My paintings begin with a graphite line drawing, on paper, canvas, or a panel. Choosing colors is an improvisation, a method that has kept and intensified my interest over forty years of painting. At one stage, I abandon the ruler for my eye. The pleasure is in finding precise intervals of color and hue that move my eye around the work, never letting it rest too long in one place.
— Judith Seligson
portrait of judith seligson, artist. PHOTograph by Kyle Knodell. Courtesy Paddle8. 

portrait of judith seligson, artist. PHOTograph by Kyle Knodell. Courtesy Paddle8. 

About the Artist

Judith Seligson is an artist living in New York City and Alexandria, Virginia. The core of her work is a vast series of geometric, abstract, hard-edged oil paintings, some very small, others enormous. Each painting begins with a graphite drawing defining the blocks of color. The artist then applies layers of diluted gesso, so she can see the push and pull of the shapes, while preventing the graphite from mixing with the paint. Ms. Seligson follows Matisse’s dictum that painting begins when the artist sees both the positive shape - the vase, for example - and the negative shape - the shape around the vase - simultaneously. Thus, she does not use tape or straight edge while painting.

Her work also extends to collage, graphite drawings, visual intertextuality, multi-media, videos, published articles, and pigment prints.

Her most recent show was a solo exhibition at Galérie Mourlot (New York) entitled Drawing the Line. In 2016, she had a solo show of 35 paintings The Athenaeum in the Washington, DC area entitled A Gap Frame of Mind.  In March of the same year, she was in a exhibition of four contemporary geo-abstract painters at the Art 3 Gallery in Brooklyn. 

Ms. Seligson’s previous solo shows include the Jane Haslem Gallery in Washington, DC, Anita Friedman Fine Arts in NYC, and the Schlesinger Library at Radcliffe.  Group shows include Lillian Heidenberg Fine Art and Gary Snyder Fine Art, both in NYC. The artist has collaborated on a number of site- specific works with her husband, architect Allan Greenberg.

Ms. Seligson’s forthcoming book, THE GAP: The Synaptic Sign of Modernity, is a 20-year project focusing on the space between things in art, science, and literature.  She has given academic talks about The Gap paradigm at the Fourth International Henry James Society Conference, the American Literature Association Annual Meeting, and the 41st Annual Louisville Conference on Literature & Culture Since 1900. Her articles have been published in The Henry James Review, Judaism: A Quarterly Journal of Jewish Life, The Forward, and The Radcliffe Quarterly.

Ms. Seligson studied painting with Flora Natapoff, Philip Guston, Leo Manso, and Victor Candell. She is a graduate of Harvard/Radcliffe.

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