Judith Murray by Sundaram Tagore Gallery

J UD I T H M U R R AY

WITHOUT BORDERS

GALLERY MISSION Established in 2000, Sundaram Tagore Gallery is devoted to examining the exchange of ideas between Western and nonWestern cultures. We focus on developing exhibitions and hosting not-for-profit events that encourage spiritual, social and aesthetic dialogues. In a world where communication is instant and cultures are colliding and melding as never before, our goal is to provide venues for art that transcend boundaries of all sorts. With alliances across the globe, our interest in cross-cultural exchange extends beyond the visual arts into many other disciplines, including poetry, literature, performance art, film and music.

OPEN CITY by David Cohen York, the city in which many of these paintings LikewereNew made, a Judith Murray has democracy and depth. New

York is a city crowded with individuals. Individuals come in types, of course, and America is very far from a classless society, but in theory at least there are equal rights in this self-styled land of opportunity. Everyone has the potential to be special, even if in reality many simply toe the line of group expectation—wearing their uniform and keeping their head down—however much jostling there is to get ahead. A Judith Murray is dense and busy. Within a restricted palette and a tight lexicon of strokes and shapes, almost every mark is a singular unit. And however “allover” and layered the composition, each mark retains its identity and space. Structure is fluid and, at first at least, there seems to be minimum hierarchy. Movement is back and forth between complexity and clarity of organization. Paintings take their bearings from a singular bar placed along the right-hand edge of what would be, but for the bar, a square composition. The bar, to pursue our civic analogy, is the constitution: elegant, omnipresent, defining but unobtrusive. It itself has fluidity, when viewed close up, as it is often made of individual strokes or is layered—despite its monolithic appearance—with a different color beneath peeping through. For all its rigor, it is handmade, made indeed in the same hand as all the other strokes: despite its authority, the bar is mortal.

Floating above the mass are privileged, elegant shapes: geometric, but eccentrically so, too individualistic to be nameable. The paint is calmly modulated; edges are crisp; palette conforms to a strict code. These refined elements seem to belong to an old order, and yet they cohabit in a perfectly dignified way with the newer, wilder crowd of marks and shapes and painterly effects. Some of the upstart units look like they want a piece of the action: little dabs have insinuated themselves into corners of the geometric shapes in A Night in Tunisia, for instance, or Compound (both 2011)—minorgentry offspring of a landed aristocracy. Other dabs mimic the edges of these aloof shapes, hoping some of their class will rub off perhaps and have them stand apart as a distinguished shape in their own rights: social aspirants, a kind of haute bourgeoisie. But generally there are clear demarcations of temperature and speed between the orders: effete facets are cool, calm, collected; the more muscular ones are blustery and sweaty. The way isolated elegant shapes stand out within the brusque maelstrom of marks recalls maps in which anthropologists chart the presence of atypical language types. The way, for instance, in Europe pockets of Uralic language punctuate swathes of Romance. The theory of migrants or invaders from the one language family landing on the shores of the other is countered with the idea of the minority language having once in fact constituted the whole. It is the majority

Opposite: Judith Murray at work on Without Borders, March 21, 2011, Sugarloaf Key studio, Florida

Pearl Street, 1975, oil on canvas, 60 x 64 inches; collection of the artist

that is the usurper, the isolated pockets being remnants of the status quo ante that once filled the whole map. These new works by Murray feel like a similar instance of layering. The crystalline, sharply focused, almost heraldic signs in black, white, red and tan—in Without Borders (2011) the checks, targets and iron crosses recall long-lost military codes or the signals of some arcane flying club—seem to articulate or punctuate the spread of more diffuse, warm-hued, painterly dabs, some parented by a knife or rag rather than a brush and standing out in their impasto. But then you wonder, in a work like Against the Grain (2011) whether the eccentricity of these isolated shapes results from an overall hard-edged composition that has been invaded by the conflagration of looser golden marks? Who was there first?

