{{Short description|American painter (born 1940)}} {{Infobox artist | honorific_prefix = | name = Judith Linhares | image = | alt = Portrait of the artist, Judith Linhares in her studio in Brooklyn New York. | caption = Artist Judith Linhares in her Brooklyn, New York studio. | image_size = 230px | birth_date = 1940 | birth_place = Pasadena, California, US | nationality = | education = California College of the Arts | known_for = Painting, Drawing, Printmaking | style = Figurative, Expressionist, Feminist | website = [http://www.judithlinhares.com/ Judith Linhares] }} '''Judith Linhares''' (born 1940) is an American painter, known for her vibrant, expressive figurative and narrative paintings.<ref name="Pagel06">Pagel, David. ''Judith Linhares: Divine Intoxication'', Orange, CA: Chapman University, 2006.</ref><ref name="Smith01">Smith, Roberta. [https://www.nytimes.com/2001/06/01/arts/art-review-as-chelsea-expands-a-host-of-visions-rush-in.html "As Chelsea Expands, a Host of Visions Rush In,"] ''The New York Times'', June 1, 2001. Retrieved October 24, 2018.</ref><ref name="Johnson06">Johnson, Ken. [https://www.nytimes.com/2006/04/14/arts/art-in-review-judith-linhares.html "Judith Linhares,"] ''The New York Times'', April 14, 2006. Retrieved October 24, 2018.</ref> 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.<ref name="Adams94">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.</ref><ref name="Saltz06">Saltz, Jerry. "Judith Linhares," ''The Village Voice'', April 5–11, 2006, p. 73.</ref><ref name="Linhares76">Linhares, Philip. ''Adeline Kent Award 1975'', Essay, San Francisco, CA: San Francisco Art Institute, 1976.</ref> 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."<ref name="Tucker78">Tucker, Marcia. [https://archive.newmuseum.org/exhibitions/5 '''Bad' Painting''], Catalogue, New York: The New Museum, 1978. Retrieved October 24, 2018.</ref><ref name="New Museum84">The New Museum. [https://archive.newmuseum.org/exhibitions/87 "Paradise Lost/Paradise Regained: American Visions of the New Decade,"] Organized by Lynn Gumpert, Ned Rifkin, and Marcia Tucker. Exhibitions. Retrieved October 31, 2018.</ref> 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.<ref name="Pagel06" /><ref name="Cameron85">Cameron, Dan. "Judith Linhares Weaves a Spell," ''Arts Magazine'', Vol. 60, No. 4, December 1985, p. 76-9.</ref><ref name="Berwick06">Berwick, Carly. "Judith Linhares", ''ARTnews'', Summer 2006, p. 181.</ref><ref name="Egan09">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.</ref><ref name="Bell06">Bell, Madison Smartt. [https://bombmagazine.org/articles/judith-linhares/ "Judith Linhares by Madison Smart Bell"], ''BOMB Magazine'', Fall 2006, p. 78-85. Retrieved October 24, 2018.</ref> 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."<ref name="Chadwick01">Chadwick, Whitney. ''Sweet Talk'', Catalogue essay, New York: Edward Thorp Gallery, 2001.</ref> Critic John Yau describes her paintings "funny, strange, and disconcerting,"<ref name="Yau11">Yau, John. [https://brooklynrail.org/2011/03/artseen/judith-linhares-riptide "Judtih Linhares, "Riptide,"] ''The Brooklyn Rail'', March 4, 2011. Retrieved October 31, 2018.</ref> while writer Susan Morgan called them "unexpected and indelible" images exploring "an oddly sublime territory where exuberant bliss remains inseparable from ominous danger."<ref name="Morgan15">Morgan, Susan. "Judith Linhares," Catalogue essay, ''Flora and Fauna'', New Berlin, NY: Sam & Adele Golden Gallery, 2015.</ref>
