Judith Brown

Large Ink Drawing Abstract Expressionist Rooster Woman Artist Judith Brown

1957

This is a stylized figurative abstract expressionist nude. This one is hand signed and dated. From the style we are estimating it to the 1970's They have abstract stylized erotic mal...

1982-84 Hunter College, New York (M.F.A.) 1978-80 School of Visual Arts, New York 1973-77 Bezalel Academy of Art, Jerusalem (B.F.A.) American, born in Romania Lives and works in New York City Solo Exhibitions 2008 Michael Steinberg Fine Art, New York 2006 Galeria Joan Prats, Barcelona 2005 Karpio + Facchini Gallery, Miami Jacob Karpio Galeria, San Jose (Costa Rica) 2004 Michael Steinberg Fine Art, New York 2001 Marella Arte Contemporanea, Milan 2000 Von Lintel & Nusser, New York Galerie Von Lintel & Nusser, Munich 1998 Galerie Thomas von Lintel, Munich 1997 Galerie des Archives, Paris 1995 Galerie Samuel Lallouz, Montreal L.A. Louver, Los Angeles 1994 Marc Jancou Gallery, London Galerie des Archives, Paris 1993 Galerie Barbara Farber, Amsterdam Real Art Ways, Hartford (Connecticut) 1992 Tom Cugliani Gallery, New York Galerie Marc Jancou, Zurich Galerie des Archives, Paris 1989 Tom Cugliani Gallery, New York Galerie Barbara Farber, Amsterdam Studied at bezalel from 1973 to 1977. And it was a very fascinating time because it was a highly conceptually based school. Very much influenced by Joseph Beuys, and European Conceptualism, I didn’t really like the atmosphere there that much, because it was dominated by male painters like Jörg Immendorf, Marcus Lupertz, and a few others. then came to New York to study at SVA for two years. New York in 1978 was exciting. I was very lucky to be in a class that was full of very bubbly and very energetic artists like Keith Haring, Kenny Scharf, Tim Rollins, Moira Dryer, Frank Holliday, and Tom Cugliani (who later became one of my dealers).The eighties were dominated largely by Neo-Expressionist paintings. There were Germans, such as Baselitz, Kiefer, Richter, Penck, and the Italians, Clemente, Chia, Cucchi, Palladino as well as Schnabel, Fischl, Basquiat, Salle, and many others, but all of their paintings were figuratively based. But below the popular consent, there was a group of painters who were working more in the vein of what Stephen Westfall referred to as “Neo-Surrealism,” including George Condo, Jeffrey Wasserman, Kenneth Scharf, David Humphrey. However, I felt that Carroll Dunham and you were the only two painters who seemed to be less interested in the kind of narrative, lyrical, or let’s say, stationary composition. He belongs to the generation of Terry Winters, Elizabeth Murray, David Reed and Jonathan Lasker but in some strange way, if we’re looking back to the mid-eighties, we have to include New Image painters like Susan Rothenberg, Neil Jenney, and Robert Moskowitz who were working in between the figure and abstraction with a kind of condensation and compression, in relationship, lets say, to cartoon imagery. There are artists like Jeff Koons, or even Damien Hirst who took the Duchampian aspect and brought it into the continuity of his readymade. But for me, I see no difference between the crack in “Large Glass” and the drips in Jackson Pollock’s paintings. There was something that I felt in my own equation of the continuity between Paul Klee, Duchamp, Picabia, and, oddly enough, Clyfford Still. What essentially is important is how different artists carry on a dialogue among themselves so that they can all keep their work vital. Whether from the abstract paintings of Richmond Burton, Fabian Marcaccio extending the borders of his paintings on to the wall, or Cady Noland’s early scattered installation, my own pre-occupation with machinery, urban environment, and the Duchampian models has always materialized in relationship to other forms of art making. Selected Group Exhibitions: 2014 Drawing on Difference: An Ambition by Saul Ostrow and Lidija Slavkovic, Studio Vendome Gallery, New York. 2013 Drawing on Habit: An Ambition by Saul Ostrow and Lidija Slavkovic, South Carlton Beach and The Betsy-South Beach Exhibition Programs, Art Basel, Miami Beach. 2013 Imprinted Pictures: Lydia Dona...

