Judy Jensen
Reverse painting on glass
"Worlds separated by time and space collide in Jensen's exquisite illusions.
A native Texan who now lives in Austin, Jensen has reinvented a seldom used technique, reverse painting on glass, to conjure hallucinatory effects."
Judy Jensen, Austin artist, Austin artists, glass, glass artist, glass artists, contemporary glass, Texas glass artists, Texas painters, glass painter, reverse painting on glass, reverse paintings on glass, contemporary art, narrative art, narrative artists, Heller Gallery, Renwick Gallery, Smithsonian American Art Museum, Smithsonian Institution, Detroit, Institute of Arts, Habatat Galleries, Hokkaido Museum of Modern Art, American Craft, Glass magazine, Penland School of Crafts, Pilchuck Glass School, Pilchuck, Urban Glass, Galveston Arts Center, Houston Center for Contemporary Craft, Contemporary Jewish Museum, Racine Art Museum, Mint Museum, Kohler Art Center, Cleveland Museum of Art, Chicago Navy Pier, Royal Ontario Museum, Corning Museum of Glass, New Glass Review, Austin Bergstrom International Airport, Austin Museum of Art, Austin American Statesman
Solo Exhibitions
- 2004 Galveston Arts Center, Galveston, Texas
- 2002 Houston Center for Contemporary Craft, Texas
- 2001 Heller Gallery, New York, New York
- 2000 Habatat Galleries, Boca Raton, Florida
- 1998 Heller Gallery, New York, New York
- 1997 Lyons Matrix Gallery, Austin, Texas
- 1995 Heller Gallery, New York, New York
- 1993 Lyons Matrix Gallery, Austin, Texas
- 1992 Heller Gallery, New York, New York
- 1991 Heller Gallery, New York, New York
- 1990 Brendan Walter Gallery, Santa Monica, Cailifornia
- 1989 Heller Gallery, New York, New York
- 1988 Heller Gallery, New York, New York
Group Exhibitions
2007
- High Museum, Atlanta, Georgia
- Austin City Hall, 12 month exhibit
2006
- Kentucky Museum of Art and Craft, Louisville, KY
Racine Art Museum, Racine, Wisconsin
Fuller Museum, Brockton, Massachusetts
2005
- Contemporary Jewish Museum, San Francisco, California
- Racine Art Museum, Racine, Wisconsin
- National Liberty Museum, Philadelphia, Pennsylvania
2004
- Smithsonian Renwick Gallery, Washington, D.C.
- The Mint Museum, Charlotte, North Carolina
- Houston Center for Contemporary Craft, Houston, Texas
2003
- Center on Contemporary Art, Seattle, Washington
- Racine Art Museum, Racine, Wisconsin
2002
- Kohler Art Center, Wisconsin
2000
- Kentucky Art and Craft Museum, Louisville, Kentucky
1997
- Cleveland Museum of Art, Ohio
- The Philharmonic Center for the Arts, Naples, Florida
1996
1995
- Austin Museum of Art, Austin, Texas
1994
- Hokkaido Museum of Modern Art, Sapporo, Japan (toured Japan 1994-1995)
1993
- Eighth Triennale India, New Delhi, India (USIA sponsored, toured Asia and Australia 1993-1995)
- Washington University Gallery, St. Louis, Missouri (toured the U.S. from 1993-1995)
- Art Miami, Miami, Florida (represented by Helander Gallery, Palm Beach, Florida)
1992
- Whatcom Museum, Bellingham, WA (toured the U.S. 1992-1996)
1991
- The Detroit Institute of Arts, Detroit, Michigan
1990
- American Craft Museum, New York, New York
- Chicago Navy Pier
1988
- National Museum of Women in the Arts, Washington, D.C.
- Chicago Navy Pier
- Ishikawa Industrial Exhibition Hall, Kanazawa, Japan
1986
- Museum fur Gestaltung, Basel, Switzerland
- Craft and Folk Art Museum, Los Angeles, California
1985
- Contemporary Arts Center, New Orleans, Louisiana
Public Collections
- Smithsonian American Art Museum, Washington, D.C.