The student of Judith Murray does not need to speculate, however, as to how one order of mark has come to collide with another: this new body of work results from a conscious decision by the artist to revisit her past. There was discussion of a retrospective, but as an artist whose hard-won images have always been in demand and who has lived from her work, Murray did not have a supply of her earlier work within easy access. Furthermore, as much as one mode has grown from another, her current style seems so radically divorced from her earlier output. Murray’s work of the 1970s had a crisp, clean, hard-edged sensibility that contrasted quite starkly with the expressive impasto that has become her defining formal characteristic—even though the development from her earlier to her later idiom, from still to turbulent, happened through gradual evolution not sudden rupture. Her shifts in style conformed—in fact, anticipated—those in the painting culture at large, with the emergence in the late 1970s of a resurgent expressionism in both the New York and international painting scenes. Murray’s latest body of work, presented here, is a synthesis in dialectical terms between the smooth and the rough, the hard-edged Murray and the expressionist Murray. This is a breakthrough for the artist, a pinnacle in her career. How it came about is an amusing tale. A friend asked her to clean one of her earlier works—not as in restore, but literally, to give it a dust down. Because each mark, so emphatic as to be painted almost in relief, needed to be individually cleaned Murray found herself revisiting—literally, stroke by stroke— the original facture of the painting, if not the evolution of the image. Memories of patterns and processes began to assert themselves in the intuitive work of making new images. A playful duel of styles began to take place between the hard edge of the old and the impressionist painterly dabs of the new. The new offered commentary on the old as surely as the old began parenting new forms.

Cross Bow, 1981, oil on canvas, 36 x 40 inches; private collection

The hard-edged eccentric geometry is directly reminiscent of—in actual fact, quotes from—Murray’s work of the late 1970s. In this period she was true to her earlier designation as a “non-conformist” by John Perreault, writing in the June 3, 1976 issue of the SoHo Weekly News. Set against a black ground were configurations of shape and line in a consistent palette of red, white and tan. Earlier pictographs included schematic shapes recalling a starburst (Pearl Street, 1975) or boomerangs and feathers (Phantom, 1977). These resolved by the end of the decade into gestalts at first recollecting classic Russian Constructivist designs except the return of one shape cutting into another might imply depth or recession that would militate against the graphic logo flatness the eye might expect of such a shape, as in Cross Bow (1981), for instance. As Perreault had written: “Murray’s paintings are logical. The difficulty is that the rules of her logic have been withheld.” In linguistic terms, all her declensions are irregular.

That Murray’s painting begs analogies to social systems—class structure, linguistics and maps have insinuated themselves into this essay—attests to the dual nature of an enterprise that entails humanism and abstraction. She is an artist who favors rigor and rules, but she is equally in tune with the glorious mess that is real life. Since 1975 she has abided by a personal procedural dictate, limiting herself to the use of her four colors—albeit four that can be mixed in any consistency and concentration to produce a spectrum of chromatic expression. Her nearsquare format is also the product of a foundational operating principle. But she has no rules for the evolution of a painting, starting anywhere and proceeding intuitively. The naming of works follows a similar pattern to the aggregation of gestalt: arbitrary, subject to change, and yet somehow vital to the resolution of the work. The balance of feelings and procedures, the isolation of pictorial elements that are nonetheless limitless in their articulation, are redolent of language or social structure because, like them, Murray’s paintings are rich and concentrated manifestations of human presence.

David Cohen is editor and publisher of artcritical, the online art magazine, and a noted critic and scholar. He served as gallery director at the New York Studio School from 2001 until 2010 and as art critic for the New York Sun from 2003 until 2008. He is the foundermoderator of The Review Panel, which takes place monthly at the National Academy Museum in New York. His books include Serban Savu (Hatje Cantz verlag, 2011) and Alex Katz Collages: A catalogue raisonné (Colby College Museum of Art, 2005).

