Judith Stone

  • "Tokyo / Rebirth I"
    "Tokyo / Rebirth I" Technique: mixed media on paper Dimensions: 70 x 100 cm
  • “Wide Load I”
    “Wide Load I” Technique: mixed media on paper Dimensions: 70 x 100 cm
  • “Wide Load II”
    “Wide Load II” Technique: mixed media on paper Dimensions: 70 x 100 cm
  • "Return 2"
    "Return 2" Technique: mixed media on paper Dimensions: 65 x 84 cm
  • "Return 1"
    "Return 1" Technique: mixed media on paper Dimensions: 65 x 84 cm

Judith Stone:
Born in Boston, Massachusetts, U.S.A., Judith Stone lived her young life in Great Neck, Long Island, a short drive from New York City. Her parents’ passionate interest in the arts, all the arts – theater, music, dance, and the visual arts – generated weekly trips to Manhattan, where her family took full advantage of the cultural riches available in that vigorous mecca. Intellectually nourished as well by her parents’ laden bookshelves, Stone attended Vassar College, where she earned a Magna cum laude B.A. in French and English literature. She then continued her studies at Harvard University, earning an M.A.T. in French Language and Literature she thought, at the time, would lead to a career in literary criticism and teaching.
However, six years later, increasingly aware of her real bent, the creation of visual images, Stone moved laterally into the visual arts, ultimately dedicating what is now approaching four decades to the studio work that has become the focus of her professional activity. A second Master’s degree, an M.F.A. in Drawing and Printmaking, awarded to the artist at the University of Colorado, Boulder, structured and intensified a lifelong affinity with graphite drawing that remains the core of her oeuvre, now more accurately termed “mixed media work on paper”.
It is noteworthy that, while fully committed to her creative efforts in her studio, Stone by no means abandoned the study of literature that defined both her undergraduate and a portion of her graduate years Frequently straddling academic departments, Stone lectured for 35 years in both American and British literature and art design, and architectural history, on university campuses in Denver, Philadelphia, Burlington, Vermont, and Tokyo.
As eclectic as Stone’s professional vita is her travel experience. She has lived in Paris, Accra, Ghana, and Tokyo, each for one-year periods, and has journeyed thoughout the British Isles, Eastern Europe and Western Europe, Japan, and Israel. Moreover, equally central to the development of her images is her extensive travel in the United States, so that she is familiar with the extent and variety of topographical and cultural environments one can discover in the country of her birth. It is indeed the breadth of observation achieved through travel, enriched by near-obsessive reading, that provides the source material for her work.
Stone’s works on paper figure in public and private collections throughout the United States and Japan, notably, the University City Science Center in Philadelphia, the Museum of the University of New Hampshire, Durham, and the Frederick Harris Studios, Tokyo. She is in-cluded in Marquis Who’s Who in American Art and Marquis Who’s Who in American Women.

Works on paper by Judith Stone:
A persistent fascination with transitional phases in the life of the built environment inform the greater number of Judith Stone’s works on paper. While early in her career, the artist focussed her efforts on the architectural forms themselves, in recent years, the artist has trained the light on the very machinery that enables construction, or its more dramatic counterpoise, demolition. Stone allows that, while she has not fully plumbed the sources of her romance with construction sites and the machines that ply them, she can assert that the movements of shovels, booms, and backhoes, activity at once reptilian and powerful and delicate and precise, represent in the mechanical world masculine and feminine principles as we understand them in the human world.
A smaller portion of Stone’s oeuvre displays a shift to a central motif at odds with the weight, relative rigidity, and implicit danger of earth moving equipment. Here, she delineates lengths of rope that twist and wind, stretch and loop, and, at times, resolve themselves into knots. At once flexible and tensile, a simple length of rope can hoist heavy objects up, suspend them in midair, and gradually let them down, an impressive feat carried out by what may seem, at a distance, a line in space. Stone perceives the rope as alive with connotation, since, in considering its nature, we can as readily envision the ultimate connector, the umbilical cord, as we can its more threatening incarnation, the noose.
Stone’s primary medium is graphite; her sole point of departure, photography,… always her own. Her black and white drawings, as well as the rendered elements that dominate her mixed media pieces, emerge from photos of sites she’s passed frequently, so frequently, in fact, that their components have been internalized so as to become constants in her mental geography. Further, in terms of technique and compositional format, Stone acknowledges the impact of the exposure she had to Japanese art and design norms during a spent year in Tokyo, teaching, travelling, and working in her Matsubara studio (1986-1987). As to technique, she echoes the fluid quality of Japanese ink (sumi-é) painting in poured graphite washes that loosen the disciplined textures, tones, and edges that have long characterized her drawing. And as to composition, the Japanese predilection for asymmetry and diagonal motion did indeed ratify her own design instincts, as is evident in her current work.
Since 1992, specifically during a MacDowell Colony residency, Stone has been intent on incorporating her photographs directly into the still-foundational rendered surface. In her MacDowell studio, she took a long-pondered, risky leap in burning a hole in a completed drawing and placing behind the resultant “window” a camera image, whole or fragmented. Altered in hue, but not in form and detail, by a tinted, transparent Plexiglas “pane”, the photo offers as second level of visual experience, one reminiscent of a cinematic flashback. Most
recently, tinted, transparent Plexiglas boxes have supplanted the panes. Mounted on the picture plane, with photographs of the American West, Japan, or Israel embedded inside, the boxes confer a sculptural dimension to Stone’s work. More importantly, and critical to an appreciation of the artist’s motives, the photographs refer to the most intense of her memories.

