{"id":33078,"date":"2025-06-25T21:18:14","date_gmt":"2025-06-25T21:18:14","guid":{"rendered":"https:\/\/museumofnonvisibleart.com\/authorsite\/?p=33078"},"modified":"2025-06-25T22:09:18","modified_gmt":"2025-06-25T22:09:18","slug":"judith-simonian","status":"publish","type":"post","link":"https:\/\/museumofnonvisibleart.com\/authorsite\/judith-simonian\/","title":{"rendered":"Judith Simonian"},"content":{"rendered":"
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A photo of the artist: Judith Simonian with Charles Yuen<\/figcaption><\/figure>\n

Many of Simonian\u2019s works in the exhibition<\/a> are still lifes, such as \u201cMarysia\u2019s Salon\u201d (2024), which was inspired by a visit to a Polish beauty parlor in her East Village neighborhood. \u201cBottle Symphony in Red\u201d (2023) recalls Giorgio Morandi. Whereas Morandi\u2019s still lifes are a delicate arrangement of vases, jugs, bowls, urns, and bottles, painted in muted colors\u2014whites, browns, and tans\u2014set against a neutral background, Simonian bombards our senses through her use of high-intensity reds, pinks, blue-greens, grays, blacks, and yellow ochre.<\/p>\n

In \u201cInside Outside\u201d (2023), the artist similarly portrays a room as an expressionistic whirlwind of vivid colors. Simonian\u2019s paintings deal with intervals, or the spaces between points. Simonian\u2019s still lifes often open up an interior space to an exterior one. In \u201cMarysia\u2019s Salon,\u201d a photograph tacked on the wall suggests the world outside. \u201cBobby Pins of Manhattan\u201d (2023-24) provides a glimpse of the city skyline through the window, including the landmark Empire State Building. \u201cCat in the Lamp\u201d (2024) depicts a black cat inside an illuminated yellow lampshade in front of a large window that overlooks water.<\/p>\n

Simonian employs careful framing to create meaning. It is possible to view several of her landscape paintings as political allegories. In \u201cGreener Pastures\u201d (2025), the shimmering image of the Statue of Liberty appears to be a mirage, while green brushstrokes seem to hint at water on deck or maybe even a school of fish. \u201cResting on Her Side\u201d (2024) depicts rocky terrain and the bleak spectacle of a capsized ship.<\/p>\n

Judith Simonian<\/b>\u00a0has had solo exhibitions of her work at 1GAP, Brooklyn; Edward Thorp Gallery, New York City; and John Davis Gallery in Hudson, NY. Her work has been shown in numerous museums, including The New Museum, NYC; MoMA\/PS1, NYC; Islip Museum, NY; Montclair Art Museum, NJ; Weatherspoon Art Museum, NC; San Francisco Museum of Art, CA; Santa Barbara Museum of Art, CA; Newport Harbor Art Museum, CA; and the Madison Museum of Contemporary Art, WI. Simonian has been awarded many prestigious honors, including a John Simon Guggenheim Memorial Foundation Fellowship, an Adolph and Esther Gottlieb Foundation Individual Support Grant, and a National Endowment for the Arts Grant. She received her BA and MA degrees from California State University, Northridge. The artist lives and works in New York City.<\/p>\n

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Greener Pastures, 2025, acrylic on canvas, 24 x 32 inches<\/figcaption><\/figure>\n
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Marysia\u2019s Salon, 2024, acrylic on canvas, 30 x 20 inches<\/figcaption><\/figure>\n
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Enter the Mountain Yellow, 2023, acrylic on canvas, 50 x 66 inches<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

A photo of the artist: Judith Simonian with Charles Yuen Many of Simonian\u2019s works in the exhibition are still lifes, such as \u201cMarysia\u2019s Salon\u201d (2024), which was inspired by a visit to a Polish beauty parlor in her East Village neighborhood. \u201cBottle Symphony in Red\u201d (2023) recalls Giorgio Morandi. Whereas Morandi\u2019s still lifes are a […]<\/p>\n","protected":false},"author":3,"featured_media":16239,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[6],"tags":[],"class_list":{"0":"post-33078","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-interview","8":"entry"},"_links":{"self":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/33078","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/comments?post=33078"}],"version-history":[{"count":2,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/33078\/revisions"}],"predecessor-version":[{"id":33114,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/33078\/revisions\/33114"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/media\/16239"}],"wp:attachment":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/media?parent=33078"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/categories?post=33078"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/tags?post=33078"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}