Judith Linhares at Sarasota Art Museum

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18 Jan, 2022

"Dance II" (2017) 33" x 25"
I've been looking forward to the Judith Linhares exhibit at Sarasota Art Museum from the moment I heard about it.  Admittedly, Linhares isn't a household name. But the former Executive Director of the Museum included an image of Linhares' "Dance II" in a talk, and I was so taken with it that I snapped a picture and used it as my screen saver for a while. I'm still not sure exactly what it was that spoke to me -- the palette, the whimsy, the stylized faces?  I suspect it was all of these factors plus the woman's hair. I know, it's kind of troll-like, but it makes me feel like she's fully giving in to the moment. And then there are her eyes -- wide with confidence and self-knowledge -- that say she is totally in control. I get it -- those are somewhat contradictory emotions. But isn't life full of contradictions?  

I was also intrigued to learn of Linhares' inclusion in the ironically titled "Bad Painting" exhibit at The New Museum in 1978. The show was curated by Marcia Tucker, the Museum's founder, and featured 14 artists who "reject[ed] traditional concepts of draftsmanship in favor of personal styles of figuration." (Interestingly, Shari Urquhart, another artist I "discovered" this year, was also in the exhibit. Click here to read my post about her work.) As untraditional as Linhares' work feels today, I can imagine how it was received decades ago. For more about "Bad Painting," click here. 
"Cove" 2010  60" x 81"
It's helpful to know Linhares' background when viewing her work. She grew up in Pasadena, California in the 1940s and '50s and spent much time at Muscle Beach with her family. Quite aptly, her relatives -- both male and female -- were into body building. And so Linhares was exposed to a lot of flesh in her early life. At the same time, women were being forced back into traditional homemaker roles with the end of World War II and the return of the troops. In an interview sponsored by the School of Visual Arts, Linhares said this dichotomy led to "a psychic conflict between repression and abandon."  In her work, she's gone all in for abandon. 

"Slope" (2011) 60" x 84"
Still, what's the deal with all those naked bodies?  During the Q&A of the interview I watched, the question was finally raised, albeit in a much more academic way. Linhares confessed to a fascination with nudists. In fact, on a vacation in St. Martin, she went on a nude whale watch. Hmm. (Coincidentally, the one time I was exposed to nudists was also in St. Martin. Although I was safely ensconced on the swimsuit-wearing side of the beach, an overweight dude crossed the invisible line into our area wearing only a fanny pack. The image is unfortunately etched in my memory. But I digress.) 

Linhares commented that being unencumbered by clothing is consistent with the fantasy of going back to nature and thus harkens back to her California roots. She also referenced Diane Arbus' photographs from nudist camps as part of her inspiration. (Click here to read about Arbus' work and to see a shot of a family on vacation. You know what they say -- the family that goes nude together...)  As long as we're talking art historical references, what about Manet's "Olympia"? The bold way in which these unclothed women look at the viewer -- yeah, I'm naked, so what? -- reminds me of Manet's courtesan, a woman fully comfortable in her skin.
"Cave" (2010) 54" x 72"
Linhares also talked about her process during the interview. She often begins a painting by dividing her canvas and creating a striped background using contrasting colors. Her tableau frequently begins with a textile; from there she lets the scene "appear." Linhares likens it to a stage on which she then places the people and objects. The exhibit contained a crocheted blanket from her studio similar to the one in "Cave" as well as some objects she keeps in her studio. I particularly liked the small ceramic sculpture on which "Dance II" was based. It was a nice addition to the show.

While the exhibit focused on Linhares' recent work, there were also a number of small gouaches on display. While not inspired by her dreams, they were paired with journal entries describing some of those nocturnal visions. That component of the show was a bit woo woo for me.  But I loved the gouaches. 

In addition to Linhares' work, the exhibit featured the work of five contemporary artists selected by her. The work was quite varied. While I liked some of it, I found myself wishing for a more clear connection between Linhares' art and that of the artists she'd chosen to include. Still, it was interesting to read her commentary about what she found compelling in their art.

As you've probably gathered, the exhibit did not disappoint after the months of anticipation. Whew! "Judith Linhares: The Artist as Curator" will run at the Sarasota Museum of Art through April 3. For more information, click here. 


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