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Lynne Golob GelfmanAbstract Expressionist 1980s Painting Miami Woman Modernist Lynne Golob Gelfmanc.1983
c.1983
$3,000
£2,240.86
€2,597.92
CA$4,165.43
A$4,668.91
CHF 2,430.96
MX$57,009.33
NOK 30,864.38
SEK 29,256.66
DKK 19,383.26
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About the Item
Lynne Golob Gelfman, American (1944-2020)
Composition in Blue
Acrylic polymer on paper
Hand signed and dated recto
Sheet: 22.5 x 30 inches
Frame dimensions: 26 x 33 frame with glazing
This is one of a pair I am selling. I included a photo so you can see the two side by side. This listing is for the blue one only.
Gelfman is often praised for using unconventional approaches during the creation process. This intricate mixed media piece is no exception. Her use of onion bag netting is evident towards the bottom and top portions of the canvas. The painting's patterned surface mimics Gelfman's interest in woven textiles. Moreover, the rich blue and red color palette creates a complementary relationship that only pulls the viewer deeper into the painting.
LYNNE GOLOB GELFMAN, USA, New York, b. 1944
Lynne Golob Gelfman’s abstract and transcendent artworks are vivid reflections on the kinetic nature of our society and environment. Upon first glancing at the surface of Gelfman’s paintings, the viewer might be struck by the subtle shifts of the paint and brush strokes. Yet, the more a participant engages with the artist’s work, the more dynamic and convoluted they become. The energy found in nature, waves, dunes and clouds sprawl across Gelfman’s canvases, inviting the viewer to explore their inherent kinetism. This is an exuberant colorful piece and would go great with Memphis Milano 1980's bold color furniture.
As part of the baby boomer generation, Lynne Golob Gelfman was born in 1944. Raised in New York, she also spent time living in Bogota, Colombia as an American Field Service student. In 1961, Gelfman entered the Sarah Lawrence College, graduating in 1966, then continued her education at Columbia, earning an MFA in 1968.
In the early ‘70s, Gelfman relocated to Miami with her husband. Between her travels in South America and her Miami residence, she came to value the strong ties she fostered with Latin American culture. Although she has extensive connections to South America, Gelfman is an artist also deeply influenced by the North American Abstractionist context she grew up in. This fusion of cultures and a number of other inspirations are incorporated into her creativity. Apart from being a collector of textile and basketry fragments, her interests also extend into Agnes Martin’s meditative paintings, Morris Louis's furling series, and Bridget Riley’s illusionistic surfaces.
Nature and illusion are omnipresent forces in Gelfman’s work. Her acrylic or oil constructs have a textile-like appearance which seek to engage the viewer’s senses. This is apparent in the unconventional tools (such as sanding machines) the artist uses to create texture. In 2006, Gelfman hinted at her artistic process when she titled her shows in New York and at the Fredric Snitzer Gallery resist and react, respectively, highlighting the thrust and drag motions represented in paintings.
The allure of Gelfman’s shimmering pieces lies in their ability to simultaneously reflect movement, hue and patterns with a hint of fantasy. Gelfman has had more than 40 solo shows. Her first solo show was a prize awarded by Miami’s Metropolitan Museum and Art Center in 1974, then under the leadership of Arnold Lehman. Since then, Gelfman has exhibited nationally and internationally in galleries and museums. Recent solo exhibitions include “dying the grid” (2015) William Siegal Gallery, Santa Fe, “trued surface” (2014), Dimensions Variable, Miami; “scapes” (2012), The Patricia and Phillip Frost Art Museum, Florida International University (FIU), Miami; “sand” (2012), Alejandra von Hartz Gallery, Miami; “between” (2009), Carol Jazzar Gallery, Miami; “cloud/water/sand” (2010), Luminaire X, Miami; “react” (2006), “across” (2003), Fredric Snitzer Gallery, Miami; “resist/react” (2006), Newman Popiashvili Gallery, New York; “18 paintings” (2003), Suite 106, New York; “grids” (2018-19), Perez Art Museum Miami. References to grids as seen in the work of early modernists such as Piet Mondrian or Kazimir Malévich, or later in the 1960s paintings of Agnes Martin or Sol Lewitt as well as from the woven textiles of Central and South America. She was included in the selling exhibition NOMEN: American Women Artists from 1945 to Today at Phillips in NYC. (along with Lynda Benglis, Kiki Smith, Louise Bourgeois, Yayoi Kusama and Feminist artist Judy Chicago. Her paintings are held in the permanent collections of museums such as the Pérez Art Museum of Miami; the Museum of Contemporary Art, North Miami; the National Museum of American Art, Smithsonian Institution; The Norton Museum; The Baltimore Museum of Art; and the Detroit Institute of Arts.