thumb|right|310px|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<ref name="AAAL08">[https://www.artforum.com/news/american-academy-of-arts-and-letters-announces-2008-art-awards-19695 "American Academy of Arts and Letters Announces 2008 Art Awards,"] ''Artforum'', March 18, 2008. Retrieved October 24, 2018.</ref> and John Simon Guggenheim Memorial Foundation,<ref name="Gug">John Simon Guggenheim Memorial Foundation. [https://www.gf.org/fellows/all-fellows/judith-linhares/ "Judith Linhares"]. Fellows. Retrieved October 12, 2018.</ref> among many, and acquisitions by numerous public collections.<ref name="Riptide11">Edward Thorp Gallery. ''Judith Linhares: Riptide'', Catalogue, New York: Edward Thorp Gallery, 2011.</ref> 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.<ref name="Johnson06" /><ref name="Brody11">Brody, David. [http://www.artcritical.com/2011/03/23/judith-linhares/ "Hippie Edenists Adrift: Judith Linhares at Edward Thorp,"] ''ArtCritical'', March 23, 2011. Retrieved October 24, 2018.</ref><ref name="Dunham83">Dunham, Judith. "Quiet Mentor: Reviews from San Francisco". ''Vanguard'', Volume 11, September 1983.</ref><ref name="Desmarais18">Desmarais, Charles. [https://www.sfgate.com/news/article/In-the-galleries-3-women-s-approach-to-art-and-12546871.php "In the galleries, 3 women's approach to art and authenticity,"] ''SF Gate'', February 2, 2018. Retrieved October 24, 2018.</ref> 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."<ref name="Riley06">Riley, Jennifer. [https://brooklynrail.org/2006/4/artseen/judith-linhares "Judith Linhares,"] ''The Brooklyn Rail'', April 10, 2006. Retrieved October 24, 2018.</ref><ref name="Yau19">Yau, John. [https://hyperallergic.com/485672/judith-linhares-hearts-on-fire-ppow/ "In Judith Linhares’s Sinless World,"] ''Hyperallergic'', February 24, 2019. Retrieved April 6, 2022.</ref> Linhares is represented by Various Small Fires (Los Angeles),<ref name="VSF">Various Small Fires. [http://www.vsf.la/artist_post/judith-linhares/ Judith Linhares], Artist page. Retrieved October 24, 2018.</ref> P.P.O.W. Gallery (New York)<ref name="PPOW">P.P.O.W. [https://www.ppowgallery.com/artist/judith-linhares/work Judith Linhares], Selected work. Retrieved October 24, 2018.</ref> and Anglim Gilbert Gallery (San Francisco).<ref name="AGG">Anglim Gilbert Gallery. [http://anglimgilbertgallery.com/judith-linhares/#ms-5494 Judith Linhares], Retrieved October 24, 2018.</ref> She lives and works in Brooklyn, New York.
==Life and career== thumb|right|235px|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.<ref name="Linhares76" /> She began as an artist in her teens, hanging out in the beatnik world of Malibu Beach.<ref name="Bell06" /><ref name="Adams94" /> In 1958, she moved to Oakland to attend California College of the Arts (CCA), where she earned an BFA (1964) and MFA (1970).<ref name="Linhares76" /><ref name="Adams94" /> 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.<ref name="Bell06" /><ref name="Adams94" /><ref name="Yau11" />
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.<ref name="Riptide11" /><ref name="Linhares74">Linhares, Philip. ''Four Women'', Catalogue essay, San Francisco, CA: San Francisco Art Institute, 1974.</ref> In 1975, the San Francisco Art Institute recognized her with the Adaline Kent Award for promising California artists.<ref name="Linhares76" /> 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.<ref name="Tucker78" /><ref name="Adams94" /> In 1980, she moved to New York City, continuing to exhibit on both coasts.<ref name="Riptide11" /> 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).<ref name="Riptide11" /> Retrospectives of her work have been held at Sonoma State University and the Greenville County Museum of Art ("Dangerous Pleasures," 1994).<ref name="DP94">Sonoma State University Art Gallery. ''Dangerous Pleasures: The Art of Judith Linhares'', Survey catalogue, Sonoma, CA: Sonoma State University Art Gallery, 1994.</ref>
