Publications & Awards
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2022
2021 2019 2018 2017 2017 2017 2015 2015 2014 2013 2012 2012 2012 2012 2011 2010 2010 2010 2010 2010 2010 2010 2009 2008 2008 2008 2007 2006 |
Publication: CanvasRebel, Meet Judith Berk King; June 2022; https://canvasrebel.com/meet-judith-berk-king/
Publication: Allapatah Magazine, March 2022, text and photo Book: Manifest International Drawing Annual 14, Manifest Press 2021, text and photos Publication: Latin American Art, Judith Berk King: Reflection of Biological Futurism; September 2019 [See text below.] Publication: VoyageMIA, Check Out Judith Berk King's Artwork; May 2018 issue http://voyagemia.com/interview/check-judith-berk-kings-artwork/ Book: Markle, Jaime (Editor). Art Journey Abstract Painting: A Celebration of Contemporary Art, North Light Books 2017, Pages 80-81; text and image Book: Dorosh, Dale. Small Art Objects: Fire for Effect, A.I.R. Vallauris, Inc. 2017 Publication: Touchon, Cecil. Dada Centennial: Day of the Dead, Ontological Museum Publications 2017 Book: Manifest International Drawing Annual 9, Manifest Press 2015, Pages 113-114; text and photo illustrations (color) Book: Wandless, Paul Andrew (Editor). Image & Design Transfer Techniques, The American Ceramic Society 2015, Chapter on Graphite Transfers, Pages 26-31 with photo illustrations (color) Judge: Melbourne Art Festival, Melbourne, FL Book: Lawton, Jim (juror). 500 Teapots Volume 2, Lark Books 2013, Photo Illustration (color), Page 278 Magazine Article: Pottery Making Illustrated, “Split Personality”, July/August 2012, Pages 17-20; Photo Illustration (color) Book: Baird, Darryl. From a Slab of Clay, The American Ceramic Society, 2012, Page 138; Photo Illustration (color) Interview: Television; Japan’s Travel Channel, translated by Ken Miyauchi Film: Overexposure, credited as Artist, produced by Rocketfuel Films, Inc, Will Vazquez, Director Book Cover: Spears, Brian. A Witness in Exile, Louisiana Literature press. 2011, Cover; Acknowledgements. First Place Award and Publication: The Pastel Journal, 11th Annual ‘Pastel 100’ Competition; Abstract & Non-Objective Category, F & W Media, Inc., Cincinnati, Ohio; Page 76 Jurors Choice Award: Narrative Animal Imagery, San Luis Obispo Museum of Art, San Luis Obispo, CA Book: Hamachandra, Ray. Art Tiles, Sterling Publishing Co., Inc. 2010, Page 164; Photo Illustration (color), Page 165 Book: Snyder, Jeff. Ceramics Today, Schiffer Publishing 2010; Photo Illustrations (color) and text, Pages 114-115 Honorable Mention Award: Jersey Shore Clay National, M. T. Burton Gallery, Surf City, NJ Finalist: Emerging Ceramic Artist Competition, International Ceramic Magazine Editors Association, Fuping, China Grant: State of Florida, Division of Cultural Affairs, Tallahassee, FL to attend the Creative Capital Workshop sponsored by the Division Honorable Mention Award and Publication: The Pastel Journal, 10th Annual ‘Pastel 100’ Competition; Abstract & Non-Objective Category, F & W Media, Inc., Cincinnati, Ohio; Page 76 Book: Tourtillott, Susanne. 500 Tiles: An Inspiring Collection of International Work, Lark Books 2008, Introduction, Page 7; Photo Illustrations (color), Pages 209, 410 Grant: Artist Enhancement Grant: State of Florida, Division of Cultural Affairs, Tallahassee, FL Grant: Artist Access Grant: Miami-Dade Department of Cultural Affairs/Tigertail Productions, Miami, FL Grant: Artist Enhancement Grant: State of Florida, Division of Cultural Affairs, Tallahassee, FL Grant: Artist Access Grant: Miami-Dade Department of Cultural Affairs/Tigertail Productions, Miami, FL |
The following insightful article on my work was published in the quarterly periodical, Latin American Art, and was written by Bartholomew Bland, Executive Director, Lehman College Art Gallery, The City University of New York. Thank you!
