Resume and Artist Statements
- Master Class with Israel Hershberg, JSS summer Program in Italy 2012
- Hudson River Landscape, Grand Central Academy, Summer 2011
- M.F.A., cum laude, Graduate School of Figurative Art, New York Academy of Art, 1998
- New York Studio School, Summer Program, 1997
- Rhode Island School of Design, Summer Masters Program, 1991
- B.F.A. Albertus Magnus College, 1979
- Studio, Guilford private and group classes, ongoing since 2010
- Gateway Community College, New Haven, CT, 2007-08
- Creative Arts Workshop, New Haven, CT, Drawing and Painting Instructor, 2000 to present
- Creative Arts Workshop, New Haven, CT, Department Chair, 2000-03
- Yale Center for British Art, New Haven, CT, Drawing Instructor, 2001-02
- Holderness Academy, Plymouth, NH, Artward Bound Instructor, March, 2001
- Eileen Eder, Oil Paintings, The New Haven Lawn Club, January 16 - March 12, 2012
- Ordinary Objects, Kohn-Joseloff Gallery, Cheshire Academy, March 4 - April 29, 2011
Eileen Eder, George Billis Gallery, 511 West 25th St. NY, NY, May 27 - July 5, 2008
- Light, Shadow and Reflection, ArtSpace, Women's Family Life Center, Guilford, CT, 2007
- Glass Top Series, George Billis Gallery, 511 West 25th St. NY, NY, January-February 2006
- Eileen Eder, Drawing and Painting, Edwards Art Gallery, Holderness Academy Plymouth, NH. April 2001
- Personal Reality, Eileen Eder, Jewish Community Center of Greater New Haven, CT, December 2000
- Still Life Invitational, Susan Powell Fine Art, Madison, CT, April 6 - May 6, 2012
- Still Life: Breaking New Ground, Flinn Gallery, Greenwich, CT, October 27-December 7, 2011
- Pathways to Landscape, Ridgefield Guild of Artists, March 5 - March 26, 2011
Selected Members Group Exhibit NHP&CC, John Slade Ely House, New Haven, CT, September 2009
- Flora, Fauna & Fog, Meridian Galleries, Nantucket, MA, April-May 2009
- Black, White, and Between, Fenn Gallery, Woodbury, CT, June-August 2007
- Table Tops, Haskins Laboratories, New Haven, CT, May-August 2007
- Black, White, and Between, Seton Gallery, University of New Haven, January 2006
- The New Haven Seen: Existence, Stagnation & Morphosis, Small Space Gallery, New Haven, CT, October 2005
- Industrial Beauty, George Billis Gallery, 511 West 25th St., NY, NY, July 2004
- 5 Painters, Manhattan Athletic Club, New York, NY, January 2004
- Outlook New Haven, Arts Council of Greater New Haven, CT, June 2003
- The Urban Landscape, John Slade Ely House, New Haven, CT, May 2002
- 6 New Haven Landscape Painters, Jewish Community Center of New Haven, CT, March 2002
- Beyond Appropriation , New York Academy of Art, New York, NY, 1998
- Eileen Eder, Jean Oristano, Willoughby Wallace Memorial Library, Stony Creek, CT, June 1995
- Drawing, Erector Square Gallery, New Haven, CT, April 1994
Selected Juried Shows:
- New Haven Paint and Clay Annual Juried Show, 2000, 2001, 2003, 2004, 2005, 2006, 2008, 2009, 2010, 2011
- Madison Art Society Jured Art Exhibition, 2010, 2011
Old Lyme Landscapes, Lyme Art Association, June 2011
Deck the Halls, Lyme Art Association, December 2010
- Summer Painting, Lyme Art Association, August 2010
Arts Connecticut, Guilford Art League, 2001, 2002, 2003, 2004, 2005, 2006, 2007, 2008, 2009, 2010, 2011
Painting as Presence, National Juried Exhibition, Creative Arts Workshop, New Haven, CT, 2008
- All Consuming, Green Gallery, Yale School of Art, New Haven, CT, June 2005
- Close to Home, National Exhibition, Creative Arts Workshop, New Haven, CT, April 2005
- Art of the Northeast Silvermine Guild Galleries, New Canaan, CT, 2003
- Connecticut Women Artists, 1993, 1994, 2000, 2001, 2002, 2003
- Narration, Emblem and Sequence in Contemporary Art, Creative Arts Workshop, 2001
- The Portrait, New Haven Brush and Palette Club, 2001, 2002
- Vital Signs, Drawing As Inquiry, Creative Arts Workshop, 2000
- Beyond Appropriation, New York Academy of Art, New York, NY, 1998
- Seeing Red, Hera Gallery, Wakefield, RI, 1998
- The Connecticut Open, Real Art Ways, Hartford, CT, 1995
- Photography, Prints and Drawings, Art Works Gallery, Hartford, CT, 1995
- Women in The Visual Arts, Erector Square Gallery, New Haven, CT, 1994
- Prints and Drawings, Artworks Gallery, Hartford, CT, 1993
- Images of Summer, Artworks Gallery, Hartford, CT, 1992
- The Artist's Magazine, First prize, Still Life, 28th Annual Competition 2011
- Madison Art Society, Sachem Frame Shop Award, May 2011