==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.<ref name="Egan09" /><ref name="Linhares76" /><ref name="Cameron85" /><ref name="Chadwick01"/> 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.<ref name="Cohen83">Cohen, Ronnie. "New York Review", ''ARTnews'', Volume 82, October, 1983, p. 176.</ref><ref name="Cameron85" /><ref name="FitzGibbon90">FitzGibbon, John. "L is for Linhares," ''California A to Z'', Catalogue essay, Youngstown, OH: Butler Institute of American Art, 1990.</ref><ref name="Egan09" /> In Linhares's "Dangerous Pleasures" retrospective (1994) catalogue, critic Brooke Adams called her work a "strange, luminous, hard-won pictorial universe."<ref name="Adams94" /> 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."<ref name="Pagel06" />
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.<ref name="Morris94">Morris, Gay. "Judith Linhares: Strange Pleasure", ''Art in America'', November 1994, p.139.</ref><ref name="Riley06" /><ref name="Adams94" /><ref name="Cameron85" /> Adams called her "a vanguardist in the reassessment of Mexican influence and spirit in modern art."<ref name="Adams94" /> 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.<ref name="Pagel06" /> 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.<ref name="Bell06" /><ref name="Press19" /> In light of the complex welter of influences, critics consistently note Linhares's "evocative magic act"<ref name="VanProyen84">Van Proyen, Mark. "Eccentric Allegories", ''Art Week'', February 18, Vol 15. No.7, 1984.</ref> of pulling off work that appears deceptively nonchalant,<ref name="Wilson11">Wilson, Michael. [https://www.artforum.com/picks/judith-linhares-27725 "Judith Linhares,"] ''Artforum'', February 2011. Retrieved October 24, 2018.</ref> breezy,<ref name="Saltz06" /> and improvisational<ref name="Brody11" /> in its "easy virtuosity."<ref name="Desmarais18" />
thumb|right|250px|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."<ref name="Linhares76" /><ref name="Samet12">Samet, Jennifer. [https://hyperallergic.com/59963/beer-with-a-painter-judith-linhares/ "Beer with a Painter: Judith Linhares,"] ''Hyperallergic'', November 10, 2012. Retrieved October 24, 2018.</ref><ref name="JL1970s">Judith Linhares website. [http://www.judithlinhares.com/Archive_1970.html Archive: 1970–1979]. Retrieved October 24, 2018.</ref> 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.<ref name="Frankenstein72">Frankenstein, Alfred. "Bold and Macabre Drawings", ''San Francisco Chronicle'', May 17, 1972.</ref><ref name="Morris94" /><ref name="Cameron85" /> 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";<ref name="Frankenstein73">Frankenstein, Alfred. "She's Somebody to Watch", ''San Francisco Chronicle'', January 16, 1973, p. 44.</ref><ref name="Frankenstein76">Frankenstein, Alfred. "Judith Linhares Show: Facing Down Death and the Devil", ''San Francisco Chronicle'', January 16, 1976, p. 44.</ref> others compared their spiky, linearity and ghostly imagery to the work of Aubrey Beardsley.<ref name="Adams94" />
=== 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.<ref name="Cameron85" /><ref name="Adams94" /><ref name="Weeks77">Weeks, H. J. "Judith Linhares at Paule Anglim", ''Art Week'', 1977, p. 58.</ref><ref name="Yau11" /> 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.<ref name="Adams94" /> thumb|left|250px|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.<ref name="Morris94" /><ref name="Cameron85" /><ref name="VanProyen84" /> 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.<ref name="Price83">Price, Richard. "Judith Linhares," ''Arts Magazine'', Volume 57, Number 10, June, 1983, p 6.</ref><ref name="Cohen83" /><ref name="Cameron85" /><ref name="JL1980s">Judith Linhares website. [http://www.judithlinhares.com/Archive_1980.html Archive: 1980–1989]. Retrieved October 24, 2018.</ref> Her fantastic imagery was balanced by lush color, painterly sensual surfaces, and sure design, which critics maintained gave her vision its impact.<ref name="Cohen83" /><ref name="VanProyen84" /><ref name="Cameron85" /><ref name="Morris94" /> 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.<ref name="Cameron85" /> 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.<ref name="Desmarais18" /><ref name="Adams94" /><ref name="Cotter97">Cotter, Holland. "Judith Linhares," ''The New York Times'', February 21, 1997.</ref><ref name="JL1990s">Judith Linhares website. [http://www.judithlinhares.com/Archive_1990.html Archive: 1990–1999]. Retrieved October 24, 2018.</ref>
