Judith Linhares

Last updated
Judith Linhares
Born1940
Pasadena, California, US
Education California College of the Arts
Known forPainting, Drawing, Printmaking
StyleFigurative, Expressionist, Feminist
Website Judith Linhares

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]

Contents

Judith Linhares, Wave, 60" x 84", oil on linen, 2010. Judith Linhares Wave 2010.jpg
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

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

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

Early work

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

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. Judith Linhares Woman with Beautiful Hair 1985.jpg
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

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. Judith Linhares Star Vase 2003.jpg
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

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]

Related Research Articles

<span class="mw-page-title-main">Joan Mitchell</span> American painter (1925–1992)

Joan Mitchell was an American artist who worked primarily in painting and printmaking, and also used pastel and made other works on paper. She was an active participant in the New York School of artists in the 1950s. A native of Chicago, she is associated with the American abstract expressionist movement, even though she lived in France for much of her career.

<span class="mw-page-title-main">Joan Brown</span> American painter

Joan Brown was an American figurative painter who lived and worked in Northern California. She was a member of the "second generation" of the Bay Area Figurative Movement.

<span class="mw-page-title-main">Sylvia Sleigh</span> Welsh-American artist

Sylvia Sleigh was a Welsh-born naturalised American realist painter who lived and worked in New York City. She is known for her role in the feminist art movement and especially for reversing traditional gender roles in her paintings of nude men, often using conventional female poses from historical paintings by male artists like Diego Vélazquez, Titian, and Jean-Auguste-Dominique Ingres. Her most well-known subjects were art critics, feminist artists, and her husband, Lawrence Alloway.

Wally Bill Hedrick was a seminal American artist in the 1950s California counterculture, gallerist, and educator who came to prominence in the early 1960s. Hedrick's contributions to art include pioneering artworks in psychedelic light art, mechanical kinetic sculpture, junk/assemblage sculpture, Pop Art, and (California) Funk Art. Later in his life, he was a recognized forerunner in Happenings, Conceptual Art, Bad Painting, Neo-Expressionism, and image appropriation. Hedrick was also a key figure in the first important public manifestation of the Beat Generation when he helped to organize the Six Gallery Reading, and created the first artistic denunciation of American foreign policy in Vietnam. Wally Hedrick was known as an “idea artist” long before the label “conceptual art” entered the art world, and experimented with innovative use of language in art, at times resorting to puns.

<span class="mw-page-title-main">Kara Maria</span> American visual artist

Kara Maria, née Kara Maria Sloat, is a San Francisco-based visual artist known for paintings, works on paper and printmaking. Her vivid, multi-layered paintings have been described as collages or mash-ups of contemporary art vocabularies, fusing a wide range of abstract mark-making with Pop art strategies of realism, comic-book forms, and appropriation. Her work outwardly conveys a sense of playfulness and humor that gives way to explicit or subtle examinations—sometimes described as "cheerfully apocalyptic"—of issues including ecological collapse, diminishing biodiversity, military violence and the sexual exploitation of women. In a 2021 review, Squarecylinder critic Jaimie Baron wrote, "Maria’s paintings must be read as satires [that] recognize the absurdities of our era … These pretty, playful paintings are indictments, epitaphs-to-be."

Julie Heffernan is an American painter whose work has been described by the writer Rebecca Solnit as "a new kind of history painting" and by The New Yorker as "ironic rococo surrealism with a social-satirical twist". Heffernan has been a Professor of Fine Arts at Montclair State University in Upper Montclair, New Jersey since 1997. She lives in New York, New York.

Brett Reichman is an American painter and educator. He was a professor at the San Francisco Art Institute where he taught both in the graduate and undergraduate programs. His work came to fruition in the late 1980s out of cultural activism that addressed the AIDS epidemic and gay identity politics and was curated into early exhibitions that acknowledged those formative issues. These exhibitions included Situation: Perspectives on Work by Lesbian and Gay Artists at New Langton Arts in San Francisco, The Anti-Masculine at the Kim Light Gallery in Los Angeles, Beyond Loss at the Washington Project for the Arts in Washington, D.C, and In A Different Light: Visual Culture, Sexual Identity, Queer Practice at the Berkeley Art Museum, Berkeley, California. However, after legislation passed in 1989 that restricted federal funding for art dealing with homosexuality and AIDS, artists like Reichman approached their themes subtly. His And the Spell Was Broken Somewhere Over the Rainbow is embellished with colors of the rainbow and presents three clocks. It references Oz while actually indirectly addressing the new reality that San Francisco could no longer be viewed as a land of enchantment due to the AIDS crisis. Born in Pittsburgh, Pennsylvania, he has lived and worked in San Francisco since 1984.

