Judith Lindbloom

Painter

presented by Carrie Haddad Gallery

    Judith Lindbloom's paintings throw the viewer back into the fifties scene of abstract painting in NYC. Lindbloom left the Midwest for New York City at a very young age with $10 in her pocket and headed for Greenwich Village. At the time, it was the axis of the New York art scene and thronged with famous as well as notorious artists.
    Lindbloom was especially drawn to the experimental painters. Franz Kline was closest to her and a great admirer of her talent. Much time was spent in each other's studios. When she was 23, a couple of her pieces appeared in the Whitney Museum's Under 35 exhibit of young American painters. Kline secured a real exhibition for Lindbloom through Albert Skira, but she decided to leave the New York art scene altogether.
    For many years Lindbloom traveled (Florence, Paris, Venice, Berlin) until she returned to the United States to live in San Francisco. She spent this time writing and photographing and constantly listening to jazz, (she struck up a very close relationship with Steve Lacy) but had completely forgotten painting. It was only upon her return to America, that she began to paint again. Poughkeepsie art critic Wayne Lempka calls Lindbloom's work "dynamic", and points to the "complex layering of surface painting combined with a mysterious medieval-like iconography."
    Art critic Joan D'Arcy reviewed Lindbloom's latest exhibit at Loraine Kessler Gallery in Poughkeepsie. "When one first views Lindbloom's work Franz Kline immediately comes to mind; one's second thought is deKooning. These determinations are merely the first step in the process of "seeing" Lindbloom's paintings. Instead of thinking deKooning, one must think Chaim Soutine (whose work greatly affected deKooning). For sheer pictorial violence, Lindbloom comes very close to being an equal. She utterly distorts the descriptive content of a landscape. Houses become a slanted rooftop over a non-existent house, hills rear up, the horizon is dragged on a furious slant - the piece becomes a tumulty of colors and forms like entrails used for divination.
    Pollack's influence on Lindbloom may be much commented upon, and problematically so. While Pollack depends upon the skeining and overlay of thrown paint from edge to edge, Lindbloom was able to find a way of rapid gestural drawing. It's the brush that counts for her as she covers a fairly large surface with vibrant notation, shifting tempo, direction and fatness of marks."
    A near solitary and unheralded artist, Lindbloom has painted constantly these last 20 years, rarely missing a day. In winter, her studio is cold so she bundles up in a padded jumpsuit and three pairs of socks, and works all day. She says, "It's my life." Then adds, " It's made my life."

Selected Paintings

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1.) September's Carriage, 1995, oil and ink wash on paper 16x10 $900
2.) Stone Across It's Breast, 1988, acrylic and ink wash on paper 29x23 $900
3.) Sibling Outreach, 1996, acrylic on canvas 20x24 $1,200
4.) Jazz, 1986, acrylic on paper 40x30 $1,200
5.) Beaker Thread at Length, 1991, acrylic on paper 23x28 $900
6.) A Circus, 1992, acrylic on canvas 24x24 $1,200 SOLD
7.) Tools Arrested, 1996, acrylic on canvas 24x32 $1,500
8.) Dissident Winged Ones, 1988, acrylic on paper 28x22 $1,200
9.) As Long As We Can Do It In the Real World, 1980, acrylic on paper 13.5x10.5 unframed $400
10.) Alive in the Society of the Rational, 1998, acrylic on paper 26x20 $1,200
11.) The Rabid Are Stopped, 1990, acrylic on paper 46x29 $1,200 SOLD

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