King’s elegant, attenuated drawings in monochromatic graphite are refined, her lines as delicate and as strong as a spider’s web, and as precisely drawn as deliberately scientific anatomical studies. Her animals are strangely familiar, but somehow unlike anything the viewer may have encountered before – sea creature and bird seem uncomfortably merged. King’s forms here suggest the purity of line of the pencil drawings of the nineteenth-century Neoclassical French artist Jean-Auguste-Dominique Ingres, with his vividly distinct elongation. King’s animals sinuously tiptoe into the viewer’s consciousness “on little cat feet,” or float through unseen oceans, their subtle strangeness revealing themselves as a reward for careful observation.
King has issued a clear kind of manifesto in her Portfolio of Biological Futurism series – and her work here derives from the idea of another mass extinction from flooding, overpopulation, environmental degradation and a subsequent reinvigoration of life forms. This kind of apocalyptic vision and the rampant, disturbing profusion of life run amok has been a powerful vision of contemporary artists in recent years.
However, King’s work allows the viewer to observe with a kind of careful scientific scrutiny that rewards study, as she allows her work to be put under the metaphorical microscope. As distinct from her drawings, King’s “X-Ray” prints are heavier, but also more fraught, because they signal to the viewer all the weight of scientific inquiry and the seeming irrefutable certainty of being presented with an X-ray.
King plays with the limited range of her black and white monochromatic palette to dramatic effect. In her drawings, she presents clear dark lines reversal of color against a white sheet, and the lines in works like Untethered (2015) have a true balletic gracefulness that comforts the viewer, but works like Leap (2014) underscore that beauty also often has danger – here, an unidentifiable creature, with huge, gaping jaws wide open, lunges through the air at a hovering group of delicate, fluttering insects, a kind of action scene caught and frozen in midair. Although suggesting a primal violence, King presents the episode coolly and matter of factly - as pure documentation of a fiction. She might have filled the page with a dark, foreboding chiaroscuro, but her work retains an eighteenth-century lightness of line.
King excels at the intertwined and complex compositions of sinuous tendrils in images like Untethered and this complexity pervades even works like Burden (2014), in which one set of creatures seems to drag along, on delicate tentacles, much heavier shells, pods, or eggs. It is not clear if the burden these creatures drag along are their homes, their offspring, their food, or parasites who have lashed themselves to accommodating hosts. King leaves the title ambiguous and lets the viewer bring to the work his or her feelings about care, commitment, and responsibility.
King has issued a clear kind of manifesto in her Portfolio of Biological Futurism series – and her work here derives from the idea of another mass extinction from flooding, overpopulation, environmental degradation and a subsequent reinvigoration of life forms. This kind of apocalyptic vision and the rampant, disturbing profusion of life run amok has been a powerful vision of contemporary artists in recent years.
However, King’s work allows the viewer to observe with a kind of careful scientific scrutiny that rewards study, as she allows her work to be put under the metaphorical microscope. As distinct from her drawings, King’s “X-Ray” prints are heavier, but also more fraught, because they signal to the viewer all the weight of scientific inquiry and the seeming irrefutable certainty of being presented with an X-ray.
King plays with the limited range of her black and white monochromatic palette to dramatic effect. In her drawings, she presents clear dark lines reversal of color against a white sheet, and the lines in works like Untethered (2015) have a true balletic gracefulness that comforts the viewer, but works like Leap (2014) underscore that beauty also often has danger – here, an unidentifiable creature, with huge, gaping jaws wide open, lunges through the air at a hovering group of delicate, fluttering insects, a kind of action scene caught and frozen in midair. Although suggesting a primal violence, King presents the episode coolly and matter of factly - as pure documentation of a fiction. She might have filled the page with a dark, foreboding chiaroscuro, but her work retains an eighteenth-century lightness of line.
King excels at the intertwined and complex compositions of sinuous tendrils in images like Untethered and this complexity pervades even works like Burden (2014), in which one set of creatures seems to drag along, on delicate tentacles, much heavier shells, pods, or eggs. It is not clear if the burden these creatures drag along are their homes, their offspring, their food, or parasites who have lashed themselves to accommodating hosts. King leaves the title ambiguous and lets the viewer bring to the work his or her feelings about care, commitment, and responsibility.
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Thank you Latin American Art!
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