Judith Kindler is an American multidisciplinary artist working in sculpture, installation, photography, and photography-based mixed media wall works.  She is noted for her use of diverse and complex medias in the expression of a conceptual or narrative idea. 


Judith Kindler launched her new line of jewelry this last September 2016 at Gail Severn Gallery in conjunction with her solo exhibition "Desire".  The jewelry is based on referenes to her art and/or directly incorporating objects and sculptures created by Kindler into the work. Kindlers love for collecting unique objects of art set this into motion following the traditions of past artist like Calder, Picasso, Koons, Man Ray, Klimt,  Bourgeois, Liechtenstein,  Dali and Hirst who all created jewelry.



I am very honored to have my work acquired by the historic Sun Valley Lodge as part of their permanent collection.  The work hangs in the Duchin Room, the lodges famous bar, where I have shared many a drink with friends over 35 years. Much thanks to Gail Severn Gallery who assisted the Lodge in placement of art.

Rooms with a view - Idaho Mountain Express Newspaper: Arts

I CAN SEE YOU - Introduction by Peter Frank Art Critic and Writer


by Peter Frank

At a time when most of the visual stimuli we receive come to us behind featureless plasma screens, the actuality of physically fabricated artwork has become a precious experience, at once exotic and necessary.

Even advertisements, composed of alluring imagery and reassuring information, become that much more persuasive when delivered as palpable material, whether pages in print magazines, posters on walls, banners flapping in the wind, or even projections on the sides of (very real) buildings. 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 cutting up and reassembling the popular publications of their day, and fifty years ago by Nouveaux Réalistes and other assemblagists compiling the detritus of a con- sumer culture – not least its advertising – into errant, strange, but familiar structures. In partic- ular, artists working in Europe such as Raymond Hains, Jacques Villeglé, Mimmo Rotella, and Wolf Vostell heightened the visceral excitement of urban walls’ stuttering messages and sensu- ous textures by isolating broad swaths of posters and handbills and presenting such seemingly random excerpts as art.

Superficially resembling the expansive collages of these ”déchiristes,” the work in Kindler’s “I Can See You” series in fact reverses the process and meaning of such dé-collage (Vostell’s term). Kindler engages imagery she has produced herself, conducting photo-shoots with models the re- sults of which become her ground material. She weathers and slathers her collage-paintings into objects romantically beset with a juicy decay – the appeal of the coarsened recognized in Japanese aesthetics as sabi no wabi. But the imagery Kindler has painstakingly formulated does not disappear into the grit but gains immediacy from it. The women who posed for this project may not be present, but photos of them are, and their presentness becomes present-tense when enmeshed in Kin- dler’s painterly enhancement.

In the hands of a woman, such imagery – which exploits women doubly, as images and as consumers – takes on critical resonance, one only amplified by the kind of entirely self-generative process Judith Kindler employs. The neo-Pop gloss of “I Can See You” may be seductive, but its edge bites.

- PETER FRANK is a New York-born, Los Angeles-based art critic and curator. Associate Editor of Fabrik magazine and art critic for the Huffington Post, Frank has served as Editor of THEmagazine Los Angeles and Visions Art Quarterly, and as art critic for the LA Weekly, Village Voice and SoHo Weekly News. He has organized exhibitions for Documenta in Kassel, the Museo Reina Sofia in Madrid, and New York’s Solomon R. Guggenheim Museum, among other venues, and served as Senior Curator at the Riverside Art Museum in California. He has written extensively for books and periodicals around the world. 

The Art of Judith Kindler / The Use of Digital Media in the Arts

Kindler melds together seamlessly - photography, digital constructions, paintings with many different medias and objects, both found and constructed.  The use of technology in contemporary art has been heralded by Curators and Museums as "a watershed moment in the entire field of contemporary art, one which will bring new, previously unimagined forms of artistic expression as well as new possibilities for more established forms."  Here are some comments from The Whitney and SF Museum of Modern Art curators on the value and importance of its use in contemporary art:

Lawrence Rinder, the Whitney Museum of American Art's Curator of Contemporary Art, writes in his essay Art in the Digital Age (BitStreams): "Digital technology has become the ultimate tool for capturing the nuances of the unreal. Artists have taken advantage of their unprecedented control over sensation and information to produce works that challenge our everyday perceptions of color, form, sound, space and time… Digital technologies are contributing to the sense that the boundaries between the organic and inorganic, the known and unknown, the real and unreal, are being blurred beyond recognition."