- Royal Ontario Museum, Toronto, Canada
- L.A. County Museum of Art, Los Angeles, California
- Akron Art Museum, Akron, Ohio
- Corning Museum of Glass, Corning, New York
- The David Jacob Chodorkoff Collection, promised gift to
- The Detroit Institute of Arts
- Racine Art Museum, Racine, Wisconsin
- Speed Art Museum, Louisville, Kentucky
- Austin/Bergstrom International Airport, Austin, Texas
- City of Austin Art in Public Places Offices, Austin, Texas
- McDonald's Corporate Headquarters, Chicago, Illinois
- SAFECO Corporate Collection, Seattle, Washington
Honors and Awards
- Curator's Award of Merit, Galveston Arts Center, Texas, 2007
- Best of show, National Liberty Museum, Philadelphia, PA, 2004
- John H. Hauberg Fellowship Residency, Pilchuck Glass School, 2002
- Richard Diebenkorn Teaching Fellowship nominee, 2002
- Most Original Artist, Austin American-Statesman, 1997
- Juror, Art Kauai, Kauai Museum, Lihue, Kauai, 1996
- Juror's Award, Austin Museum of Art, Austin, Texas, 1996
- Public art award for Austin-Bergstrom International Airport, 1995
- Public art selection panelist for the Austin Convention Center, 1995
- Louis Comfort Tiffany Award nominee, 1993
- National Endowment for the Arts Visual Arts Fellowship Grant, 1986
- Glass Art Society's Juror's Award, New Orleans Contemporary Arts Center, 1985
- Fragile Art International Juror's Award, Seattle, Washington, 1984
- New Glass Reviews 19 ,11, 8, 7, 6, and 5, 1998, 1990, 1987, 1986, 1985, 1984 (publication of Neues Glas and The Corning Museum of Glass, competition documenting the 100 most innovative internationally created glass works)
Lectures
Selected Public Speaking
- KUHF Houston Public Radio, "Front Row", 2004, interview
- Pilchuck Glass School, Stanwood, WA, 2002, slide lecture
- The Corning Museum of Glass, Corning, NY, 2001, slide lecture
- Penland School of Crafts, 1999, slide lecture
- The Corning Museum of Glass, Corning, NY, 1999, slide lecture
- Artist Equity, New York, NY, 1998, slide lecture
- Austin Museum of Art, Austin, Texas, 1997, slide lecture
- Honolulu Academy of Art, Honolulu, Hawaii, 1996, slide lecture
- University of Hawaii, Honolulu, Hawaii, 1996, slide lecture
- Kauai Society of Artists, Lihue, Hawaii, 1996, slide lecture
- "Artist and Gallery Relationships", (moderated by James Surls), Austin, TX, 1996, panel discussion
- Pilchuck School, Stanwood, WA, 1995 (also 1991), slide lecture
- Chicago Navy Pier, New Art Forms, Chicago, IL, 1990, slide lecture
- New York Open Center, New York, NY, 1989, slide lecture
- The Loft at Harbourfront, Toronto, Canada, 1987, slide lecture
- Glass Art Society Conference, Los Angeles, CA, 1986, slide lecture
Bibliography
Catalogues
- Life InSight, 2006, p. 44, Kentucky Museum of Art and Craft
- Biennial Report, 2005, p. 12-13, Acquisitions, Akron Art Museum
- The Building and Collections, 2003, p. 33-34, Racine Art Museum
- Judy Jensen: Feverish, 2002, Houston Center for Contemporary Craft
- Millennium Glass: An International Survey of Studio Glass, 2000, p. 28, Kentucky Art and Craft Foundation
- Glass Today, 1997, p. 92, Cleveland Museum of Art
- Bucking the Texan Myth, 1996, Austin Museum of Art
- World Glass Now '94 , pps. 59, 157, Hokkaido Museum of Modern Art, Sapporo, Japan
- Masterworks of Contemporary Glass, 1994, p. 38, Christie's, New York
- Tell Me a Story p. 11, p. 30-31, The Taft Museum
- Tales and Traditions, by L. Herman and M. Kangas, p. 42, p. 86
- Mailbox Auction, 1992, p. 15, Smithsonian Institution
- Clearly Art: Pilchuck's Glass Legacy, by Lloyd Herman, 1992, p. 72, Whatcom Museum of Art
- Selections from the David Jacob Chodorkoff Collection, p. 5, Detroit Institute of Arts
