Rabbitrabbit

Judith Kindler is a notable contemporary American artist, recognized for her multidisciplinary approach. She has been active in the art scene for several decades, often exploring themes of human behavior, social commentary, and the environment through her work. Born in Buffalo, New York, she lived in Southern California and San Francisco where her recognition in the applied arts as a designer reached award winning status before moving to Seattle where she shifted her focus to the fine arts exclusively. Ten years ago, she and her husband permanently moved to Sun Valley in the mountains of Idaho the home and resting place of Ernest Hemingway. Here she designed and built an art studio on the grounds of their residence.  Kindler's work has been exhibited in galleries and museums across the United States and Europe and has been featured in 8 books dedicated exclusively to her and her artwork as well as many media publications. She has received numerous awards and honors for her work which is highly regarded in the art world.  What the critics and arts aficionados say of her work: Jerry Saltz, famed NY Art Critic commented on Kindler’s body of work titled "Of What Importance" - "Amazing" Peter Frank, renowned American art critic and Huffington Post contributor writes, “With her painting background, Judith Kindler appreciates the urgency that physicality gives imagery, and she has set out to explore the place where the picture becomes substance and its sway over us becomes substantial. In this, Kindler follows – in her own fashion – a tradition of “re-materiality” limned a hundred years ago by Dada artists” Kindler’s work in encaustic was described by Stefano Catalani, Artistic Director and Curator of the Bellevue Arts Museum in the exhibition book entitled “Defining Truth / Judith Kindler”: “The composition of the photographs is minimal, reduced to standing girls and young women in white delicate clothing, often against an indefinite and blurred background. The spatial perception here is blind, almost dimensionless, except for the human figure. The white atmosphere is rarefied, suspended, though charged at times with symptoms of tension: A sudden gesture of embrace, eye contact with the viewer, lifted hands, or eyes cast down . . . Judith Kindler builds up the narrative and iconographic space . . . a repertoire of symbols and seminal ideas projected out for readers able to decipher.” “The brilliance of Judith’s innovative artistry is that she can strike a unique balance between the juxtaposition of high-art concepts with accessible imagery and physical experiences. She sets her sights at incredibly high levels to deliver a thoughtful and impactful reflection of our basic humanity and our need to connect.” – Fidelma McGinn, Director of Washington State’s Artist Trust “Judith is a wickedly talented artist who manages to combine intensity, humor, and intelligence in everything she creates. I have yet to encounter a work of hers that I didn’t find gorgeous or make me laugh or both” – Mike Sweney, Public Art Manager for Washington State Huffington Post and LA Arts Critic and  artTV personality, Mat Gleason, says of a body of work, “The Shape of Things to Come” … great work, love the unorthodox shapes, love the subject matter of the feminine without politics or apology, love the variety that still belies the same author.