B.A. Vassar College, Magna cum laude, French major, English minor – M.A.T, Harvard University, French Language and Literature – M.F.A. University of Colorado, Boulder, Printmaking and Drawing

Awards & Honors:
Marquis Who’s Who of American Women, 2004 – 2016 – Marquis Who’s Who in American Art, 2005 – 2017, Anniversary Edition 2011 – MacDowell Colony Resident Fellow, 1992

Solo exhibitions:
solo exhibit at the Museum of Contemporary Art Arlington entitled Constructing Constructions, September 8 – November 17
Castleton University Downtown Gallery, See Feelingly: Weigh and Balance, Rutland, VT, 2015
Caelum Gallery, Constructing Constructions, New York, NY, 2009
Yester House Galleries, Southern Vermont Art Center, Judith Stone: New Work Manchester, VT, 2007
Espace 234, Cordes et Noeuds (Ropes and Knots), Montreal, Quebec, 2002
Caelum Gallery, About Surface, New York, NY, 2001
Lancaster Museum of Art, Judith Stone: Work on Paper, Lancaster, PA, 1996
St. Joseph s University Art Gallery, Commemorative Exhibition, Philadelphia, PA, 1996
Thomas Moser Cabinetmaker, Judith Stone: New Work, Philadelphia, PA, 1989
Esther Klein Gallery, University City Science Center, Philadelphia, PA, Judith Stone: Work on Paper, 1989
Hinoki Gallery, Judith Stone: Drawings, Tokyo, Japan, 1987
Grimaldis Gallery, Judith Stone: Drawings, Baltimore, MD, 1985
St. Joseph s University Art Gallery, Lift, Drag, Thrust, Philadelphia, PA, 1984
University City Science Center Gallery, Judith Stone: Work on Paper, Philadelphia, PA, 1981
Erik Makler Gallery, From Photographs, Philadelphia, PA, 1979

Group exhibitions:
group exhibition entitled Artists Together for Peace, at Grimandi Art Gallery , New York City, December 14 -January 15.
Helen Day Art Center, The Traveling Artist, Stowe, VT, 2007
Thorne Sagendorf Art Gallery, Keene State College, Keene, NH, & Museum of Art, University of New Hampshire, Durham, NH, MacDowell Colony Centennial Exhibit: In Residence: Artists and the MacDowell Colony Experience, 2007
West Branch Gallery and Sculpture Park, Three Fridays in May, Stowe, VT, 2007
New Art Center, Reveal, Newton, MA, 2006
Yester House Galleries, Southern Vermont Art Center, Art on Campus, Manchester, VT, 2002
Pennsylvania State University, The Urban Landscape, Harrisburg, PA, 1998
Nexus Gallery, Concrete Poetry, Philadelphia, PA, 1997
Philadelphia Museum of Art, John Cage Retrospective, Rolyholyover: A Circus, Philadelphia, PA, 1995
Goldie Paley Design Center, Drawings: Process and Product, Philadelphia University, Philadelphia, PA, 1985
Goldie Paley Design Center, Look at Drawings, Philadelphia University, Philadelphia, PA, 1981
University of Colorado Art Galleries, The Artist and the Master Printer, Boulder, CO, 1979
Marion Locks Gallery, Looking Forward, Philadelphia, PA, 1980
Sebastian Moore Gallery, Strains of Realism, Denver, CO, 1979
University of Colorado Art Galleries, Boulder Cross Section, University of Colorado at Fort Collins, Fort Collins, CO, 1978
Boulder Fine Arts Center, Portrait of the Artist as a Young Woman, Boulder, CO, 1978

