foundation 2000 Anonymous Was a Woman 1999 Guggenheim Foundation 1997 17 Adolph and Esther Gottlieb Foundation 1993 and National Endowment for the Arts 1993 1987 1979 62 Her work sits in numerous public collections including the Whitney Museum of American Art Smithsonian American Art Museum 63 San Francisco Museum of Modern Art 64 de Young Museum 65 San Jose Museum of Art Berkeley Art Museum Oakland Museum Crocker Art Museum Zimmerli Art Museum Weisman Art Museum Weatherspoon Art Museum and New Britain Museum of American Art among many 62 References edit a b c d e f Pagel David Judith Linhares Divine Intoxication Orange CA Chapman University 2006 a b Smith Roberta As Chelsea Expands a Host of Visions Rush In The New York Times June 1 2001 Retrieved October 24 2018 a b Johnson Ken Judith Linhares The New York Times April 14 2006 Retrieved October 24 2018 a b c d e f g h i j k l m Adam Brooks The Labyrinth of Judith Linhares Dangerous Pleasures The Art of Judith Linhares Survey catalogue essay Sonoma CA Sonoma State University Art Gallery 1994 p 7 30 a b Saltz Jerry Judith Linhares The Village Voice April 5 11 2006 p 73 a b c d e f Linhares Philip Adeline Kent Award 1975 Essay San Francisco CA San Francisco Art Institute 1976 a b Tucker Marcia Bad Painting Catalogue New York The New Museum 1978 Retrieved October 24 2018 The New Museum Paradise Lost Paradise Regained American Visions of the New Decade Organized by Lynn Gumpert Ned Rifkin and Marcia Tucker Exhibitions Retrieved October 31 2018 a b c d e f g h i j Cameron Dan Judith Linhares Weaves a Spell Arts Magazine Vol 60 No 4 December 1985 p 76 9 a b Berwick Carly Judith Linhares ARTnews Summer 2006 p 181 a b c d e Egan Shannon A Venus of Wild Nights The Female Nude in Paintings of Judith Linhares The Gettysburg Review Autumn 2009 Vol 22 3 p 413 416 a b c d e Bell Madison Smartt Judith Linhares by Madison Smart Bell BOMB Magazine Fall 2006 p 78 85 Retrieved October 24 2018 a b c Chadwick Whitney Sweet Talk Catalogue essay New York Edward Thorp Gallery 2001 a b c d Yau John Judtih Linhares Riptide The Brooklyn Rail March 4 2011 Retrieved October 31 2018 Morgan Susan Judith Linhares Catalogue essay Flora and Fauna New Berlin NY Sam amp Adele Golden Gallery 2015 a b American Academy of Arts and Letters Announces 2008 Art Awards Artforum March 18 2008 Retrieved October 24 2018 a b John Simon Guggenheim Memorial Foundation Judith Linhares Fellows Retrieved October 12 2018 a b c d Edward Thorp Gallery Judith Linhares Riptide Catalogue New York Edward Thorp Gallery 2011 a b Brody David Hippie Edenists Adrift Judith Linhares at Edward Thorp ArtCritical March 23 2011 Retrieved October 24 2018 Dunham Judith Quiet Mentor Reviews from San Francisco Vanguard Volume 11 September 1983 a b c Desmarais Charles In the galleries 3 women s approach to art and authenticity SF Gate February 2 2018 Retrieved October 24 2018 a b c d Riley Jennifer Judith Linhares The Brooklyn Rail April 10 2006 Retrieved October 24 2018 a b c Yau John In Judith Linhares s Sinless World Hyperallergic February 24 2019 Retrieved April 6 2022 Various Small Fires Judith Linhares Artist page Retrieved October 24 2018 P P O W Judith Linhares Selected work Retrieved October 24 2018 Anglim Gilbert Gallery Judith Linhares Retrieved October 24 2018 Linhares Philip Four Women Catalogue essay San Francisco CA San Francisco Art Institute 1974 Sonoma State University Art Gallery Dangerous Pleasures The Art of Judith Linhares Survey catalogue Sonoma CA Sonoma State University Art Gallery 1994 a b c Cohen Ronnie New York Review ARTnews Volume 82 October 1983 p 176 FitzGibbon John L is for Linhares California A to Z