Anglim Trimble Gallery, formerly Gallery Paule Anglim, and Anglim Gilbert Gallery, is a contemporary commercial art gallery which is located at Minnesota Street Project, 1275 Minnesota Street, San Francisco, California The gallery was founded by Paule Anglim in the early 1970s.

<span class="mw-page-title-main">Ann Agee</span> American visual artist

Ann Agee is an American visual artist whose practice centers on ceramic figurines, objects and installations, hand-painted wallpaper drawings, and sprawling exhibitions that merge installation art, domestic environment and showroom. Her art celebrates everyday objects and experiences, decorative and utilitarian arts, and the dignity of work and craftsmanship, engaging issues involving gender, labor and fine art with a subversive, feminist stance. Agee's work fits within a multi-decade shift in American art in which ceramics and considerations of craft and domestic life rose from relegation to second-class status to recognition as "serious" art. She first received critical attention in the influential and divisive "Bad Girls" exhibition, curated by Marcia Tucker at the New Museum in 1994, where she installed a functional, handmade ceramic bathroom, rendered in the classic blue-and-white style of Delftware. Art in America critic Lilly Wei describes Agee's later work as "the mischievous, wonderfully misbegotten offspring of sculpture, painting, objet d'art, and kitschy souvenir."

Paul Benney is a British artist who rose to international prominence as a contemporary artist whilst living and working in New York in the 1980s and 1990s in the UK as an award-winning portraitist.

John Zurier is an American abstract painter, known for his minimal, near-monochrome paintings. His work has shown across the United States as well as in Europe and Japan. He has worked in Reykjavik, Iceland and Berkeley, California. Zurier lives in Berkeley, California.

<span class="mw-page-title-main">Erin M. Riley</span>

Erin M. Riley is a Brooklyn-based artist whose work focuses on women and women's issues primarily in hand-woven hand dyed wool tapestries. Riley's work challenges society's comfort level by displaying shocking images including nudity, drugs, violence, self harm, sexuality, and menstruation.

Richard Shaw is an American ceramicist and professor known for his trompe-l'œil style. A term often associated with paintings, referring to the illusion that a two-dimensional surface is three-dimensional. In Shaw's work, it refers to his replication of everyday objects in porcelain. He then glazes these components and groups them in unexpected and even jarring combinations. Interested in how objects can reflect a person or identity, Shaw poses questions regarding the relationship between appearances and reality.

Pamela Wilson-Ryckman is an American artist who has lived and worked in San Francisco since 1999. Her work has been shown nationally and internationally in solo and group exhibitions in Chicago, New York, Oakland, San Francisco, Santa Fe, Madrid, Skarhamn and Seville. In 2009, she was awarded a Guggenheim Fellowship for Creative Arts and her watercolor series "Taking In" was featured in the San Francisco Arts Commission's Art on Market Street Kiosk Poster Program. Wilson-Ryckman is represented by Anglim Gilbert Gallery in San Francisco. In her first exhibition with Anglim in 2005, Glen Helfand writing for Artforum reported that Wilson-Ryckman "presented paintings and watercolors in which beauty emerged out of chaos."

Gay Outlaw is an American artist working in sculpture, photography and printmaking. She is known for her "rigorous and unexpected explorations of material". She is based in San Francisco, California.

<span class="mw-page-title-main">M. Louise Stanley</span> American figurative painter

M. Louise Stanley is an American painter known for irreverent figurative work that combines myth and allegory, satire, autobiography, and social commentary. Writers such as curator Renny Pritikin situate her early-1970s work at the forefront of the "small, but potent" Bad Painting movement, so named for its "disregard for the niceties of conventional figurative painting." Stanley's paintings frequently focus on romantic fantasies and conflicts, social manners and taboos, gender politics, and lampoons of classical myths, portrayed through stylized figures, expressive color, frenetic compositions and slapstick humor. Art historians such as Whitney Chadwick place Stanley within a Bay Area narrative tradition that blended eclectic sources and personal styles in revolt against mid-century modernism; her work includes a feminist critique of contemporary life and art springing from personal experience and her early membership in the Women's Movement. Stanley has been awarded a Guggenheim Fellowship and grants from the Pollock-Krasner Foundation, Adolph and Esther Gottlieb Foundation, and National Endowment for the Arts. Her work has been shown at institutions including PS1, San Francisco Museum of Modern Art (SFMOMA), The New Museum and Long Beach Museum of Art, and belongs to public collections including SFMOMA, San Jose Museum of Art, Oakland Museum, and de Saisset Museum. Stanley lives and works in Emeryville, California.