Dorothy Gillespie (June 29, 1920 – September 30, 2012) was an American artist and sculptor who became known for her large and colorful abstract metal sculptures. Gillespie became best known for the aluminum sculptures she started to produce at the end of the 1970s. She would paint sheets of the metal, cut them into strips and connect the strips together to resemble cascades or starbursts of bright colored ribbon. The New York Times once summarized her work as “topsy-turvy, merrymaking fantasy,” and in another review declared, “The artist’s exuberant sculptures of colorful aluminum strips have earned her an international reputation.Her works are featured at her alma mater (Radford University) in Virginia, where she later returned to teach, as well as in New York (where she was artist in residence for the feminist Women's Interart Center), Wilmington, North Carolina and Florida. She enrolled both at Radford University near her hometown, and the Maryland Institute College of Art in Baltimore, Maryland. The director of the Maryland Institute, Hans Schuler, helped foster her career in fine art. On June 5, 1943, aged 23, Gillespie moved to New York City. There she took a job at the B. Altman department store as assistant art director. She also joined the Art Students League where she was exposed to new ideas about techniques, materials, and marketing. She also created works at Atelier 17 printmaking studio, where Stanley William Hayter encouraged to experiment with her own ideas. She and her husband, Bernard Israel, opened a restaurant and night club in Greenwich Village to support their family. She returned to making art in 1957, and worked at art full-time after they sold the nightclub in the 1970. In 1977 Gillespie gave her first lecture series at the New School for Social Research, and she would give others there until 1982. She taught at her alma mater as a Visiting Artist (1981-1983) and gave Radford University some of her work to begin its permanent art collection. Gillespie then served as Woodrow Wilson visiting Fellow (1985-1994), visiting many small private colleges to give public lectures and teach young artists. She returned to Radnor University to teach as Distinguished Professor of Art (1997–99).[8] She also hosted a radio program, the Dorothy Gillespie Show on Radio Station WHBI in New York from 1967-1973. Gillespie began moving away from realism and into the abstraction that marked her career. Gillespie returned to New York City in 1963 to continue her career. She maintained a studio through the 70s and advocate worked towards feminist goals in the art industry, picketing the Whitney Museum, helping to organize the Women's Interart Center, curating exhibitions of women's art, and writing articles raising awareness of her cause. Gillespie numbered among her acquaintances such art-world luminaries as Jackson Pollock, Lee Krasner, Alice Neel, Louise Nevelson and Georgia O’Keeffe. “She had amazing stories that unfortunately are gone,” her son said. During the 1960s, she built multimedia art installations that made political statements, such as 1965’s “Made in the USA,” that used blinking colored lights, mirrors, shadow boxes, rotating figures and tape recordings to convey a chaotic look at American commercial fads. The floor was strewn with real dollar bills, which visitors assumed were fake. By the 1980s, Gillespie's work had come to be known internationally. She completed many commissions for sculptures in public places, including Lincoln Center, Rockefeller Center and Walt Disney World Epcot Center in Orlando, Florida. Her work is in many collections across the United States, including the Delaware Museum, the Solomon R. Guggenheim Museum, and the National Museum of Women in the Arts. Her sculptures can also be found in the Frankfurt Museum in Germany and the Tel Aviv Museum in Israel. Group Shows Conceived and Curated by Dorothy Gillespie Women's Interart Center, New York, NY 1974 included: Betty Parsons, Elsie Asher, Alice Baber, Minna Citron, Nancy Spero, Seena Donneson, Alice Neel, Natalie Edgar, Dorothy Gillespie, and Anita Steckel...