=== 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.<ref name="Egan09" /><ref name="JL2000s">Judith Linhares website. [http://www.judithlinhares.com/Archive_2000.html Archive: 2000–2006]. Retrieved October 24, 2018.</ref> Critic Roberta Smith called the work her most assured,<ref name="Smith01" /> while others suggested that Linhares breathed new life into seemingly exhausted genres.<ref name="Riley06" /><ref name="Osberg18">Osberg, Annabel. [https://artillerymag.com/judith-linhares/ "Judith Linhares,"] ''Artillery'', January 17, 2018. Retrieved October 12, 2018.</ref><ref name="Pagel06" /> These "deftly messy images of carefree, meaty stick figures"<ref name="Pagel06" /> 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.<ref name="Mizota18">Mizota, Sharon. [http://www.latimes.com/entertainment/arts/la-et-cm-judith-linhares-review-20180116-htmlstory.html "Judith Linhares paints the joys of life, on her own terms,"] ''Los Angeles Times'', January 20, 2018. Retrieved October 24, 2018.</ref><ref name="Kreimer11">Kreimer, Julien. [https://www.artinamericamagazine.com/reviews/judith-linhares/ "Judith Linhares,"] ''Art in America'', June/July 2011, No. 6, p. 184-5. Retrieved October 24, 2018.</ref><ref name="Durón18">Durón, Maximilíano. [http://www.artnews.com/2018/04/12/p-p-o-w-now-represents-judith-linhares/ "P.P.O.W. Now Represents Judith Linhares,"] ''ARTnews'', April 12, 2018. Retrieved October 24, 2018.</ref><ref name="Smith11">Smith, Roberta. [https://archive.nytimes.com/query.nytimes.com/gst/fullpage-9507E3D91131F936A15750C0A9679D8B63.html "Judith Linhares,"] ''The New York Times'', March 25, 2011. Retrieved October 24, 2018.</ref> John Yau described them as investigations of an alternative world, "Eden before the arrival of Adam and the snake."<ref name="Yau11" /> Painted in bright Fauvist colors that critics described as juicy, madcap, and almost edible,<ref name="Berwick06" /><ref name="Joelson06">Joelson, Suzanne. "Judith Linhares", ''Time Out New York'', April 20–26, 2006, p. 78.</ref><ref name="Golden11">Golden, Devin. ''Judith Linhares: Riptide'', Catalogue essay, New York: Edward Thorp Gallery, 2011.</ref> with blocky, charged, gestural brushstrokes, the paintings seemed to re-imagine de Kooning's violent nudes in an act of identification with the figures.<ref name="Egan09" /> thumb|right|260px|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<ref name="Samet12" /> came to the fore, as she pushed the limits of representation, perspective and coherence.<ref name="Nys15">Nys, Shana. [https://www.huffingtonpost.com/shana-nys-dambrot/within-the-cave-at-durden_b_8149064.html "Within the Cave at Durden and Ray,"] ''Huffington Post'', September 18, 2015. Retrieved October 24, 2018.</ref><ref name="JL2006">Judith Linhares website. [http://www.judithlinhares.com/Archive_2006.html Archive: 2006–2012]. Retrieved October 24, 2018.</ref> 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.<ref name="Bell06" /><ref name="Adams94" /><ref name="Chadwick01" /> Others have described her paintings as "single-image novellas" that "read with power and immediacy the way the great abstract paintings do."''<ref name="Young07">Young, Geoffrey. ''A Garland for Judith Linhares'', Albany, NY: University of Albany Art Museum, 2007.</ref>'' 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."<ref name="Riley06"/>