A Night in Tunisia • 2011• oil on linen • 72 x 77 inches

Against the Grain • 2011• oil on linen • 40 x 44 inches

Trans Pac • 2011• oil on linen • 63 x 68 inches

Marking Time • 2011• oil on linen • 40 x 44 inches

Signal • 2011• oil on linen • 56 x 60 inches

Elevation • 2011• oil on linen • 63 x 68 inches

Western Union • 2011• oil on linen • 20 x 22 inches

Elements • 2011• oil on linen • 36 x 40 inches

First Day • 2011• oil on linen • 72 x 77 inches

Random Matter • 2011• oil on linen • 56 x 60 inches

Compound • 2011• oil on linen • 63 x 68 inches

Habitat • 2011• oil on linen • 36 x 40 inches

Without Borders • 2011• oil on linen • 96 x 108 inches

C U R R I C U L U M V I TA E Born in New York City, February 22, 1941 Lives and works in New York City and Sugarloaf Key, Florida EDUCATION 1964 1963 1962

MFA, Pratt Institute, Brooklyn Academia de Bellas Artes de San Fernando, Madrid BFA, Pratt Institute, Brooklyn

SELECTED SOLO EXHIBITIONS 2012 2009 2006 2005 2004 2003 2001 2000 1999 1998 1996 1987 1986 1985 1982 1981 1980 1979 1978 1976

Without Borders, Sundaram Tagore Gallery, New York (catalogue) Continuum, Sundaram Tagore Gallery, New York (catalogue) Continuum, Sundaram Tagore Gallery, Beverly Hills Phases and Layers, Sundaram Tagore Gallery, New York (catalogue, DVD) Small Works, Sundaram Tagore Gallery, New York Energies and Equations, Sundaram Tagore Gallery, New York Paintings, New Arts Museum, Kutztown, Pennsylvania (catalogue) Seeing Into the Abstract, Sundaram Tagore Gallery, New York (catalogue) Toward a Supreme Fiction, PS1, The Museum of Modern Art, Long Island City, New York A Gathering of Weather: Wallace Stevens Birthday, Hartford Public Library, Hartford, Connecticut Gibson Gallery, State University of New York at Potsdam (catalogue) redyellowblackwhite, Ben Shahn Gallery, William Paterson University, Wayne, New Jersey (curated by Nancy Einreinhofer; catalogue) Schmidt-Dean Gallery, Philadelphia Conde Gallery, New York Jan Turner Gallery, Los Angeles Pam Adler Gallery, New York Hillwood Art Museum, Long Island University, Brookville, New York (curated by Judy Collischan Van Wagner; catalogue) Concentrations V: Judith Murray, The Dallas Museum of Fine Arts, Texas (curated by Sue Graze; catalogue) Janus Gallery, Los Angeles Betsy Rosenfield Gallery, Chicago Pam Adler Gallery, New York Pam Adler Gallery, New York The Clocktower, The Institute for Contemporary Art, New York (curated by Alanna Heiss) Betty Parsons/Jock Truman Gallery, New York

SELECTED TWO-PERSON EXHIBITIONS 2005 1999 32

Pittura: Note, Judith Murray & Robert Yasuda, Galleria Miralli, Viterbo, Italy Judith Murray & Merrill Wagner, Simon Gallery, Morristown, New Jersey Judith Murray & Larry Web, 76 Varick Street Gallery, New York

1979 Biennial Exhibition, Whitney Museum of American Art, New York

SELECTED GROUP EXHIBITIONS 2012 American Academy of Arts and Letters Invitational Exhibition of Painting and Sculpture, New York American Abstract Artist International, Paris 2011 Abstraction to the Power of Infinity, The Icebox, Philadelphia Contemporary Selections: Aligning Abstractions, National Academy Museum, New York Perspectives: Nine Women, Nine Views, Sundaram Tagore Gallery, New York American Abstract Artist 75th Anniversary Exhibition, OK Harris Works of Art, New York Splendor of Dynamic Structure: Celebrating 75 Years of the American Abstract Artist, Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York (catalogue) 2010/11 American Abstract Artists International, Ontranto, Italy; Berlin, Germany 2010 4X20 Lasciare Asciugare, Studio Fontaine, Viterbo, Italy The Reason for Hope, Sundaram Tagore Gallery, New York 2009 Seven Women, Seven Stories, Sundaram Tagore Gallery, Beverly Hills Here and Now, Sundaram Tagore Gallery, Hong Kong 2008 East/West, Sundaram Tagore Gallery, Hong Kong American Abstract Artists: Tribute to Esphyr Slobodkina, The Painting Center, New York 2007 Continuum, in celebration of the 70th Anniversary of the American Abstract Artist, St. Peterâ&#x20AC;&#x2122;s Art Gallery, Jersey City, New Jersey Surface Impressions, Islip Museum, East Islip, New York 2006 The 181st Annual Invitational Exhibition of Contemporary American Art, National Academy Museum, New York East/West, Sundaram Tagore Gallery, New York 2005 American Academy of Arts and Letters Invitational Exhibition of Painting and Sculpture, New York Next Level, Sundaram Tagore Gallery, New York Optical Simulations, American Abstract Artist, Yellow Bird Gallery, Newburgh, New York 33

