Francie Bishop Good

Shes Watching Mixed Media Painting Collage Wall Construction FIgural Abstraction

c.1980s

"Lady Looking at Brian (Her Grandson)" Mixed media collage, assemblage, gestural painting on masonite. Hand Signed in ink and titled verso. It does not appear to be dated. I am estimating it is from the 1980's. It has some Postmodern elements and similarities to Transavanguardia is the Italian version of Neo-expressionism. Francie Bishop Good (American, 1949-) Francie Bishop Good was raised in Allentown, Pennsylvania. She currently lives and works in South Florida and New York City. Her work has been exhibited nationally and internationally. Bishop Good is twice recipient of the South Florida Cultural Consortium Fellowship, and the State of Florida Individual Artist Fellowship. She completed her Graduate Studies at Maine Media College, Rockport, Maine, International Center of Photography, New York, New York, Master of Arts, Florida Atlantic University, Boca Raton, Florida, B.F.A. University of Colorado, Boulder, Colorado, Philadelphia College of Art, Philadelphia, Pennsylvania, William Allen High School, studies under James Musselman Her museum solo shows include the Allentown Art Museum, Allentown, PA, Museum of Art, Fort Lauderdale, FL, the Museum of Contemporary Art, Jacksonville, FL, Art and Culture Center, Hollywood, FL, and the Hilliard Museum, Lafayette, LA. Bishop Good's work has been shown at David Castillo Gallery, Mindy Solomon Gallery, Miami, FL. Griffin Museum of Photography, Bernice Steinbaum Gallery, and AMbrosino Gallery. Recent museum acquisitions include Museum of Fine Arts, Boston, MA The Wadsworth Atheneum, Hartford, CT, The Patricia & Philip Frost Art Museum at Florida International University, Miami, FL, Bass Museum of Art, Miami Beach, FL and the NSU Art Museum, Fort Lauderdale, FL. Selected Group and Invitational Exhibitions NSU Art Museum, Remember to React: 60 Years of Collection, Fort Lauderdale, FL Frost Art Museum, Connectivity: Selections from the Collection of the Frost Art Museum, Miami, FL Dual Roles, curated by Laura Marsh, Art and Culture Center of Hollywood FL David Castillo Gallery, gallery artists, in terms of collage, Miami Beach, FL Multidisciplinary, curated by Dimensions Variable, Open Source Gallery, Brooklyn, NY Cornell Museum, Artistically Speaking, Boca Raton Museum of Art, FL. People and Places, Photographs from the Collection, summer 2015 Frost Museum, FIU Miami FL, 25 Inches, The Faces of the Permanent Collection Locust Projects, Smash and Grab, November Annie Wharton Fine Art, Los Angeles group show, summer Museum of Art Fort Lauderdale ,The Art of Caring summer Women to Women, collaboration with Samantha Salzinger, Bakehouse Fredric Snitzer Gallery Boy oh Boy, Summer Show Miami A.I.R. Gallery, The Man I Wish I Was, curator Kharis Kennedy Photo Miami with Nina Arias, Miami, FL December Alva Gallery, New London, Ct Being Good: Women's Moral Values Art Basel with Ambrosino Gallery, Miami, FL 51st Venice Biennale, Italy Poles Apart / Poles Together, International Artists' Museum, White Box Norton Museum of Art, West Palm Beach, FL, FOCUS ON: New Photography, National Museum of Women in the Arts, FL Transitory Patterns Museum of Contemporary Art, Miami, FL Optic Nerve Selected Collections Museum of Fine Arts, Boston, Ma. Wadsworth Atheneum Museum of Art, Hartford, Ct. Bass Museum of Art, Miami Beach, FL Frost Museum of Art, Miami Florida Norton Museum of Art, West Palm Beach, Florida Museum of Contemporary Art, Jacksonville, Florida Boca Raton Museum of Art, Boca Raton, Florida Sagamore Hotel Collection, Miami Beach, Florida Museum of Art, Fort Lauderdale, Florida Refco Collection, Chicago, Illinois Allentown Art Museum, Allentown, Pennsylvania New World Symphony Residence, Miami, Florida Art in Public Places, Broward County, Florida Art and Culture Center of Hollywood, Florida William Gates III (Bill Gates) Monica and Richard Segal Saks Fifth Avenue Asides from being an exceptional artist she is also a passionate collector. Photographs by Cindy Sherman and the late Ana Mendieta, collages by Kara Walker, a watercolor by Louise Bourgeois, Cecily Brown, Tracey Emin, Teresita Fernandez, Carrie Mae Weems, Nan Goldin, Barbara Kruger, Catherine Opie, Lorna Simpson, Kiki Smith, Mickalene Thomas, and Kara Walker. are among 100 works by leading contemporary artists donated by philanthropists David Horvitz...