Solomons Island Plein Air Painting event, Asbury Solomons Island Merit Award, May 2011
Madison Art Society, First prize, May 2010
Guilford Art League, Third prize, September 2010
Joe Veckerelli Memorial Prize, Guilford Art League, 2009
- The Roger Van Damme Prize, New Haven Paint & Clay Club, Juried Exhibition 2009
- New Haven Paint and Clay, Merit Award, Fall 2008
- Louis Crescenti Memorial Prize, Guilford Art League 61st Juried Exhibition 2008
- The Carle J. Blenner Prize, New Haven Paint and Clay Club, Juried Exhibition 2008
- Arts Connecticut 2006, Guilford Art league 59th Juried Exhibition, First Place
- New Haven Paint and Clay, Purchase Award, Spring 2003
- Arts Connecticut 2003, Guilford Art League 56th Juried Exhibition, Merit Award
- Connecticut Women Artist, 73rd Annual Juried Show, Golden Artist Colors Award
- Arts Connecticut 2001, Guilford Art League 54th Juried Exhibition, Merit Award
- Connecticut Women Artist, 71st Annual Juried Show, Artist’s Custom Framing Award
- Best America Oil Artists Volume III, pgs. 62-63
- "28th Annual Art Competition Winners, Still Life," The Artist's Magazine, Louise Hafesh, pgs. 28-29
- Drawing, Teach Yourself Visually, Wiley Publishing, New Jersey, 2008 pgs. 69, 92,140
- Lopez Schmaltz, Leah, "Lights, Camera, Action," Guilford Courier, p.45-6, August 23, 2007
- Birke, Judy, "Haskins Artists Find Enriching Inspiration," New Haven Register, p.E1, July 29, 2007
- "Eder wins Juror’s Prize," Guilford Courier, p.C-7, September 7, 2006
- Rogers, Nancy L., "Pursuing Dreams," Artis Magazine, p. 44, April-May 2005
- Birke, Judy, "Home is where the art is," New Haven Register, p. E1, April 17, 2005
- Barry, Amy, "Painting the Town," Shoreline Times, June 5, 2003
- Birke, Judy, "On canvas, glimpse of studio," New Haven Register, p.E1, April 14, 2002
- Hoffman, Hank, "What’s the Story Here," New Haven Advocate, May 31, 2001
- Zimmer, William, "Creative Works with a Political Flair," New York Times, June 24, 2001
- Birke, Judy, "In a crowded faculty show, four stand out." New Haven Register, p.D1, Jan. 24, 2000
- Birke, Judy,” On canvas”, New Haven Register, Dec. 24, 2000
- "What’s Happening," New Haven Register, p.E3, December 10, 2000
- "Vital Signs: Drawing as Inquiry," The New Haven Advocate, May 1, 2000
Public and Corporate Collections:
- Eastern Connecticut State University
- Lipman Bros, Nashville, TN
- Municipal Art Collection, City of New Haven
- New England Integrative Health Associates
- Permanent Collection, New Haven Paint and Clay
- Petra Corporation, New Haven, CT
- Pfizer Inc.
- Plastic Works, New Rochelle, NY
- Smilow Cancer Hospital at Yale-New Haven
- Sprint Corporation
- Stowers Institute
- US State Department, Washington D.C.
Blue Glass Shadow
I started the set up for this painting with all blue objects and at varying heights finally ending up with an eye level view. I couldn’t get excited by the blues only and started replacing objects with different colors which made the grouping I was going to paint a lot more interesting. Most of the objects you see in the painting were chosen for their color, shape, darkness or lightness or size. I treat objects as abstract elements in my paintings, breaking up the picture plane in as interesting, and sometimes surprising, way as possible. The background was boring and needed to be broken up so I added the envelopes for a subtle change. The “stamps” helped make a connection to the blue glass and red pear at the opposite angle in the painting. I hadn’t resolved the background behind the orange box until I went to the Met when the American Wing re-opened in January and revisited one of my favorite Twachtman paintings. I’ve had a print of the painting for years in my studio so as soon as I got back to the studio I put it up to copy in a somewhat subdued version as I wanted it to sit in the background. I was happy with how it worked in the painting. I am also happy to give homage to the great John Henry Twachtman.
Gravity and Form
This narrative still life is having fun with a beautiful antique Plumb Bob, typically used in construction for creating straight lines. I’ve contrasted the “Bob” with a curvaceous human female torso, mangoes, orchid plant and a sea shell. Of course, each object is sitting obeying it’s own rule of gravity and form. Ultimately the painting allowed me to use the tool, which has been used for centuries, and to enjoy it by virtue of contrast.