- Chicago International New Art Forms Exposition, 1990, p. 65
- Creative Glass Center of America Benefit Auction, 1990, p. 27, Sotheby's, NY
- New Art Forms, 1988, p. 58, Chicago Navy Pier Exposition
- A Generation in Glass Sculpture, p. 13, Florida State University Gallery and Museum
- The International Exhibition of Glass '88, p. 111, Japanese catalogue
Books
- Sculpture, Glass, and American Museums, Martha Drexler Lynn, p. 166, 2005
- The Nature of Craft and the Penland Experience, p. 143, p.206, 2004
- International Glass Art, Richard Yelle, pp.161-162, 2003
- Women Working in Glass, Lucartha Kohler, pp. 161-162, 2003
- Glass Art from UrbanGlass, Richard Yelle, p. 109, 2000
- Glass: An Artist's Medium, Lucartha Kohler, pps. 96 and 121, 1999
- Contemporary Glass, Susanne Frantz, p. 28, 1989
Reviews
- "Judy Jensen", N. Bless, American Craft, Aug/Sept 2002, pp. 66-67
- "Glass Masters", Diane Heilenman, The Courier-Journal, 4/23/00
- "Jensen in NYC", R. S. Cohen, Austin Chronicle, 7/24/98
- " 'Wild Life' artists", M. Irvine, Austin American-Statesman, 4/9/97
- "A Glass Affair", Joy Hakanson Colby, The Detroit News, 3/28/96
- "Creativity sparkles", Sally Vollongo, The Toledo Blade, 4/7/96
- "Ambitious artists", Janet Kutner, The Dallas Morning News, 8/12/94
- "American Artists in 'Tell a Story' show", Afternoon Dispatch and Courier, New Delhi, India, 5/27/94
- "Raconteur's Gifts", The Sunday Free Press Journal, Bombay, India, p. 8, ill., 5/29/94
- "Review: Judy Jensen", Karen S. Chambers, Glass, #51, 1993, p. 51
- "New York Letter", Glasswork (Kyoto), #15, July 1993, pp. 38-41
- "Imagery distinct...", Austin American-Statesman, Texas, 7/24/93
- "Review: Judy Jensen", Karen S. Chambers, Glass, #45, 1991, p. 51
- "Surveying the State of Glassmakers Art", Paul Hollister, The New York Times, 1/4/90
- "Painted Glass: More than a Canvas", Lisa Hammel, The New York Times, 7/6/89
- Basler Magazin, (Swiss newspaper supplement), p. 13, ill., 7/19/89
Features
- "Smithsonian Gets Jensen", Robert Faires, Austin Chronicle, 11/28/03
- "Ranking Austin's Artists", M. Barnes, Austin American-Statesman, 4/10/97
- "Judy Jensen", J. Oleson, Austin American-Statesman, 10/26/95
- "Judy Jensen: Reflections", Lori LeJeune, Avaanti (visual arts journal), May 1997
- "Glass is Alive and Well on Kauai", Carol Yotsuda, Arts, Volume XI, #1, pp. 1-3, winter 96/97 (Hawaiian art journal)
- "KSA invites Judy Jensen", The Garden Island, Lihue, Hawaii, 9/4/96
- "Studio Glass Today", Glass and Art (Tokyo), p. 31, ill.; p. 24, 1995
- "Telling Tales in Glass", Karen S. Chambers, Neues Glas, pp. 10, 14-15, issue 3/94, full page ill (Germany)
- "Judy Jensen: Tableaux in Reverse", American Craft, p. 42-45, cover illustration, Oct/Nov '93
- "The Glass Canvas", Glass Art, Volume 4, # 6, pp. 4-7, cover illustration, 1989
- "Judy Jensen: Dream Spaces", D. Cutler, New Work, #34, pp. 12-17, cover illustration, 1989
Critical Reviews
Worlds separated by time and space collide in Jensen's exquisite illusions. A native Texan who now lives in Austin, Jensen has reinvented an old, but seldom-used technique, reverse painting on glass, to conjure hallucinatory effects.
Nancy Bless, art critic
American Craft
Jensen is a storyteller, weaving complex tales and mixing cultural references. [Her] luminous, sometimes sparkling colors and the abundance of detail command the viewer's attention and her apparently unconnected images demand interpretation. The complexity of her paintings is not intended to defeat viewers, but to challenge them. The key to understanding Jensen's work is "what you see is what you get", as long as you're willing to look beyond the surface.
