About the Work
A painter’s painter, the simplicity of Ellen Berkenblit’s compositions is offset by her textural expressiveness, similar to how time functions in finite linearity yet the present moment remains a site of boundless depth.
Eschewing narrative in favor of participatory sensation, Berkenblit displaces her scenes into regions of dense shadow, a deceptive Vantablack opacity, which upon closer inspection is simultaneously obscuring and revealing the complexity of activity beneath. Diaristic in nature, Berkenblit’s paintings are built through multitudes of underlayers using the immediacy of feeling, language of color, and vocabulary of figuration to explore the abstract.
Berkenblit’s figures, often in profile, don't always meet the audience’s gaze, though at times we may find ourselves face to face with a tiger, as is the case in our new collaboration, And Also Walking on Finch Road (2023), an intimate hand-finished series of 25 featuring gouache and archival pigment on Hahnemuhle hemp paper with a hand-torn deckled edge, based on her painting Walking on Finch Road (2023) on view in Norton, her 2023 solo exhibition at Anton Kern (New York).
Certainty is slippery — context as morphing agent — but time spent is certain. And Also Walking on Finch Road is a striking example of Berkenblit’s elegant ambiguity, wherein the artist’s process is the greatest story ever told.
Ellen Berkenblit (b. 1958, Paterson, NJ) has mounted solo exhibitions at Anton Kern (New York), Vielmetter Los Angeles, Corbett vs. Dempsey (Chicago), MCA Chicago, The Drawing Center (New York), and Rodolphe Janssen (Brussels), among others. Her work is included in the public collections of the Aspen Art Museum, Brooklyn Museum, Cincinnati Art Museum, Farnsworth Art Museum (Rockland, ME), the Minnesota Museum of American Art (St. Paul, MN), the Museum of Contemporary Art (Chicago), the Museum of Contemporary Art (Los Angeles), the Museum of Modern Art (New York), and the Whitney Museum of American Art (New York). In 2022, Berkenblit was awarded the Gwendolyn Knight Lawrence Award in Art, which recognizes outstanding achievement in the visual arts, presented by the American Academy of Arts and Letters (New York). The artist lives and works in New York, NY.
Authentication & Resale
This work is signed, numbered, and dated by the artist on front.
This work is accompanied by a Certificate of Authenticity signed and numbered by Exhibition A.
Be sure to keep your Certificate of Authenticity (COA) in a safe place. We are unable to replace or reissue COAs.
Framed artwork is custom framed once it is ordered. Allow 3-5 weeks for framing and delivery.
All of our frames are made from sustainably sourced engineered hardwood that is manufactured in the USA. Frames are available in Black or White Matte and Walnut.
Prints are hinged to a conservation quality, acid-free and lignin-free Cellulose matboard, using acid-free polyethylene cloth tape. Each mat’s surface paper is fade and bleed resistant and is attached to a conversation quality foam-core board. Some of our work (typically those pieces with a deckled edge) is floated on the matboard with spacers to separate the artwork from the glazing.
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Our White and Black frames have a ⅞” wide flat face and are 15/16” deep. Mats are 1” wide for prints up to 8” x 10”. Mats are 2” wide for prints larger than 8” x 10”.
Our Natural and Walnut frames have a ¾” wide flat face and are 1 ⅛” deep. Mats are 1” wide for prints up to 8” x 10”. Mats are 2” wide for prints larger than 8” x 10”.
Any artwork that is floated will be placed in a frame that has a ⅝” wide flat face and is 1 5/16” deep. Work will be floated with a 1” border around it.
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