2004 Beyond the Surface, Sundaram Tagore Gallery, New York 2003/04 The Invisible Thread: Buddhist Spirit in Contemporary Art, The Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, Staten Island, New York (catalogue) Inner World, Sundaram Tagore Gallery, New York 2002 Compass Points, Sundaram Tagore Gallery, New York 2001 Painting Abstraction II, New York Studio School, New York Opening Celebration, Schmidt-Dean Gallery, Philadelphia 2000 Reconstructing Abstraction, Mitchell Algus Gallery, New York 1999 Subliminal View, Trans Hudson Gallery, New York Sleight of Hand, Cummings Art Center, Connecticut College, New London; 76 Varick Street Gallery, New York; Studio 38, Utrecht, Netherlands Schmidt-Dean Gallery, Philadelphia 1998 The Tip of the Iceberg, Dorfman Projects Gallery, New York (curated by Bill Bartman) 1997 After the Fall: Aspects of Abstract Painting Since the 1970s, The Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, Staten Island, New York (curated by Lilly Wei; catalogue) Trans Hudson Gallery, New York 1996 Visual Thinking, Galeria de Arte Plastica Contemporanea, Guatemala City, Guatemala Pioneers of Abstract Art, 1936-1996, Baruch College, New York American Abstract Artist 60th Anniversary Exhibition, The James Howe Fine Arts Gallery, Kean College, Union, New Jersey (catalogue); Westbeth Gallery, New York 1995 American Academy of Arts and Letters Invitational Exhibition of Painting and Sculpture, New York 1994 Theme & Variation, Condeso/Lawler Gallery, New York (curated by Tiffany Bell) 1993 The Persistence of Abstraction, American Abstract Artists, Edwin A. Ulrich Museum of Art, Wichita State University, Kansas; 1994, The Noyes Museum, Oceanville, New Jersey (catalogue) 1992 Slow Art: Painting in New York Now, P.S. 1 Museum, The Institute of Contemporary Art, Long Island City, New York (curated by Alanna Heiss) 1991 Stephen Solovy Fine Art, Chicago 1989/91 Lines of Vision: Drawings by Contemporary Women (curated by Judith Collischan; traveled to twelve American museums; catalogue) 1989/90 100 Women Artists, sponsored by the United States Information Agency (traveled to museums in Mexico, Central and South America) 1989 Geometric Abstraction and the Modern Spirit, Neuberger Museum, State University of New York Purchase 1988/92 A Living Tradition: Selections from the American Abstract Artists, Bronx Museum of the Arts, New York (traveled to Finland, Romania, Israel, Poland, Leningrad, Berlin, Canada) 1988 One Twenty Eight Gallery, New York (curated by Jean-Noel Herlin) 1987 New Work, American Abstract Artists, City Gallery, New York (catalogue) 50th Anniversary Print Portfolio, American Abstract Artists, James Howe Gallery, Kean College, New Jersey, and City Gallery, New York (catalogue) 1986 Movements: An Exhibition of Geometric Abstraction, Philip Dash Gallery, New York Structure and Metaphor: Six Contemporary Visions, Warm Gallery, Minneapolis, Minnesota (curated by Ronnie Cohen; catalogue) American Abstract Artists 50th Anniversary Celebration, The Bronx Museum of the Arts, New York 1985 8 x 10, Washington County Museum of Fine Arts, Haggerstown, Maryland Abstract Painting, 1985, Pam Adler Gallery, New York 1984 Artist Space, New York Westbeth Gallery, New York 1983 American Abstract Artist: Paintings, Moody Gallery of Art, University of Alabama, Tuscaloosa; Weatherspoon Art Gallery, University of North Carolina, Greensboro (catalogue) Art on Paper, Weatherspoon Art Gallery, University of North Carolina, Greensboro (curated by Donald Droll; catalogue) Studies and Drawings: Joyce Kosloff, Elizabeth Murray, Judith Murray, Lincoln Center Gallery, New York Pam Adler Gallery, New York 1982 Abstract Substance and Meaning: Paintings by Women Artists, The Womenâ&#x20AC;&#x2122;s Caucus for Art (catalogue: Views by Women Artists) New Work, New York, Delahunty Gallery, Dallas 34

