Judith Lodge (born July 25, 1941) is an AmericanCanadian painter and photographer who often explores how the two mediums play off of and inform one another.[1][2] Her abstract portraits of memories, situations, events, and people are inspired by the unconscious, dreams, journals, and nature.[1][3] She has worked in Vancouver, Victoria, Toronto, Banff, Minnesota, and New York, where she has lived for more than thirty years.[1][4]
Lodge was one of four daughters born to Jean Lodge in Saint Paul, Minnesota.[5] Her father, James, was a chemist at 3M who enjoyed throwing pots in his free time and built a tiny studio in the basement of their home.[5] From as early as the fourth grade, she would bring a large pad of paper to class and tell people, "You make a mark, I’ll make a drawing from it."[5] She completed a Bachelor of Science at Macalester College in St. Paul (1963).[2][4] She received a Master of Fine Arts from Cranbrook Academy of Art in Bloomfield Hills, Michigan (1965), where she was the only woman in a class of 12.[1][4][5] In the summer following her MFA graduation, Lodge made numerous trips to New York City, where she attended large Alberto Giacometti and Francis Bacon retrospectives.[5] These exhibitions were greatly influential on Lodge as they exposed her to approaches in art practice which were not being taken up by the Cranbrook school at that time.[5]
Artistic careeredit
In 1972, Lodge moved to Vancouver, where she would spend the next decade, and began to work less figuratively than in earlier years.[3][4] In Vancouver, she was friends with many women who were active in the women’s movement.[5] She had her first entirely non-figurative solo exhibition in 1977 at the Surrey Art Gallery.[3] At some point, Lodge expected to return to figurative work but became preoccupied by the technical and aesthetic possibilities of the abstract format.[6] Her inspiration from nature is greatly credited to time spent on an island off the coast of Vancouver, which was partly owned by a friend.[1] Here, she explored landscapes and notions of water.[1] Although Lodge returned to the United States in 1980, moving to New York after finding Vancouver a discouraging place for artists, she continually aims to recreate the feeling of nature in British Columbia.[1][6] Lodge notes how dreams and unconsciousness bring things to one’s attention, and claims she began making painted mandalas out of nowhere before finding out she had cancer.[1] Following her diagnosis, chemotherapy, and surgery, Lodge became attracted to photographing trees which had been struck by fire yet were still alive, stating that she felt akin to them.[1] These damaged arbutus trees can be seen in the series Trees Hit by Lightening and Other Fires.[1]
Styleedit
Lodge’s monumental abstract works, sometimes as large as 10’x16’, partially derive from 1950s abstract expressionism.[3] She typically utilizes a painterly style where thick layers and ropes of acrylic paint are built up in an almost three-dimensional topography, reminiscent of veins or sinews upon the surface of skin.[3] The texture is built up in three or four steps and certain areas may be reworked in the process.[3] Lodge often uses metallic gold, significantly in works from the "Life Jackets" and "Walls of Eden" exhibitions, symbolic of incorruptibility and sacredness, and confronting its audience rather than receding.[3][7] She also tends to employ a strong sense of grid organization, as seen in the enormous works from "Walls of Eden."[6][7]
Themesedit
"As a kid in a museum it looks like there is everything to talk about and paint, but it turns out that there are really only a few things. The seductive part about being a painter, I find, is that life is not a candy jar but rather there are a few central issues toward which one directs one’s life. I can remember being in high school when I first saw a reproduction of the Gauguin, […] Where Do We Come From? What Are We? Where Are We Going… well, there it was—profound philosophic content painted and then restated in words right on the canvas in the most direct and flatfooted war. I was astounded. Certainly, the notion that there are major primal subjects to be dealt with in the subconscious, in myth, in dreams, etc. is part of my painting heritage" - Judith Lodge [5]
Lodge’s paintings demonstrate how the boundary between conscious and unconscious can be a permeable membrane.[3] Along with the world of nature and recalling images from life and the unconscious, other topics Lodge addresses in her work include, concerns with intersecting and overlapping areas of change; the eternal and the intangible; documentation of life energies, of what is seen, felt, and remembered; the notion of beauty as not fixed; and beauty tinged with terror and decomposition.[1]
1975-1976 - Visiting Artist: Banff School of Fine Arts, Banff, Alberta (to 1980), Visiting Artist: Minneapolis School of Art, Visiting Artist: Macalester College, Visiting Artist: University of Victoria, Victoria, British Columbia
1976-1977 - Instructor: Painting and Drawing, University of Victoria, Victoria, British Columbia, Instructor: Painting and Drawing, University of British Columbia, Vancouver, British Columbia
Assistant Professor: Painting and Drawing, College of St. Rose, Albany, New York
Instructor, Lecturer, Visiting Artist: Emily Carr University of Art and Design, Vancouver, British Columbia
^ ab"Judith Lodge". www.gallery.ca. from the original on 2018-07-19. Retrieved 2018-03-11.
^ abcdefghJohnson, Eve (September 29, 1986). "Paintings about being in contact with a greater self". Vancouver Sun.
