In the early 1950s, New York-based artist Judith Godwin began removing representational elements from her paintings in favor of abstract approaches. She continued to push the developing abstraction in her work, and over the next decade, saw the imagery evolve into powerful nonobjective compositions. This exhibition explores a critical period in Godwin’s evolution, focusing on her abstractions from the early 1950s through the 1960s.
A Virginia native, Godwin arrived in New York City in 1953 during a period of major developments in post-war American art. She was accepted into the Art Students League, studying with noted artists Will Barnet, Harry Sternberg, and Vaclav Vytlacil, as well as at Hans Hofmann’s schools in New York and Provincetown. As a young artist she quickly immersed herself in the city, befriended other artists and art dealers, and eventually began to exhibit her paintings and establish her reputation. With a lifetime of work now behind her-grounded in the fertile and evolutionary period explored here-Judith Godwin continues to reinvent the language of abstract painting in her studio.
Judith Godwin: Early Abstractions was developed by RenÃ© Paul Barilleaux, Chief Curator/Curator of Art after 1945 at the McNay Art Museum in San Antonio, Texas.
Judith Godwin; Nucleus II (detail), 1950; Oil on canvas; 36 ½ x 60 inches; courtesy of the artist
Members’ Lecture and Reception
June 23, 6pm, Jepson Center
Telfair Academy Guild Lecture Series: “Portraits to Pixels: Twelve Decades of Collecting” by Holly
Koons McCullough. Followed by a reception to celebrate Portraits to Pixels and Judith Godwin. Lecture and reception presented by the Telfair Academy Guild.