- Creator:Lynne Golob Gelfman (1944, American)
- Creation Year:c.1983
- Dimensions:Height: 26 in (66.04 cm)Width: 33 in (83.82 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Surfside, FL
- Reference Number:1stDibs: LU38213401272
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1977 Galerie Veith Turske, Cologne Art Fair, Cologne, Germany
1974 Fischbach Gallery, New York City, NY
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2018 Sideshow Gallery, The Greatest Show On Earth, Williamsburg, NY
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2014 "National Arbor Day Show", National Arts Club, New York, NY
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2012 Art Southampton, International and Contemporary Modern Art Fair, Hollis Taggart
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2002 Gallery Uno 'Spazio Su Misura, Milan, Italy
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1986 Graham Modern, "Diptychs, Triptychs, Polyptychs"
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Nina Freudenheim Gallery, Buffalo, NY
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Thorne grew up in Greenwich Village. Her mother was a Ukrainian immigrant from a musical family, who became an English teacher; her father, a surgeon. Recognizing their daughter’s artistic talents early, they enrolled her at age six in the Little Red Schoolhouse on Bleecker Street in Greenwich Village. Founded in 1921 by Elisabeth Irwin, a pioneer in educational reform, the school has continued to maintain its reputation as a progressive and nurturing catalyst for creative children. Pete Seeger, the folk singer, performed there so frequently that Thorne remembered him as if he were one of the teachers. In 1971, Thorne met Faith Ringgold (b. 1930) and joined her as a teacher at the Women’s House of Detention on Rikers Island in a new program called “Art without Walls–Free Space.” The program, which had been born from the civil rights movement, was aimed at enriching the lives of the inmates. Thorne and her peers came of age struggling against sexism in the art establishment and its attendant lack of exhibition opportunities for women. Since 1985, this issue had been loudly exposed by the public protests of the Guerrilla Girls, whose members remain a well-kept secret.
Her painting has been included in two Whitney Museum Biennials and various other museum group exhibitions both in the United States, Europe and Latin America.
She has had numerous one person shows in galleries such as: Sideshow Gallery New York, Fischbach Gallery, New York City, Corcoran Gallery of Art, Washington D.C., Willard Gallery, New York, Graham & Sons Gallery, New York, The Clocktower, New York City, and the National Arts Club among others.
Thorne has been awarded the Prix de Rome Fellowship to paint at the American Academy in Rome. She also received two National Endowment grants for painting and two Pollock Krasner Grants among others.
"Since 1973, while myriad styles, movements and mediums have flourished briefly in turn, Joan Thorne has steadfastly developed one visual language-that of painterly surface, light, color and distilled form-which she finds best suited for her artistic project: intimating dreams. intuitions and the psychic consequences of travel. "
"For there is something luxuriant and mysterious in Thorne's compositions. They have a classic modernist genealogy that encompasses Arthur Dove, Georgia O'Keeffe, Marsden Hartley, Milton Avery and Mark Tobey; yet each carries a hint of exoticism, "
--Richard Vine, Art In America, Review, June 1998
Education
Hunter College, New York, M.A.
New York University, New York, B.S.
Awards
2006 Adolf Gottlieb Foundation Grant in Painting
2003 Prize in Painting, Florence BiennaleInternazionale, Florence, Italy
2001 Pollock Krasner Foundation Grant in Painting
1986 Prix de Rome, American Academy in Rome
Pollock Krasner Foundation Grant in Painting
1983 National Endowment for the Arts, Fellowship in Painting
1980 New York State Council on the Arts, Grant for Painting
1979 National Endowment for the Arts, Fellowship in Painting
1976 Grant in Painting, Rhode Island State Council on the Arts
1975 New York State Council on the Arts, Grant for Painting
1974 Grant in Painting, Rhode Island State Council on the Arts
1972 Artist of the Year, Aldrich Foundation
Select Solo Exhibitions
2015 Black and White Into Color, National Arts Club, New York
2013 Sideshow Gallery, Williamsburg, NY
2005 Chris Winfield Gallery, Carmel, CA
2004 Klaus Steinmetz Arte Contemporaneo, San Rafael de Escazu, Costa Rica
2002 Feria de Arte International Arcale, Salamanca, España
2001 Andre Zarre Gallery, New York
2000 Retrospective: Museo Las Americas, San Juan, Puerto Rico
1998 A Retrospective: Museo Voluntariado De Las Casas Reales, Casa de Bastidas,
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1990 1985 Graham Modern , New York City, NY
1989 1986 Ruth Bachofen Gallery, Santa Monica, CA
1986 William Halsey Gallery, Simon Center for the Arts, College of Charleston, Charleston, SC
1983 Lincoln Center Gallery, Lincoln Center, New York City, NY
Dart Gallery, Chicago, IL
Gloria Luria Gallery, Bay Harbor Island, FL
1982 Nina Freudenheim Gallery, Buffalo, N
1980 Willard Gallery, New York
1979 The Clocktower: Institute for Art and Urban Resources, New York City, NY
1977 Galerie Veith Turske, Cologne Art Fair, Cologne, Germany
1974 Fischbach Gallery, New York City, NY
1973 Corcoran Gallery of Art, Washington, DC
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2019 Art On Paper, March 2019, New York, NY
2018 Sideshow Gallery, The Greatest Show On Earth, Williamsburg, NY
2015 Outside The Lines/Modernist Drawings, National Arts Club, NY
2014 "National Arbor Day Show", National Arts Club, New York, NY
ArtHamptons Fair, July 10-13, East Hampton, NY
Tribal and Contemporary Art, June 12 - July 28, New York, NY
2012 Art Southampton, International and Contemporary Modern Art Fair, Hollis Taggart
2010 Janet Kurnatowsky Gallery, New York
2003 Biennale Internazionale Dell' Arte Contemporanea, Florence, Italy
2002 Gallery Uno 'Spazio Su Misura, Milan, Italy
1991 Andre Emmerich Gallery, "Abstract Painting of the 90's", curated by Barbara Rose.
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1989 Graham Modern, "Synthesis"
1986 Graham Modern, "Diptychs, Triptychs, Polyptychs"
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