Catalogue essay Youngstown OH Butler Institute of American Art 1990 a b c d Morris Gay Judith Linhares Strange Pleasure Art in America November 1994 p 139 a b c d Press Clayton Judith Linhares Hearts on Fire At P P O W New York Forbes February 14 2019 Retrieved April 6 2022 a b c Van Proyen Mark Eccentric Allegories Art Week February 18 Vol 15 No 7 1984 Wilson Michael Judith Linhares Artforum February 2011 Retrieved October 24 2018 a b Samet Jennifer Beer with a Painter Judith Linhares Hyperallergic November 10 2012 Retrieved October 24 2018 Judith Linhares website Archive 1970 1979 Retrieved October 24 2018 Frankenstein Alfred Bold and Macabre Drawings San Francisco Chronicle May 17 1972 Frankenstein Alfred She s Somebody to Watch San Francisco Chronicle January 16 1973 p 44 Frankenstein Alfred Judith Linhares Show Facing Down Death and the Devil San Francisco Chronicle January 16 1976 p 44 Weeks H J Judith Linhares at Paule Anglim Art Week 1977 p 58 Price Richard Judith Linhares Arts Magazine Volume 57 Number 10 June 1983 p 6 Judith Linhares website Archive 1980 1989 Retrieved October 24 2018 Cotter Holland Judith Linhares The New York Times February 21 1997 Judith Linhares website Archive 1990 1999 Retrieved October 24 2018 Judith Linhares website Archive 2000 2006 Retrieved October 24 2018 Osberg Annabel Judith Linhares Artillery January 17 2018 Retrieved October 12 2018 Mizota Sharon Judith Linhares paints the joys of life on her own terms Los Angeles Times January 20 2018 Retrieved October 24 2018 Kreimer Julien Judith Linhares Art in America June July 2011 No 6 p 184 5 Retrieved October 24 2018 Duron Maximiliano P P O W Now Represents Judith Linhares ARTnews April 12 2018 Retrieved October 24 2018 Smith Roberta Judith Linhares The New York Times March 25 2011 Retrieved October 24 2018 Joelson Suzanne Judith Linhares Time Out New York April 20 26 2006 p 78 Golden Devin Judith Linhares Riptide Catalogue essay New York Edward Thorp Gallery 2011 Nys Shana Within the Cave at Durden and Ray Huffington Post September 18 2015 Retrieved October 24 2018 Judith Linhares website Archive 2006 2012 Retrieved October 24 2018 Young Geoffrey A Garland for Judith Linhares Albany NY University of Albany Art Museum 2007 Art Basel Animal Nature 2019 Judith Linhares Artwork Retrieved April 15 2022 Sarasota Museum of Art Judith Linhares The Artist as Curator 2021 Retrieved April 15 2022 Lederer Phil The Sarasota Art Museum s new executive director wants to turn a hidden gem into the crown jewel Continental Mag January 2022 Retrieved April 15 2022 Artists Legacy Foundation Judith Linhares Receives Artists Legacy Foundation 2017 Artist Award August 29 2017 Retrieved October 24 2018 Greenberger Alex Judith Linhares Wins Artists Legacy Foundation s Artist Award ARTnews August 29 2017 Retrieved October 24 2018 Joan Mitchell Foundation Judith Linhares Artist Grants Painters amp Sculptors Program 2012 Retrieved October 24 2018 a b Garrett Ashley A conversation with Judith Linhares Figure Ground January 2014 Retrieved October 24 2018 Smithsonian American Art Museum Judith Linhares Art Artists Retrieved October 24 2018 San Francisco Museum of Modern Art Judith Linhares Collections Retrieved October 24 2018 Fine Art Museums of San Francisco Judith Linhares Collections Retrieved October 24 2018 External links editOfficial website Judith Linhares papers circa 1955 2014 Archives of American Art Collection Judith Linhares P P O W Judith Linhares Various Small Fires Retrieved from https en wikipedia org w index php title Judith Linhares amp oldid 1218050454, wikipedia, wiki, book, books, library,

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