Dorothy Gillespie (June 29, 1920 – September 30, 2012) was an American artist and sculptor who became known for her large and colorful abstract metal sculptures. Gillespie became best known for the aluminum sculptures she started to produce at the end of the 1970s. She would paint sheets of the metal, cut them into strips and connect the strips together to resemble cascades or starbursts of bright colored ribbon. The New York Times once summarized her work as “topsy-turvy, merrymaking fantasy,” and in another review declared, “The artist’s exuberant sculptures of colorful aluminum strips have earned her an international reputation.Her works are featured at her alma mater (Radford University) in Virginia, where she later returned to teach, as well as in New York (where she was artist in residence for the feminist Women's Interart Center), Wilmington, North Carolina and Florida. She enrolled both at Radford University near her hometown, and the Maryland Institute College of Art in Baltimore, Maryland. The director of the Maryland Institute, Hans Schuler, helped foster her career in fine art. On June 5, 1943, aged 23, Gillespie moved to New York City. There she took a job at the B. Altman department store as assistant art director. She also joined the Art Students League where she was exposed to new ideas about techniques, materials, and marketing. She also created works at Atelier 17 printmaking studio, where Stanley William Hayter encouraged to experiment with her own ideas. She and her husband, Bernard Israel, opened a restaurant and night club in Greenwich Village to support their family. She returned to making art in 1957, and worked at art full-time after they sold the nightclub in the 1970. In 1977 Gillespie gave her first lecture series at the New School for Social Research, and she would give others there until 1982. She taught at her alma mater as a Visiting Artist (1981-1983) and gave Radford University some of her work to begin its permanent art collection. Gillespie then served as Woodrow Wilson visiting Fellow (1985-1994), visiting many small private colleges to give public lectures and teach young artists. She returned to Radnor University to teach as Distinguished Professor of Art (1997–99).[8] She also hosted a radio program, the Dorothy Gillespie Show on Radio Station WHBI in New York from 1967-1973. Gillespie began moving away from realism and into the abstraction that marked her career. Gillespie returned to New York City in 1963 to continue her career. She maintained a studio through the 70s and advocate worked towards feminist goals in the art industry, picketing the Whitney Museum, helping to organize the Women's Interart Center, curating exhibitions of women's art, and writing articles raising awareness of her cause. Gillespie numbered among her acquaintances such art-world luminaries as Jackson Pollock, Lee Krasner, Alice Neel, Louise Nevelson and Georgia O’Keeffe. “She had amazing stories that unfortunately are gone,” her son said. During the 1960s, she built multimedia art installations that made political statements, such as 1965’s “Made in the USA,” that used blinking colored lights, mirrors, shadow boxes, rotating figures and tape recordings to convey a chaotic look at American commercial fads. The floor was strewn with real dollar bills, which visitors assumed were fake. By the 1980s, Gillespie's work had come to be known internationally. She completed many commissions for sculptures in public places, including Lincoln Center, Rockefeller Center and Walt Disney World Epcot Center in Orlando, Florida. Her work is in many collections across the United States, including the Delaware Museum, the Solomon R. Guggenheim Museum, and the National Museum of Women in the Arts. Her sculptures can also be found in the Frankfurt Museum in Germany and the Tel Aviv Museum in Israel. Group Shows Conceived and Curated by Dorothy Gillespie Women's Interart Center, New York, NY 1974 included: Betty Parsons, Elsie Asher, Alice Baber, Minna Citron, Nancy Spero, Seena Donneson, Alice Neel, Natalie Edgar, Dorothy Gillespie, and Anita Steckel...

Translated title: "Rooster". Watercolor and marker on high-quality cotton paper, which is handmade in Italy. This is part of an album. The price refers to the single drawing.

Abstract Composition is an original Contemporary Artwork realized in the Second half of the 20th Century. Mixed Media on paper. Watercolors and colored china ink. Mint conditio...

"Rooster" is an ink drawing that is double sided by Tracey Padron. This an academic figure drawing of this chicken. The right side holds a more detaile...