In Her Own Words
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I see my journey as an artist as a “Road Less Traveled” - the path of an Artist is always unpaved. The obstacles provide the challenge, enlightenment and enrichment is the destination. “Art Saves Everything from Time.”
When I think back and try to identify when I first thought of myself as an Artist, I realized it happened when a favorite teacher referred to me as such. I was going to a rural one-room schoolhouse. Our teacher, Mrs. Walschlegger, taught all the classes to 7th and 8th grade students - she used art as the common thread that tied science, math, english and especially history together.
We were guided to build a puppet theater, and made puppets to act out plays related to our assignments. I remember when I was Joan of Arc and got to design my costume for the performance. The most significant project was a mural that covered the Walls around the entire room. It was the story of “Rip Van Winkle.” I will never forget how important it was to see my drawings on those walls.
Imaginary Landscape. 1966. 24 x 60 in. Oil on canvas.
In High School, art was not part of the curriculum offered to me. Students were automatically divided into 3 groups according to the results of Standardized Tests. I was required to take math and a foreign language. I refused and insisted on taking art classes. My mother backed me up.
The Art teacher, Mr. Kosnar, was a decorated WWII Veteran and Junior Varsity Basketball coach. Naturally, the Principal directed all the unruly students to take his class. My friend Avis and I were the only girls in the class. We were not trouble makers so Mr. Kosnar asked us what we wanted to do. He let us work in the back of the room, on projects we were interested in, like copying our favorite paintings chosen from his library of art books. I copied my first history painting by Eugene Delacroix. Meanwhile, he told the bad boys war stories while they drew still life arrangements of his memorabilia, including a hand grenade.
Avis and I used our freedom well and eventually became professional artists.
Pictured: Judy (R) and Avis (L)
I have always been interested in history and the images created to memorialize significant events. I was fascinated by religious imagery as a child. Most often through prints of famous paintings from the Sistine Chapel, Stations of the Cross, the Annunciation and Adam and Eve in the Garden of Eden. Every classroom had portraits of Presidents and paintings of Civil War battles. I was particularly interested in pictures of Columbus and Isabella. This made me aware, at an early age, the important role of artists to reflect their culture through their work.
Eve & Adam In The Garden Of Eden. 1995. 80 x 36 in. Oil on wood.
My college years were a time of social unrest, and my involvement was part of my education. I participated in the first Earth Day which originated at University of Wisconsin, Stevens Point, known for its Natural Resources Department. I marched to end the War in Vietnam. My brothers and all my male friends carried draft cards. If they were against the war and couldn’t get a deferment, many left the country.
Americans were divided, much like today.
The Perfection of Praxiteles. 1972. 18 x 13 in. Lithograph.
The most significant involvement was marching for the Equal Rights Amendment. It was a time of re-examination. My personal experiences brought me to the same place many women my age came to. Where is the women’s perspective of history? It has been written almost entirely by privileged white men.
One day after an Art History lecture, I checked my textbook, The History of Western Art, by Janson. It was the standard text for all introductory classes. There was not one woman artist included. How could that be?
Self Portrait. 1973. 27 x 14 in. Etching.
Some years later, an important book was published, The Obstacle Race, by Germaine Greer. It was a history of women artists. It opened our eyes to the abundance of work created by women over the centuries. This book introduced me to Artemisia Gentileschi. I recognized her name as I had seen one of her paintings at the Detroit Institute of Art while I was a graduate student. I was amazed to find a painting by a woman, the only one in the room in and the entire collection. I was amazed it was there and sickened by that reality.
Twenty years later I would begin a project, after reading Mary Garrard’s book, Artemisia Gentileschi. Her book became my guide.
Young Artemisia. 1999. 80 x 32 in. Oil on wood panel.
There is a particular aspect of history that I find most intriguing - ceremonies. Defined as: a formal action performed as prescribed by ritual or custom. I depict fictional ceremonies to further a narrative theme and give the activity significance. Initiation At Machu Picchu depicts the ancient rite of passage from from boyhood to manhood. I have used the ritual practiced by the Kogi Indians of Columbia.
The young man receives a coca leaf from a priestess, as women are the cultivators of plants. Kogi men chew the leaves, as the herb regulates male aggressiveness. I chose to have the ceremony take place at this site because it is one of the most well known ceremonial sites in South America. Ironically, the same plant is now cultivated and refinement into crack cocaine which increases aggressiveness.
Initiation At Machu Picchu. 1991. 84 x 96 in. Oil on linen.
I see my journey as an artist a “Road Less Traveled” - the path of an Artist is always unpaved. The obstacles provide the challenge, enlightenment and enrichment is the destination. “Art Saves Everything from Time.”