Today's artists may be employing new technologies to reflect contemporary issues, but the purpose is the same as it has always been: to engage and, at the same time, transcend the social context in which they live. Quite simply, artists working with digital media are just utilizing another medium for expression while observing our contemporary context and the ramifications that the increasing digitization of day-to-day life has on our society.

Rinser of the Whitney notes: "Artists can now create seamless chimeras that resonate with contemporary anxieties about the instability of perception and even life itself in this age of virtual reality and genetic engineering. BitStreams (Whitney Museum of American Art, 22 March - 10 June 2001) explored the Digital Age not as something external to us, residing solely in technological objects or in a kind of 'techno' style, but rather as a constellation of physical, emotional and cognitive phenomena which have transformed aspects of human experience."

Through their common use of digital software, photography, film, video, installation, sculpture, and sound, have developed closer connections, inspiring fascinating crossovers among the media.  According to the Whitney's Rinder: "Previously distinct media such as photography, video, and film are merging as artists from diverse disciplines turn to digital media to extend the boundaries of their work. This is a watershed moment in the entire field of contemporary art, one which will bring new, previously unimagined forms of artistic expression as well as new possibilities for more established forms."

San Francisco Museum of Modern Art (SFMOMA) media arts curatorial associate, Kathleen Forde's opinion is: "The most groundbreaking effect that digital technology has had on art practice is the hybridization that has occurred in art forms. There is now a common ground -- that of digitisation -- shared between and among art forms which blurs the line of what traditional media once was. Music, sound, painting, sculpture, design, architecture, live arts, online work, time-based media, are conflating, merging into one blurry landscape of a media that cannot be defined in simple terms."




A Little Piece of the Sky, Judith Kindler, 2014, Mixed Media embedded in Resin on three panels.


After a two year hiatus, I am announcing that I am returning to Melissa Morgan Fine Art Gallery in Palm Desert.  They represented my work in Palm Desert and the vicinity for about five years establishing a strong collector base there and after numerous discussions about a renewed path forward in the relationship, I am thrilled to say that we will be working together again.  It is a great fit as their curatorial focus is cutting edge art in a market dominated by decorative or more commercial galleries.

New work will be arriving there by the end of May from my new series in resin and mixed media "The View".  MMFA also represents artists:  Chuck Close, Deborah Orapallo, Squeak Carnwath, and Hung Liu who are represented by Gail Severn Gallery, who represents my work in Sun Valley/Ketchum Idaho.

Melissa Morgan Gallery in Palm Desert

Melissa Morgan Gallery in Palm Desert

New work from my newest series The View

The idea that we peer out windows and doors watching, viewing yet not being seen ourselves intrigues me.  That is the feeling in this new body of work.   Here is the first completed work in mixed media embedded in resin with hand crafted wooden window.  Entitled "Virgin Land", each panel in this diptych is 24" x 60".



Judith Establishes Second Studio in Ketchum, ID

It happened right before Christmas.  We moved into a 1300 sq. ft. space in a wonderful location in the industrial area of Ketchum.  See the images in the studio section.  Now having worked in the space for over a two month period, I am loving it.  When I am in Ketchum (Sun Valley) I am so relaxed and this non urban environment brings a different mood to my work.  Perhaps a quieter feeling yet still filled with an implied narrative. I will post some of the first works soon.  But as I am back in Seattle I am completing a major commission and working of an exhibition.


The Undaunted Project is 70% Complete

We have raised over $90,000 and still need another $65,000 to complete it.  But at this point we have formally proposed the exhibition and completion funding to a number of museums from New York to the West Coast.  What a task it is to write a formal proposal and I am most anxious to see what happens.  The Project has a lot of well wishers. 


All copyrights are reserved by Judith Kindler