<span class="mw-page-title-main">Olive Ayhens</span> American artist (born 1943)

Olive Madora Ayhens, is an American artist based in Brooklyn, New York. She first gained recognition in California in the 1970s for stylized figurative work, but is most known for the fantastical, dizzying cityscapes, landscapes and interiors, often depicting New York City, that she has painted since the mid-1990s. These works intermingle the urban and pastoral, and inside and outside, employing absurd juxtapositions, improbabilities of scale and vibrant colors, in pointed but playful explorations of the clash between civilization and nature. New York Sun critic David Cohen has described her images as "poised between the lyrical and the apocalyptic. They capture both the poetry and the politics of the densely populated, literally and metaphorically stratified, used and abused city."

<span class="mw-page-title-main">Judith Simonian</span> American painter

Judith Simonian is an American artist known for her montage-like paintings and early urban public art. She began her career as a significant participant in an emergent 1980s downtown Los Angeles art scene that spawned street art and performances, galleries and institutions such as Los Angeles Contemporary Exhibitions (LACE) and Los Angeles Institute of Contemporary Art (LAICA), before moving to New York City in 1985.

<span class="mw-page-title-main">Katharine Kuharic</span> American painter (born 1962)

Katharine Kuharic is an American artist known for multi-layered representational paintings that combine allegory, humor, social critique, and aspects of Pop and pastoral art. Her art typically employs painstaking brushwork, high-keyed, almost hallucinogenic color, discontinuities of scale, and compositions packed with a profusion of hyper-real detail, figures and associations. She has investigated themes including queer sexual and political identity, American excess and suburban culture, social mores, the body and death. Artist-critic David Humphrey called Kuharic "a visionary misuser" who reconfigures disparate elements into a "Queer Populist Hallucinatory Realism" of socially charged image-sentences that shake out ideologies from "the congealed facts of contemporary culture" and celebrate the possibility of an alternative order.

Katherine Sherwood is an American artist living and working in the San Francisco Bay Area, California who is known for paintings that explore disability, feminism, and healing, and for her teaching and disability rights activism at the Department of Art Practice at the University of California, Berkeley.

References

  1. 1 2 3 4 5 6 Pagel, David. Judith Linhares: Divine Intoxication, Orange, CA: Chapman University, 2006.
  2. 1 2 Smith, Roberta. "As Chelsea Expands, a Host of Visions Rush In," The New York Times, June 1, 2001. Retrieved October 24, 2018.
  3. 1 2 Johnson, Ken. "Judith Linhares," The New York Times, April 14, 2006. Retrieved October 24, 2018.
  4. 1 2 3 4 5 6 7 8 9 10 11 12 13 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. 1 2 Saltz, Jerry. "Judith Linhares," The Village Voice, April 5–11, 2006, p. 73.
  6. 1 2 3 4 5 6 Linhares, Philip. Adeline Kent Award 1975, Essay, San Francisco, CA: San Francisco Art Institute, 1976.
  7. 1 2 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. 1 2 3 4 5 6 7 8 9 10 Cameron, Dan. "Judith Linhares Weaves a Spell," Arts Magazine, Vol. 60, No. 4, December 1985, p. 76-9.
  10. 1 2 Berwick, Carly. "Judith Linhares", ARTnews, Summer 2006, p. 181.
  11. 1 2 3 4 5 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. 1 2 3 4 5 Bell, Madison Smartt. "Judith Linhares by Madison Smart Bell", BOMB Magazine, Fall 2006, p. 78-85. Retrieved October 24, 2018.
  13. 1 2 3 Chadwick, Whitney. Sweet Talk, Catalogue essay, New York: Edward Thorp Gallery, 2001.
  14. 1 2 3 4 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. 1 2 "American Academy of Arts and Letters Announces 2008 Art Awards," Artforum, March 18, 2008. Retrieved October 24, 2018.
  17. 1 2 John Simon Guggenheim Memorial Foundation. "Judith Linhares". Fellows. Retrieved October 12, 2018.
  18. 1 2 3 4 Edward Thorp Gallery. Judith Linhares: Riptide, Catalogue, New York: Edward Thorp Gallery, 2011.
  19. 1 2 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. 1 2 3 Desmarais, Charles. "In the galleries, 3 women's approach to art and authenticity," SF Gate, February 2, 2018. Retrieved October 24, 2018.
  22. 1 2 3 4 Riley, Jennifer. "Judith Linhares," The Brooklyn Rail, April 10, 2006. Retrieved October 24, 2018.
  23. 1 2 3 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. 1 2 3 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. 1 2 3 4 Morris, Gay. "Judith Linhares: Strange Pleasure", Art in America, November 1994, p.139.
  32. 1 2 3 4 Press, Clayton. "Judith Linhares, 'Hearts on Fire,' At P.P.O.W., New York," Forbes, February 14, 2019. Retrieved April 6, 2022.
  33. 1 2 3 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. 1 2 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. 1 2 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.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.