Karen Chambers, art critic
Judy Jensen: Feverish (catalogue)
Judy Jensen's reverse paintings on glass contain an ever-expanding lexicon of opulent surfaces amid her tableaux. Ever-experimental in her painting technique, Jensen is upping the ante with content. While she continues to draw on the history of art, incorporating references from the Renaissance, Byzantium and classical antiquity, as well as natural history drawings and decorative arts, Jensen is deepening her narrative, and more firmly rooting it in our times. This is a fertile period for the artist, as she expands into new narrative territory.
Madeline Irvine, art critic
Austin American-Statesman
A master of [the] complex process [of reverse painting] is Judy Jensen. Her narrative glass canvases recall motifs from medieval paintings filled with archetypal symbols. Trompe l'oeil images and painterly illustrations play with suggestive ideas from many cultures, as well as her own personal experience.
Lucartha Kohler, writer and artist
Glass: An Artist's Medium
Jensen is essentially a painter who uses glass as her canvas, creating low reliefs of varied shape and with a smooth, hard surface of glass providing an appropriate support for the highly imaginative, dreamlike subjects executed in vivid colors.
Henry L. Hawley, curator, Cleveland Museum of Art
Cleveland Museum catalogue
With this jewel-like radiance, enigmatic feeling in Jensen's work is heightened. Strangely mysterious scenes consisting [of] religious images, actual social occurrences, and the artist's own recollections take us into the realm of symbolic narrative.
Tomana Makato
Hokkaido Museum of Modern Art catalogue
Jensen has developed a national reputation as an innovative glass artist. To label her as such however, not only ghettoizes her work within the craft medium, but also denies her ability as a painter and storyteller.
Saundra Goldman
Austin American-Statesman
Process
Stings 8.5" x 11"
Influences
Jensen's creations lie somewhere between a collage and a collection, a Wunderkammer of artifacts from her travels and dreams. Painted passages refer to Indian miniatures, Byzantine icons, Renaissance painting, pages from scientific, religious and natural history texts, as well as mementos and memories from her travels in Asia, the Middle East and the Americas. A mixture of seductive beauty, mysterious ritual and danger runs through the works...in which Jensen has tinkered with just the right mixture to ignite meaning and emotion. As she puts it, "The caldera of active volcanoes is where the earth is most alive."
Nancy Bless
American Craft magazine
Astonishing snakes form the entrance to most Buddhist temples in Thailand. The contrast between the Buddhist view of the snake as Buddha's protector and the Judeo-Christian view of the snake as the tempter and defiler was striking. I examined the contrast in the painting Caduceus. On the snake's undulating body I placed images of different positive serpentine aspects: the caduceus, the ancient symbol of healing; the DNA double helix; a natural science illustration of a crane eating a snake; the Buddhist Naga, snake-as-protector; and two snakelike spermatozoa. The snake's tongue and tail are formed by bits of carved wood I found in Thailand.
In the Perigord region of France, an area of prehistoric caves containing some of the earliest known depictions of the human form and fixations, I discovered a late 19th-century medical textbook. The beautiful engravings of the internal and external workings of the human body bore a distinct relationship to the remarkably moving cave paintings. Each expressed a desire for mastery and control of our mortality. For the past few years, I have examined these issues by incorporating representations of these medical illlustrations into my paintings as background narratives.
Images
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Prices available upon request.
Gallery 1
- Mandrake 47" x 12.5"
- Breathing In 19.5" x 11"
- Fun House 41" x 11.75"
- Eyespots 50" x 18"
- Calendar of good and evil days 14" x 58"
Gallery 2
- Blue Paraiba 8.75" x 11" Private Commission
- Borobudur 48" x 60" Private Commission
- Magnolia 14" x 10" Private Commission
- Roses 62" x 27" Private Commission
- Earth Air Fire Water 21" x 9" Private Commission
Gallery 3
- Moth to the Flame 6" x 8"
- Compromised Penmanship 12.75" x 10"
- Mindful 7.5" x 9.25"
- Attraction 13" x 9"
- Dilemma 8.5" x 11"
- Six Little Seeds 7.5" x 7.25"
- Snakebite 8.5" x 11"
Contact
Email judyjensen@austin.rr.com
Copyright © 2007 Judy Jensen
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