^ abcdefg"Resume". JLODGEARTS.COM. from the original on 2018-03-12. Retrieved 2018-03-11.
^ abcdefghiAllison, Glenn (1986). Life Jackets. University of British Columbia Fine Arts Gallery, Vancouver: New West Press Co. Ltd. ISBN0-88865-348-4.
^ abcdScott, Andrew (February 3, 1978). "Portrait of an artist". Vancouver Sun.
^ abPerry, Art (November 25, 1977). "Gold the key for Vancouver artist: Lodge reaches for the divine". Vancouver Province.
^ abHolmes, Willard (1978). Canvas and Paper Targets. Art Gallery of Greater Victoria. ISBN0-88885-024-7.
^Surrey, City of. "Surrey Art Gallery". www.surrey.ca. from the original on 2019-03-08. Retrieved 2019-03-18.
Further readingedit
"This Gathering," Jane Rule, Canadian Fiction Magazine, Autumn 1976.
"Eve at the Walls." Jane Rule, Vanguard, March 1977.
"Eden Walls." David McWilliam, Criteria, November 1978.
"Recent Drawings." Capilano Review, No. 12, 1977.
YVR—Vancouver in Review, No. 2, March 1978.
External linksedit
Official website
National Gallery of Canada
Works in the Morris and Helen Belkin Art Gallery
The Capilano Review
UBC Medicine
April 15, 2024
judith, lodge, born, july, 1941, american, canadian, painter, photographer, often, explores, mediums, play, inform, another, abstract, portraits, memories, situations, events, people, inspired, unconscious, dreams, journals, nature, worked, vancouver, victoria. Judith Lodge born July 25 1941 is an American Canadian painter and photographer who often explores how the two mediums play off of and inform one another 1 2 Her abstract portraits of memories situations events and people are inspired by the unconscious dreams journals and nature 1 3 She has worked in Vancouver Victoria Toronto Banff Minnesota and New York where she has lived for more than thirty years 1 4 Judith LodgeBorn 1941 07 25 July 25 1941 age 82 Saint Paul Minnesota U S NationalityAmerican CanadianKnown forPainting drawing photographyMovementAbstract expressionismWebsitewww wbr jlodgearts wbr com Contents 1 Background 2 Artistic career 3 Style 4 Themes 5 Professional activity 6 Exhibitions 7 Grants awards 8 Collections 9 References 10 Further reading 11 External linksBackground editLodge was one of four daughters born to Jean Lodge in Saint Paul Minnesota 5 Her father James was a chemist at 3M who enjoyed throwing pots in his free time and built a tiny studio in the basement of their home 5 From as early as the fourth grade she would bring a large pad of paper to class and tell people You make a mark I ll make a drawing from it 5 She completed a Bachelor of Science at Macalester College in St Paul 1963 2 4 She received a Master of Fine Arts from Cranbrook Academy of Art in Bloomfield Hills Michigan 1965 where she was the only woman in a class of 12 1 4 5 In the summer following her MFA graduation Lodge made numerous trips to New York City where she attended large Alberto Giacometti and Francis Bacon retrospectives 5 These exhibitions were greatly influential on Lodge as they exposed her to approaches in art practice which were not being taken up by the Cranbrook school at that time 5 Artistic career editIn 1972 Lodge moved to Vancouver where she would spend the next decade and began to work less figuratively than in earlier years 3 4 In Vancouver she was friends with many women who were active in the women s movement 5 She had her first entirely non figurative solo exhibition in 1977 at the Surrey Art Gallery 3 At some point Lodge expected to return to figurative work but became preoccupied by the technical and aesthetic possibilities of the abstract format 6 Her inspiration from nature is greatly credited to time spent on an island off the coast of Vancouver which was partly owned by a friend 1 Here she explored landscapes and notions of water 1 Although Lodge returned to the United States in 1980 moving to New York after finding Vancouver a discouraging place for artists she continually aims to recreate the feeling of nature in British Columbia 1 6 Lodge notes how dreams and unconsciousness bring things to one s attention and claims she began making painted mandalas out of nowhere before finding out she had cancer 1 Following her diagnosis chemotherapy and surgery Lodge became attracted to photographing trees which had been struck by fire yet were still alive stating that she felt akin to them 1 These damaged arbutus trees can be seen in the series Trees Hit by Lightening and Other Fires 1 Style editLodge s monumental abstract works sometimes as large as 10 x16 partially derive from 1950s abstract expressionism 3 She typically utilizes a painterly style where thick layers and ropes of acrylic paint are built up in an almost three dimensional topography reminiscent of veins or sinews upon the surface of skin 3 The texture is built up in three or four steps and certain areas may be reworked in the process 3 Lodge often uses metallic gold significantly in works from the Life Jackets and Walls of Eden exhibitions symbolic of incorruptibility and sacredness and confronting its audience rather than receding 3 7 She also tends to employ a strong sense of grid organization as seen in the enormous works from Walls of Eden 6 7 Themes edit As a kid in a museum it looks like there is everything to talk about and