Study in White
“White on white” refers to the painting of all white objects in various shades of white or off white. Painting in this extremely narrow range of (almost) colorless monochromatic paint has been a challenge for painters for centuries.
“Study in White” was a challenge to have a colorless, all white painting that would be visually stimulating enough to capture the viewers attention and interest. I staged a collection of white objects with a good deal of variation in size, texture, shape and materials to work from. My objects included metal, plastic, and glass containers. Hard and soft objects were incorporated as well as natural elements like shells for texture. In addition, lighting was used to create drama and to expand the values from white to black with a moderate amount of color to express the warmth of light contrasted by the cool shadows.
I find Plein-air landscape painting to be both exciting and challenging as I struggle to capture the ever-changing light and color of a location. I am mindful of strong abstract composition and of capturing the atmosphere of a location as well as weather, time of day, and season.
The still life genre has provided me with the opportunity to create a contemporary dialogue between abstraction, representation and narrative. Ordinary objects are chosen primarily for their abstract elements of value, shape, and color rather than any sentimental or decorative reason. In some of my paintings I am simply depicting the joy and play of light and color on a simple object. Reflections of color and on glass frequent my work. Other paintings describe a contrast of interior and landscape which is a reflection of how most of us live; inside looking out.
My ultimate goal is to develop visually interesting paintings with a sense of poetry where the viewer will be enticed to enter, linger, and reflect.
After four years of mostly still life painting, I am also working on landscape paintings. The challenge of ever-changing natural light and colors makes this type of painting very difficult and exciting. There are always rainy days for still life, often combined with landscape backgrounds. While my genre has shifted, I am still mindful of strong abstract composition and interesting subject matter. I hope to inspire my viewers with an appreciation of nature's gifts, however small or grand, and connect individuals with the joy of the natural world outdoors.
I am inspired by light and how it reveals objects and nature with an endless variety of color and value.
The still life genre has provided me with the opportunity to create a dialogue between abstraction and representation. I have a strong belief in the value of drawing and beauty of painting and believe that ideas teamed with craftsmanship can make powerful art that is rich with many layers of interest.
My creative process involves conceptualizing and choreographing a “stage” of still life objects. A focus on abstract elements of composition, color, shapes and value are foremost in my mind. The paintings are then executed with a realistic, perceptual approach.
Glass Top Series
This group of 24 still-life studies have in common a size of 12”x12” and glass top reflections. From those consistent restrictions the individual oil paintings vary a great deal with a diversity of objects, colors, shapes, and values. While the paintings are done in a realistic style, I concentrate on the abstract elements of the paintings. I use simple ordinary objects and papers for their shapes and colors rather than any sentimental value. A great deal of time is spent carefully composing a segment of a larger world, to keep every inch energized and engaging. After deciding on a composition my approach is purely perceptual. My focus is on the constantly changing colors and values caused by light, shadow and surrounding color reflections.
Caught and Contained series, #1-3
This series of paintings has three themes: common food containers, fish and produce, and an inside/outside perspective. My goal for the viewer of these still lives is to experience ordinary everyday items in a new context in order to visually and psychologically see anew. Common, identically mass-produced containers are juxtaposed with natural world food items that are unique and individual. Combining the indoor still lives with the outside landscapes provides a metaphor for our personal up-close lives in relationship to the world around us.
Containers series #1-4
These drawings depict a windowsill view of various food containers, both man-made and natural. The objects provide a variety of shapes and forms contrasted with the negative space of light coming from behind. The recognizable, everyday objects encourage a narrative by nature of our individual relationships and histories to them.
Don't Bother Me is a narrative painting that evolved from guilty, uncomfortable feelings that have plagued me by not allowing enough of what I read in the newspapers or witness on the television to interfere with my privileged life. Senseless Damage was inspired by the tragic execution of Margaret Hassan in Iraq in November 2004.
Although my still lifes and landscapes are painted in a realistic style, I think of my objects as abstract shapes and colors within the rectangle. I enjoy using non-traditional combinations of objects to suggest a narrative and encourage the viewer to see common things in a new light.
I begin with an idea. I then use models or still life objects to play out the idea. I work from my set up perceptually, playing close attention to how things affect each other visually with color and value and psychologically with content.
When painting landscapes, I am careful to find a location where I can capture the elements that excite me, such as light, shadow, shapes and color, and how those elements reflect on each other. I fight to leave out unnecessary details.
I have a love for drawing, and I portray things in a realistic manner because there is so much I find visually stimulating in the real world.
My paintings and drawings include both figurative and landscape imagery. Elements of abstract design, as well as realistic painting and drawing techniques, are strongly considered. I feel that my work is rich with layers of interest, both visually and psychologically. Visual clues are used to set a stage, mood or atmosphere. Season, time of day, and even weather conditions can become important details. The use of light and shadow are often strong, seductive elements.
I consider the viewers of my work to be important because I want others to be able to relate. I prefer to use recognizable subject matter so that the viewer will have some personal association. My work should engage viewers, hold their interest and stimulate their imagination.