Concentrations V: Judith Murray, Dallas Museum of Fine Arts, 1982

1981

Painting and Sculpture, Miami Dade College, Miami Works from the Collection of Milton Brutten and Helen Herrick, Ben Shahn Gallery, William Paterson College, Wayne, New Jersey 1980/82 Art in Our Time, HHK Foundation for Contemporary Art, Milwaukee Art Museum; Contemporary Arts Center, Cincinnati, Ohio; Columbus Museum of Art, Ohio; Virginia Museum of Fine Arts, Richmond; Krannert Art Museum, University of Illinois, Champaign; High Museum of Art, Atlanta; University of Iowa Museum of Art, Iowa City; Brooks Memorial Art Gallery, Memphis, Tennessee; University Art Museum, Austin, Texas (traveled from 1980 to 1982; catalogue) 1980 Bard College, Annandale-on-Hudson, New York Pool, Artistâ&#x20AC;&#x2122;s Space, New York Pam Adler Gallery, New York 1979 1979 Biennial Exhibition, The Whitney Museum of American Art, New York (catalogue) Mind Set: An Ongoing Involvement with the Rational Tradition, John Weber Gallery, New York (catalogue) 1978 Painting, Five Views: Benglis, Goldberg, Murray, Pozzi, Umlauf, Ben Shahn Gallery, William Paterson College, Wayne, New Jerse (catalogue) New York: A Selection of the Last Ten Years, The Otis Art Institute, Los Angeles (curated by Betty Parsons; catalogue) 1977 Works, P.S. 1 Museum, The Institute for Contemporary Art, Long Island City, New York (traveled to ten countries from 1977-1979) A Painting Show, P.S. 1 Museum, The Institute for Contemporary Art, Long Island City, New York New York, New York, Marion Locks Gallery, Philadelphia Susan Caldwell Gallery, New York A Collection in Progress, Moore College of Art Gallery, Philadelphia (catalogue) 1976 Critics Choose, Ira Joel Haber, Bill Jensen, Judith Murray, 55 Mercer Street Gallery, New York First Williamsburg Exhibition of Painting and Sculpture, Brooklyn New Abstract Objects, Hallwalls, Buffalo, New York 35

PUBLIC COMMISSIONS 1991/92 Mozart Bicentennial at Lincoln Center, New York 1986 Mostly Mozart Festival 20th Anniversary, New York 1981 Mostly Mozart Festival, New York Poster and print, Lincoln Center for the Performing Arts, Avery Fisher Hall, New York HONORS AND AWARDS 2005 American Academy of Arts and Letters, Academy Award in Art 2002/03 Guggenheim Memorial Foundation, Artist Fellowship in Painting 1983/84 National Endowment for the Arts, Artist Fellowship in Painting PROFESSIONAL MEMBERSHIPS National Academy Museum American Abstract Artist Artist Fellowship, Inc. TEACHING/LECTURES/MEDIA 2010/12 Judith Murray: Phases and Layers, You Tube, Part 1 and 2 2006 DVD; Judith Murray: Phases and Layers, documentary film by Albert Maysles & Mark Ledzian; with Robert Storr Lecture, National Museum of Women in the Art, Washington, DC 2003 Lecture, New Arts Program, Kutztown, Pennsyivania PBS Television interview: “New Arts Alive - Judith Murray,” interviewer, James Carroll, catalogue transcription 2001 PBS Television interview “Judith Murray” with William Zimmer 1994 Teaching, Princeton University, Princeton, New Jersey 1987 Lecture, Sarah Lawrence College, Bronxville, New York 1984 Lecture, Pratt Institute, Brooklyn 1978 Lecture, Long Island University, CW Post College, Greenvale, New York 1974/77 Teaching, Long Island University, Greenvalle, New York 1967 Teaching, New York Institute of Technology, New York Lecture, Festival of the Arts – Pacific Rim, Kauai, Hawaii 1966 Teaching, University of Hawaii, Honolulu 1965 Artist-in-Residence, Grafica Americanska, Krakow, Warsaw, and Szczecin, Poland (with the United States Information Agency) 36