paint but it turns out that there are really only a few things The seductive part about being a painter I find is that life is not a candy jar but rather there are a few central issues toward which one directs one s life I can remember being in high school when I first saw a reproduction of the Gauguin Where Do We Come From What Are We Where Are We Going well there it was profound philosophic content painted and then restated in words right on the canvas in the most direct and flatfooted war I was astounded Certainly the notion that there are major primal subjects to be dealt with in the subconscious in myth in dreams etc is part of my painting heritage Judith Lodge 5 Lodge s paintings demonstrate how the boundary between conscious and unconscious can be a permeable membrane 3 Along with the world of nature and recalling images from life and the unconscious other topics Lodge addresses in her work include concerns with intersecting and overlapping areas of change the eternal and the intangible documentation of life energies of what is seen felt and remembered the notion of beauty as not fixed and beauty tinged with terror and decomposition 1 Professional activity edit1969 1972 Instructor Painting and Drawing Skidmore College Saratoga Springs New York 1969 Instructor Painting and Drawing Vancouver School of Art Summer School 1970 1971 Instructor Painting and Drawing Skidmore College Saratoga Springs New York 1972 1977 Instructor Painting and Drawing Banff School of Fine Arts Banff Alberta 1975 1976 Visiting Artist Banff School of Fine Arts Banff Alberta to 1980 Visiting Artist Minneapolis School of Art Visiting Artist Macalester College Visiting Artist University of Victoria Victoria British Columbia 1976 1977 Instructor Painting and Drawing University of Victoria Victoria British Columbia Instructor Painting and Drawing University of British Columbia Vancouver British Columbia Assistant Professor Painting and Drawing College of St Rose Albany New York Instructor Lecturer Visiting Artist Emily Carr University of Art and Design Vancouver British Columbia Visiting Artist York University Toronto Ontario 1993 2006 Associate Chair Illustration Parsons School of Design New York 4 8 Exhibitions edit1971 Hathorn Gallery Skidmore College Saratoga Springs New York 4 5 8 1972 Wheelock College Boston Massachusetts 1973 Bau Xi Gallery Vancouver British Columbia 1974 Bau Xi Gallery Vancouver British Columbia 1975 Bau Xi Gallery Vancouver British Columbia 1977 Surrey Art Gallery Surrey British Columbia 9 1977 Walls of Eden Pender Street Gallery Vancouver British Columbia 1977 From This Point of View Group Show Vancouver Art Gallery Vancouver British Columbia 1978 Targets Victoria Art Gallery Victoria British Columbia 1978 Fire Smoke Water Ice Art Core Vancouver British Columbia 1979 Rites of Passage Art Core Vancouver British Columbia 1984 Recent Drawings and Paintings Peter Whyte Gallery Banff Alberta 1986 Life Jackets University of British Columbia Fine Arts Gallery Vancouver British ColumbiaGrants awards editCanada Council Grant 4 6 Collections editThis section of a biography of a living person needs additional citations for verification Please help by adding reliable sources Contentious material about living persons that is unsourced or poorly sourced must be removed immediately from the article and its talk page especially if potentially libelous Find sources Judith Lodge news newspapers books scholar JSTOR March 2019 Learn how and when to remove this template message Canada Council Art Bank Canadian Broadcasting Corporation National Gallery of Canada Vancouver City Collection British Columbia Provincial Collection Private Collections in New York City Citibank Collection Morris and Helen Belkin Art GalleryReferences edit a b c d e f g h i j k JUDITH LODGE 2013 07 11 Judith Lodge Artist retrieved 2018 03 11 a b Judith Lodge www gallery ca Archived from the original on 2018 07 19 Retrieved 2018 03 11 a b c d e f g h Johnson Eve September 29 1986 Paintings about being in contact with a greater self Vancouver Sun a b c d e f g Resume JLODGEARTS COM Archived from the original on 2018 03 12 Retrieved 2018 03 11 a b c d e f g h i Allison Glenn 1986 Life Jackets University of British Columbia Fine Arts Gallery Vancouver New West Press Co Ltd ISBN 0 88865 348 4 a b c d Scott Andrew February 3 1978 Portrait of an artist Vancouver Sun a b Perry Art November 25 1977 Gold the key for Vancouver artist Lodge reaches for the divine Vancouver Province a b Holmes Willard 1978 Canvas and Paper Targets Art Gallery of Greater Victoria ISBN 0 88885 024 7 Surrey City of Surrey Art Gallery www surrey ca Archived from the original on 2019 03 08 Retrieved 2019 03 18 Further reading edit This Gathering Jane Rule Canadian Fiction Magazine Autumn 1976 Eve at the Walls Jane Rule Vanguard March 1977 Eden Walls David McWilliam Criteria November 1978 Recent Drawings Capilano Review No 12 1977 YVR Vancouver in Review No 2 March 1978 External links editOfficial website National Gallery of Canada Works in the Morris and Helen Belkin Art Gallery The Capilano Review UBC Medicine Retrieved from https en wikipedia org w index php title Judith Lodge amp oldid 1186711710, wikipedia, wiki, book, books, library,