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.<ref name="AB">Art Basel. [https://www.artbasel.com/catalog/artwork/89669/Judith-Linhares-Animal-Nature?lang=en ''Animal Nature'', 2019, Judith Linhares], Artwork. Retrieved April 15, 2022.</ref><ref name="Press19">Press, Clayton. [https://www.forbes.com/sites/claytonpress/2019/02/14/judith-linhares-hearts-on-fire-at-p-p-o-w-new-york/?sh=46654e06302c "Judith Linhares, 'Hearts on Fire,' At P.P.O.W., New York,"] ''Forbes'', February 14, 2019. Retrieved April 6, 2022.</ref> 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.<ref name="Yau19" /><ref name="Press19"/> They described the work, ''High Desert'' (2018), for example, as a brightly colored, visionary riff on Henri Rousseau’s ''The Sleeping Gypsy'',<ref name="Yau19" /> 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."<ref name="Press19"/> 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.<ref name="SMA">Sarasota Museum of Art. [https://www.sarasotaartmuseum.org/judith-linhares/ "Judith Linhares: The Artist as Curator."] 2021. Retrieved April 15, 2022.</ref><ref name="Lederer22">Lederer, Phil. [https://continentalmag.com/cracking-the-lid-arts-culture-srq-magazine-article-by-phil-lederer/ "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.</ref>
==Recognition and collections== Linhares has been recognized with awards from the Artists' Legacy Foundation (2017),<ref name="ALF">Artists' Legacy Foundation. [http://www.artistslegacyfoundation.org/awards/recipients/Judith-Linhares.php "Judith Linhares Receives Artists' Legacy Foundation 2017 Artist Award,"] August 29, 2017. Retrieved October 24, 2018.</ref><ref name="Greenberger17">Greenberger, Alex. [http://www.artnews.com/2017/08/29/judith-linhares-wins-artists-legacy-foundations-artist-award/ "Judith Linhares Wins Artists' Legacy Foundation's Artist Award,"] ''ARTnews'', August 29, 2017. Retrieved October 24, 2018.</ref> Joan Mitchell Foundation (2013),<ref name="JMFr14">Joan Mitchell Foundation. [http://joanmitchellfoundation.org/artist-programs/artist-grants/painter-sculptors/2012/judith-linhares "Judith Linhares,"] Artist Grants, Painters & Sculptors Program, 2012. Retrieved October 24, 2018.</ref> American Academy of Arts and Letters (2008),<ref name="AAAL08" /> Pollock-Krasner Foundation (2000), Anonymous Was a Woman (1999), Guggenheim Foundation (1997),<ref name="Gug" /> Adolph and Esther Gottlieb Foundation (1993), and National Endowment for the Arts (1993, 1987, 1979).<ref name="Garrett14">Garrett, Ashley. [http://figureground.org/a-conversation-with-judith-linhares/ "A conversation with Judith Linhares,"] ''Figure/Ground'', January 2014. Retrieved October 24, 2018.</ref> Her work sits in numerous public collections, including the Whitney Museum of American Art, Smithsonian American Art Museum,<ref name="SMAA">Smithsonian American Art Museum. [https://americanart.si.edu/artist/judith-linhares-6774 "Judith Linhares,"] Art + Artists. Retrieved October 24, 2018.</ref> San Francisco Museum of Modern Art,<ref name="SFMoMA">San Francisco Museum of Modern Art. [https://www.sfmoma.org/artist/Judith_Linhares "Judith Linhares,"] Collections. Retrieved October 24, 2018.</ref> de Young Museum,<ref name="dYM">Fine Art Museums of San Francisco. [http://art.famsf.org/judith-linhares Judith Linhares], Collections. Retrieved October 24, 2018.</ref> 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.<ref name="Garrett14" />
==References== {{Reflist}}
==External links== * [http://www.judithlinhares.com Official website] * [https://www.aaa.si.edu/collections/judith-linhares-papers-16227 Judith Linhares papers, circa 1955-2014, Archives of American Art, Collection] * [https://www.ppowgallery.com/artist/judith-linhares/work Judith Linhares], P.P.O.W. * [http://www.vsf.la/artist_post/judith-linhares/ Judith Linhares], Various Small Fires.
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{{DEFAULTSORT:Linhares, Judith}} <!--- Categories ---> Category:21st-century American painters Category:20th-century American painters Category:20th-century American women painters Category:21st-century American women painters Category:American feminist artists Category:Painters from California Category:California College of the Arts alumni Category:1940 births Category:Living people