Juried exhibitions:
Helen Day Art Center, Vermont Selections, Stowe, VT, 2004
Delaware Center for the Contemporary Arts, Fin de Siecle, Wilmington, DE, 1997
San Diego Art Institute, 41st Annual International Exhibition, Grand Prize, San Diego, CA, 1996 – Bianco Gallery, Annual Exhibition, Ed Anderson Award, Buckingham, PA, 1996
Seneca Falls Gallery, Women’s Art Work six: 100 Women/100 Works, Rochester, NY, 1996
Main Line Art Center, The Power of Paper, Harold Perilstein Award Haverford, PA, 1995 – SFA Gallery, Stephen F. Austin University, Texas National ’95, Nacogdoches, TX, 1995
Pennsylvania State Museum, Art of the State, Harrisburg, PA, 1989
Printmaking East West Exchange, Tientsin, China, 1986
Allentown Museum, 20th Juried Exhibition, Allentown, PA, 1986
Arcadia College Art Gallery, Southeast Regional Drawing Competition, Glenside, PA, 1981
UND Gallery, University of North Dakota 23rd North Dakota Print and Drawing Competition, Grand Forks, ND, 1979
Boulder Arts Center, Boulder Arts ’79, Boulder, CO, 1979
Dulin Gallery of Art, Eleventh Dulin National Print and Drawing Competition, Knoxville,TN, 1977
Arvada Center Gallery, Colorado Women in the Arts, Denver, CO, 1977

Public Collections:
The MacDowell Colony, Peterborough, NH
The University of New Hampshire Museum, Durham, NH
The University Science Center, Philadelphia, PA
St. Joseph’s University, Philadelphia, PA
Baltimore Gulf and Electric Co., Baltimore, MD
Idaho National Bank, Boise, Idaho
Frederick Harris Design Studios, Tokyo, Japan
Toyoda International Sales, Inc., Tokyo, Japan
Shark’s Ink, Lyons, CO

Private Collections:
Michelle Addington, New Haven, CT
Deborah and William Andrews, Portland, ME
Myeko and George Deaux, Tokyo
Brenda Alvarez and David Farrington, Burlington, VT
Claire and Sydney Kahn, Philadelphia, PA
Eileen and Robert Measley, Philadelphia, PA
Cynthia and Michael O’Connor, Philadelphia, PA
Sheila and John Allen Paulos, Philadelphia, PA
Rachel and Nathaniel Passow, Philadelphia, PA
Chaya and Eli Passow, Jerusalem, Israel
Claire Owen and David Plante, Philadelphia, PA
Maureen Roberts and Jack Ready, Philadelphia, PA
Barbara and Solomon Wank, Lancaster, PA
Estate of Monica Letzring
Estate of Miriam and Randolph Whaley

Selcted publications:
The First Berliner Art Book, 2017, Art-Management-Berlin, Berlin, January, 2017
The Divine Sarah: Seeking Immortality through Film, Per Contra: The International Journal of the Arts, Literature, and Ideas, Spring 2015, Issue 35
Hindsight/Foresight: Two Art Nouveau Masters Wed Traditional Craft to Industrial Innovation, Design Principles and Practices: An International Journal, Vol. 5, Issue 3
Interview with Miriam Kotzin Per Contra: The International Journal of The Arts, Literature, and Ideas, Winter, 2009
The Two Cultures: The Literary Moderns Revisited The Forum on Public Policy, The Oxford Round Table, Winter, 2007
Charlotte Salomon: Life or Theater?, Bulletin of The Center for Holocaust Studies, The University of Vermont, Burlington, Fall, 2001
Learning to Bow, Bruce Feiler, book review, Philadelphia Inquirer, February, 1992
Discord in a Japanese Sculpture Garden, Vassar Quarterly, May, 1989
Part-Time Pathos, Temple University Faculty Herald, December, 1984
Claire Evans, American Artist, March, 1981