When I think back and try to identify when I first thought of myself as an Artist, I realized it happened when a favorite teacher referred to me as such. I was going to a rural one-room schoolhouse. Our teacher, Mrs. Walschlegger, taught all the classes to 7th and 8th grade students - she used art as the common thread that tied science, math, english and especially history together.
We were guided to build a puppet theater, and made puppets to act out plays related to our assignments. I remember when I was Joan of Arc and got to design my costume for the performance. The most significant project was a mural that covered the Walls around the entire room. It was the story of “Rip Van Winkle.” I will never forget how important it was to see my drawings on those walls.
Imaginary Landscape. 1966. 24 x 60 in. Oil on canvas.
In High School, art was not part of the curriculum offered to me. Students were automatically divided into 3 groups according to the results of Standardized Tests. I was required to take math and a foreign language. I refused and insisted on taking art classes. My mother backed me up.
The Art teacher, Mr. Kosnar, was a decorated WWII Veteran and Junior Varsity Basketball coach. Naturally, the Principal directed all the unruly students to take his class. My friend Avis and I were the only girls in the class. We were not trouble makers so Mr. Kosnar asked us what we wanted to do. He let us work in the back of the room, on projects we were interested in, like copying our favorite paintings chosen from his library of art books. I copied my first history painting by Eugene Delacroix. Meanwhile, he told the bad boys war stories while they drew still life arrangements of his memorabilia, including a hand grenade.
Avis and I used our freedom well and eventually became professional artists.
Pictured: Judy (R) and Avis (L)
I have always been interested in history and the images created to memorialize significant events. I was fascinated by religious imagery as a child. Most often through prints of famous paintings from the Sistine Chapel, Stations of the Cross, the Annunciation and Adam and Eve in the Garden of Eden.
Eve & Adam In The Garden Of Eden. 1995. 80 x 36 in. Oil on wood.
Every classroom had portraits of Presidents and paintings of Civil War battles. I was particularly interested in pictures of Columbus and Isabella. This made me aware, at an early age, the important role of artists to reflect their culture through their work.
Columbus & Isabella. 1990. 84 x 96 in. Oil on linen.
My college years were a time of social unrest, and my involvement was part of my education. I participated in the first Earth Day which originated at University of Wisconsin, Stevens Point, known for its Natural Resources Department. I marched to end the War in Vietnam. My brothers and all my male friends carried draft cards. If they were against the war and couldn’t get a deferment, many left the country.
Americans were divided, much like today.
The Perfection of Praxiteles. 1972. 18 x13 in. Lithograph.
The most significant involvement was marching for the Equal Rights Amendment. It was a time of re-examination. My personal experiences brought me to the same place many women my age came to. Where is the women’s perspective of history? It has been written almost entirely by privileged white men.
The History of Western Art, by Janson. It was the standard text for all introductory classes. There was not one woman artist included. How could that be?
Self Portrait. 1973. 27 x 14 in. Etching.
Some years later, an important book was published, Obstacle Race, by Germaine Greer. It was a history of women artists. It opened our eyes to the abundance of work created by women over the centuries. This book introduced me to Artemisia Gentileschi. I recognized her name as I had seen one of her paintings at the Detroit Institute of Art while I was a graduate student. I was amazed to find a painting by a woman, the only one in the room in and the entire collection. I was amazed it was there and sickened by that reality.
Twenty years later I would begin a project, after reading Mary Garrard’s book, Artemisia Gentileschi. Her book became my guide.
Young Artemisia. 1999. 80 x 32 in. Oil on wood panel.
There is a particular aspect of history that I find most intriguing - ceremonies. Defined as: a formal action performed as prescribed by ritual or custom. I depict fictional ceremonies to further a narrative theme and give the activity significance. Initiation At Machu Picchu depicts the ancient rite of passage from from boyhood to manhood. I have used the ritual practiced by the Kogi Indians of Columbia.
The young man receives a coca leaf from a priestess, as women are the cultivators of plants. Kogi men chew the leaves, as the herb regulates male aggressiveness. I chose to have the ceremony take place at this site because it is one of the most well known ceremonial sites in South America. Ironically, the same plant is now cultivated and refinement into crack cocaine which increases aggressiveness.
Initiation At Machu Picchu. 1991. 84 x 96 in. Oil on linen.
I hope this background will provide an understanding of my motivation for choices of subject matter. As you follow my 'Road Less Traveled' journey you will experience Ancient Rome to Arlington National Cemetery where ceremonies abound.
I am privileged to live in a time and place when women’s contributions are part of the history of our time.
Please consider this as you view my website.