Lynne Golob Gelfman, American (1944-2020) Composition in Pink Acrylic on paper Hand signed and dated recto Sheet: 22.5 x 30 inches Frame dimensions: 24.75 x 32.25 frame with glazing ...

Lynne Golob Gelfman, American (1944-2020) Abstract Composition Acrylic polymer on paper Hand signed and dated recto Sheet: 22 x 30 inches Frame dimensions: 26 x 33 frame with glazing...

Hand signed verso, mixed media on two sections of joined canvas Work is titled "Ego Wall with Mess," circa 1983. Provenance: Brooke Alexander Gallery, New York, New York. bearing their label verso. 24 x 30 x 3-3/4 inches (61.0 x 76.2 x 9.5 cm) Hand signed on the reverse: Judy Rifka Judy Rifka (born 1945) is an American woman artist active since the 1970s as a painter and video artist. She works heavily in New York City's Tribeca and Lower East Side and has associated with movements coming out of the area in the 1970s and 1980s such as Colab and the East Village, Manhattan art scene. A video artist, book artist and abstract painter, Rifka is a multi-faceted artist who has worked in a variety of media in addition to her painting and printmaking. She was born in 1945 in New York City and studied art at Hunter College, the New York Studio School and the Skowhegan School of Painting and Sculpture in Maine. Rifka took part in the 1980 Times Square Show, (Organized by Collaborative Projects, Inc. in 1980 at what was once a massage parlor, with now-famous participants such as Jenny Holzer, Nan Goldin, Keith Haring, Kenny Scharf, Jean-Michel Basquiat, and Kiki Smith, the roster of the exhibition reads like a who’s who of the art world), two Whitney Museum Biennials (1975, 1983), Documenta 7, Just Another Asshole (1981), curated by Carlo McCormick and received the cover of Art in America in 1984 for her series, "Architecture," which employed the three-dimensional stretchers that she adopted in exhibitions dating to 1982; in a 1985 review in the New York Times, Vivien Raynor noted Rifka's shift to large paintings of the female nude, which also employed the three-dimensional stretchers. In a 1985 episode of Miami Vice, Bianca Jagger played a character attacked in front of Rifka's three-dimensional nude still-life, "Bacchanaal", which was on display at the Museum of Art Fort Lauderdale. Rene Ricard wrote about Rifka in his influential December 1987 Art Forum article about the iconic identity of artists from Van Gogh to Jean-Michel Basquiat and Keith Haring, The Radiant Child.The untitled acrylic painting on plywood, in the collection of the Honolulu Museum of Art, demonstrates the artist's use of plywood as a substrate for painting. Artist and writer Mark Bloch called her work "imaginative surfaces that support experimental laboratories for interferences in sensuous pigment." According to artist and curator Greg de la Haba, Judy Rifka's irregular polygons on plywood "are among the most important paintings of the decade". In 2013, Rifka's daily posts on Facebook garnered a large social media audience for her imaginative "selfies," erudite friendly comments, and widely attended solo and group exhibitions, Judy Rifka's pop art figuration is noted for its nervous line and frenetic pace. In the January 1998 issue of Art in America, Vincent Carducci echoed Masheck, “Rifka reworks the neo-classical and the pop, setting all sources in quotation for today’s art-world cognoscenti.” Rifka, along with artists like David Wojnarowicz, helped to take Pop sensibility into a milieu that incorporated politics and high art into Postmodernism; Robert Pincus-Witten stated in his 1988 essay, Corinthian Crackerjacks & Passing Go that "Rifka’s commitment to process and discovery, doctrine with Abstract Expressionist practice, is of paramount concern though there is nothing dogmatic or pious about Rifka’s use of method. Playful rapidity and delight in discovery is everywhere evident in her painting." In 2016, a large retrospective of Rifka's art was shown at the Jean-Paul Najar Foundation in Dubai. In 2017, Gregory de la Haba presented a Rifka retrospective at the Amstel Gallery...

The outlook from a high place is soothing—details and immediate difficulties blur and recede, the panorama of place brings perspective and context. A view of the horizon is centeri...