Judith Murray at the American Academy of Arts and Letters Invitational Exhibition of Painting and Sculpture, 2005, New York BOOKS AND CATALOGUES 2012 David Cohen, Without Borders, catalogue (New York: Sundaram Tagore Gallery) 2009 Charles A. Riley II, Art at Lincoln Center: The Public Art and List Print and Poster Collections (New Jersey: John Wiley and Sons, Inc.): pp. 152, 163, 172 2009 Judith Murray, On Working, catalogue (New York: Sundaram Tagore Gallery and The Continuum International Publishing Group Ltd.) 2008 Fritz Drury and Joanne Stryker, Drawing: Structure and Vision (New Jersey: Pearson-Prentice Hall Publishers): pp. 137, 138 2006 Martha Keller, ed., American Abstract Artist Journal No. 5, On Edge Alanna Heiss, Edward Leffingwell, Richard Kalina, Judith Murray: From Vibrato to Legato (New York: Sundaram Tagore Gallery and Ahmedabad, India: Mapin Publishing) 2003 Richard Kalina, Seeing Into the Abstract, catalogue (New York: Sundaram Tagore Gallery) 2001 James Carroll, Conversation with Judith Murray, October 14, 2003 and May 8, 2001, catalogue Bob Witz, ed., “Judith Murray, Paintings,” Appearances, No. 27: pp. 38-39 1999 Lilly Wei, Judith Murray: redyellowblackwhite, catalogue (New Jersey: William Paterson University) 1998/96/94 Duane and Sarah Preble, eds., Artforms: An Introduction to the Visual Arts, 6th Edition (New York: Harper Collins College Publishers) 1992 Jules Heller, An Encyclopedia of Twentieth-Century North American Women Artists (New York/London: Garland Publishing) 1989 Judy Collischan Van Wagner, Lines of Vision: Drawings by Contemporary Women (New York: Hudson Hills Press) 1986 Ronnie Cohen, Structure and Metaphor: Six Contemporary Visions, catalogue (Minneapolis: WARM Gallery) 1985 William Zimmer, Judith Murray and Ursula von Rydingsvard, catalogue, CW Post College, Long Island University (Greenvale: Hillwood Art) Judy Collischan Van Wagner, Judith Murray: Interview, catalogue, Hillwood Art Museum, CW Post College, Long Island University (Greenvale: Hillwood Art) 1982 Sue Graze, Judith Murray: Concentrations V, catalogue (Dallas: The Dallas Museum of Fine Arts) 1980/82 Andrea S. Van Dyke, Art In Our Time, catalogue, HHK Foundation for Contemporary Art (Milwaukee: The Foundation) 1979 Nancy Einreinhofer, Painting: Five Views, catalogue, Ben Shahn Gallery (Wayne, New Jersey: William Paterson University) 1976 Judith Tannenbaum, New York Art Yearbook, 1975-1976, (New York: Noyes Art Books) 37

