Lynne Golob GelfmanAbstract Expressionist 1980s Painting Miami Woman Modernist Lynne Golob Gelfman, c.1983

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Lynne Golob Gelfman, American (1944-2020)
Composition in Pink
Acrylic on paper
Hand signed and dated recto
Sheet: 22.5 x 30 … Read more Lynne Golob Gelfman, American (1944-2020)
Composition in Pink
Acrylic on paper
Hand signed and dated recto
Sheet: 22.5 x 30 inches
Frame dimensions: 24.75 x 32.25 frame with glazing
This is one of a pair I am selling. I included a photo so you can see the two side by side. This listing is for the pink one only.

Gelfman is often praised for using unconventional approaches during the creation process. This intricate mixed media piece is no exception. Her use of onion bag netting is evident towards the bottom and top portions of the canvas. The painting's patterned surface mimics Gelfman's interest in woven textiles. Moreover, the rich blue and red color palette creates a complementary relationship that only pulls the viewer deeper into the painting.

LYNNE GOLOB GELFMAN, USA, New York, b. 1944
Lynne Golob Gelfman’s abstract and transcendent artworks are vivid reflections on the kinetic nature of our society and environment. Upon first glancing at the surface of Gelfman’s paintings, the viewer might be struck by the subtle shifts of the paint and brush strokes. Yet, the more a participant engages with the artist’s work, the more dynamic and convoluted they become. The energy found in nature, waves, dunes and clouds sprawl across Gelfman’s canvases, inviting the viewer to explore their inherent kinetism. This is an exuberant colorful piece and would go great with Memphis Milano 1980's bold color furniture.
As part of the baby boomer generation, Lynne Golob Gelfman was born in 1944. Raised in New York, she also spent time living in Bogota, Colombia as an American Field Service student. In 1961, Gelfman entered the Sarah Lawrence College, graduating in 1966, then continued her education at Columbia, earning an MFA in 1968.
In the early ‘70s, Gelfman relocated to Miami with her husband. Between her travels in South America and her Miami residence, she came to value the strong ties she fostered with Latin American culture. Although she has extensive connections to South America, Gelfman is an artist also deeply influenced by the North American Abstractionist context she grew up in. This fusion of cultures and a number of other inspirations are incorporated into her creativity. Apart from being a collector of textile and basketry fragments, her interests also extend into Agnes Martin’s meditative paintings, Morris Louis's furling series, and Bridget Riley’s illusionistic surfaces.
Nature and illusion are omnipresent forces in Gelfman’s work. Her acrylic or oil constructs have a textile-like appearance which seek to engage the viewer’s senses. This is apparent in the unconventional tools (such as sanding machines) the artist uses to create texture. In 2006, Gelfman hinted at her artistic process when she titled her shows in New York and at the Fredric Snitzer Gallery resist and react, respectively, highlighting the thrust and drag motions represented in paintings.
The allure of Gelfman’s shimmering pieces lies in their ability to simultaneously reflect movement, hue and patterns with a hint of fantasy. Gelfman has had more than 40 solo shows. Her first solo show was a prize awarded by Miami’s Metropolitan Museum and Art Center in 1974, then under the leadership of Arnold Lehman. Since then, Gelfman has exhibited nationally and internationally in galleries and museums. Recent solo exhibitions include “dying the grid” (2015) William Siegal Gallery, Santa Fe, “trued surface” (2014), Dimensions Variable, Miami; “scapes” (2012), The Patricia and Phillip Frost Art Museum, Florida International University (FIU), Miami; “sand” (2012), Alejandra von Hartz Gallery, Miami; “between” (2009), Carol Jazzar Gallery, Miami; “cloud/water/sand” (2010), Luminaire X, Miami; “react” (2006), “across” (2003), Fredric Snitzer Gallery, Miami; “resist/react” (2006), Newman Popiashvili Gallery, New York; “18 paintings” (2003), Suite 106, New York; “grids” (2018-19), Perez Art Museum Miami. References to grids as seen in the work of early modernists such as Piet Mondrian or Kazimir Malévich, or later in the 1960s paintings of Agnes Martin or Sol Lewitt as well as from the woven textiles of Central and South America. She was included in the selling exhibition NOMEN: American Women Artists from 1945 to Today at Phillips in NYC. (along with Lynda Benglis, Kiki Smith, Louise Bourgeois, Yayoi Kusama and Feminist artist Judy Chicago. Her paintings are held in the permanent collections of museums such as the Pérez Art Museum of Miami; the Museum of Contemporary Art, North Miami; the National Museum of American Art, Smithsonian Institution; The Norton Museum; The Baltimore Museum of Art; and the Detroit Institute of Arts. See less