Selected reviews:
“Eyes Open, Brains On! Victoria Crain”, The Rutland Herald , Castleton Downtown Gallery, Rutland, VT, September, 2015
“Cordes et Noeuds Espace 234”, Henry Lehmann, The Montreal Gazette, L’Espace 234, Montreal, Québec, June, 2002
“Three Reign”, Marc Awodey, Seven Days, Flynn Gallery, Burlington VT, March 2001
“Landscapes Abloom in Steel and Grit”, Daina Savage, Intelligencer Journal,  Lanncaster Museum of Art, Lancaster, PA, May 1996
“Bianco Gallery Annual Show”, Mary Wesley, Bucks County, Bianco Gallery, Bucks County, PA, October, 1996
“Judith Stone: Recent Drawings”, C. Grimaldis Gallery, Tom Weiser, Baltimore City Paper, C. Grimaldis Gallery, Baltimore, MD, September, 1985
“The Art of Drawing Is Thriving Nicely”, Ed Sozanski, Philadelphia Inquirer, University City Science Center, Philadelphia, PA, May 1983
“Women’s Exhibition Not Overtly Feminine”, Denver Post, All Colorado Women in the Arts, Denver Civic Center, Denver, CO, May 1979
“Sebastian Moore Gallery”, Rocky Mountain News, Sebastian Moore Gallery, Denver, CO, April, 1979

Lecture, conference presentations:
“Promoting Sarah Bernhardt: The Divine Sarah Reconfigured as Art Nouveau Mucha Woman”, Fifth International Conference on the Image, Berlin, 2014
“Hindsight /Foresight: Two Art Nouveau Masters Wed Traditional Craft to Industrial Innovation”, Fifth International Conference on Design principles and Practices, Rome, 2011
“Roads to Rome Are Many: The Impact of painting Principle and Practice on Art Nouveau Masters Mackintosh and van de Velde”, Fourth International Conference on Design Principles and Practice, Chicago, 2010
“The Two Cultures: The Literary Moderns Revisited”, The Oxford Round Table, Oxford, England, 2006
“See Feelingly: Artists of the Holocaust”, The Fleming Museum, University of Vermont, 2002
“Ophuls, Losey, and Vichy France”, Legacy of the Holocaust: Its Meaning in Today s World, University of Nebraska, Omaha, 1998
“Into the Limelight: Women Artists of the Late 19th and 20th Centuries”, (six lectures), University of Vermont, Special Programs, 1998
“The French Impressionists and The Japanese Print” (four lectures), University of Pennsylvania
“Within Every Christian: Joseph Losey Mr. Klein”, The International Conference on Despair and Desire, University of West Georgia, Atlanta, 1996
“Within Every Christian: Joseph Losey Mr. Klein”, Annual Colloquium on Literature and Film: The Fantastic and Related Genres, West Virginia University, Morgantown, 1994
“Frank Lloyd Wright and the Japanese House”, Philadelphia University, Philadelphia, 1992
“Oedipus Revisited”, The International Conference Myth and Fantasy, University of West Georgia, Atlanta, 1991
“Joseph Cornell”, The International Conference on Surrealism and the Oneiric Process, University of West Georgia, Atlanta, 1990
“Ukiyo’s Influence on 19th Century French Art”, Temple University Japan, Tokyo, 1986
“Five Contemporary Women Artists: Roots and Realities”, Department of Woman Studies, University of Pennsylvania, 1979
“Singular Women in the Arts: Pre-Feminist Achievement”, All Colorado Women in the Arts, Colorado Women’s College, Denver, 1977

Teaching experience:
Art history
Fall, 1999 – Spring, 2009
Senior Lecturer, Department of Art and Art History
The University of Vermont, Burlington, VT
Survey of Twentieth Century Art
Nineteenth Century Art History, 1850-1900
Sculpture in the Late Nineteenth and Twentieth Centuries
Intersections of Art and Politics in the Twentieth Cetnury
Art Nouveau – Bauhaus – Women Artists in History, 1850-1980 – Art Addressing the Holocaust

English literature:
Fall, 1983 – Spring, 1998
Senior Lecturer, Department of English – St. Joseph’s University, Philadelphia, PA
British Traditions I: Survey of British literature from Beowulf to Swift – British Traditions II: Survey of British, and American, literature from Hardy to Hemingway
Fall, 1980 – Spring, 1982
Lecturer, Department of English – LaSalle University, Philadelphia, PA
English 161 & English 164: Introductory courses presenting a spectrum of canonic British and American fiction writers, poets, and playwrights
Artists and Writers: Study of major creative figures equally at home with visual art making and the written word: Michelangelo, Delacroix, Blake
Spring, 1984 – Spring, 1986
Lecturer – Temple University, Philadelphia, PA
Intellectual Heritage 51: Study of religious and philosophic issues introduced in the Old and New Testaments, Homer, and Plato; their reshaping in work of St. Augustine, Dante, and plays of Shakespeare
Intellectual Heritage 52:  Study of revolutionary political theories generated in writings of Locke and Marx; study of upheavals in the natural and physical sciences, religion and psychology sparked by theories of Newton, Darwin, Freud

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