SELECTED BIBLIOGRAPHY 2011 2009 2007 2006 2005 2003 1999 1998

1987 1986 1985 1982 1981 1980 1979 1977 1976 38

Ben Knight, “Fine Artist of the Month: Contrapuntal Poem for Judith Murray,” blog Barbara MacAdam, “American Abstract Artist,” ARTnews, New York Linda DiGusta, “Art Wars,” Cognoscenti, New York Steven Alexander Journal, “American Abstract Artist at OK Harris,” blog Lilly Wei, “Judith Murray: Continuum,” The Brooklyn Rail, New York Jonathan Goodman, “Review of Exhibitions,”Art in America, New York Abby Alpert, “Media Video and DVD,” Booklist, Chicago Denise Green, “New York New York,” Art Monthly Australia #196, Australia Sandra Ban, “Review,” ARTnews, New York Ken Johnson, “For a Broad Landscape, An Equally Wide Survey,” New York Times “Due Americani a Viterbo,” Controvoce, Sicily Robert Ayers, “Review,” ARTnews, New York Michael Amy, “Review,” Art in America, New York Barry Schwabsky, “Abstract Introspection in Two Distinct Styles,” New York Times Lilly Wei, “Review,” Art in America, New York Andrew Long, “OPENINGS,” Art & Antiques, New York William Zimmer, “Geometric Abstraction’s Varied Moods,” New York Times Kristine McKenna, “Judith Murray,” Los Angeles Times Gail Stavitsky, “Three Aspects of Abstraction,” Arts Magazine, New York John Loughery, “Judith Murray,” Arts Magazine, New York, April William Zimmer, “American Abstract Artists Look Back at 50 Year History,” New York Times Gail Stavitsky, “Judith Murray,” Arts Magazine, New York Phyllis Braff, “Two Artists on the Cutting Edge,” New York Times Gail Stavitsky, “Judith Murray,” Arts Magazine, New York Janet Kutner, “Ms. Murray’s Style Defies Categorization,” Dallas Morning News Ron Lowe, “Geometric Paintings Shown,” The Fort Worth Star Telegram Bill Marvel, “Judith Murray,” “Critic’s Choice,” Dallas Times Herald Suzanne Muchnic, “Judith Murray,” Los Angeles Times Elizabeth Frank, “Judith Murray,” Art in America, New York Stephen Westfall, “Judith Murray,” Arts Magazine, New York William Zimmer, “Murray Mint,” The SoHo Weekly News, New York William Zimmer, “Judith Murray,” The SoHo Weekly News, New York Corrine Robins, “Whitney Biennial,” Arts Magazine, New York Jon Friedman, “Judith Murray,” Arts Magazine, New York Richard Whelan, “Discerning Trends at the Whitney,” ARTnews, New York April Kingsley, “Planes...in...Space,” The Village Voice, New York April Kingsley, “Getting It Together,” The Village Voice, New York William Zimmer, “Critics Choose,” The SoHo Weekly News, New York John Perreault, “Ten Best Exhibitions of 1976,” The SoHo Weekly News, New York John Perreault, “A Nonconformist Painter,” The SoHo Weekly News, New York

Judith Murrayâ&#x20AC;&#x2122;s New York City studio, December 12, 2011

S U N D A R A M TA G O R E G A L L E R I E S New York 547 West 27th Street New York, NY 10001 Tel 212 677 4520 Fax 212 677 4521 gallery@sundaramtagore.com

Hong Kong 57-59 Hollywood Road Central, Hong Kong Tel 852 2581 9678 Fax 852 2581 9673 hongkong@sundaramtagore.com

Beverly Hills 9606 South Santa Monica Blvd. Beverly Hills, CA 90210 Tel 310 278 4520 Fax 310 278 4525 beverlyhills@sundaramtagore.com

www.sundaramtagore.com President and curator: Sundaram Tagore Director, New York: Susan McCaffrey Director, Hong Kong: Faina Goldstein Designer: Russell Whitehead Printed in Hong Kong by CA Design

Art consultants: Teresa Kelley Joseph Lawrence Benjamin Rosenblatt Melanie Taylor

Judith Murray’s studio assistants: Diane Roehm Laura Hunt Clayton Schiff Zilania Dos Santos First published in the United States in 2012 by Sundaram Tagore Gallery Text © Sundaram Tagore Gallery Photographs © Sundaram Tagore Gallery All rights reserved under international copyright conventions. No part of this catalogue may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior permission in writing from the publisher. Cover: Marking Time (detail) • 2011 • oil on linen • 40 x 44 inches ISBN-13: 978-0-9839631-2-7