Judithe Hernández first won acclaim as a member of the celebrated Chicano artist collective Los Four. The collective would become a major force in the Chicano Art Movement and the first Chicano artists to break through the mainstream museum barrier. After graduating from Otis Art Institute in 1974, she and Carlos Almaraz earned recognition as muralists during the renowned Los Angeles mural renaissance of the 1970's. Together they painted murals for labor rights leader Cesar Chavez and the United Farm Workers Union, as well as community murals, such as the Ramona Gardens Housing Projects in East Los Angeles where they painted a pair of the first feminist empowerment murals. While in graduate school, her mentor was the legendary African American artist, Charles White. His influence and encouragement to pursue her interest in social realism art was critical to her later work. Like White, she shared a love of drawing which resulted in a studio practice dedicated to works on paper. Following graduation from Otis, her inclusion in museum and gallery exhibitions in California began immediately with landmark exhibitions at the Oakland Museum, "In Search of Aztlan" and "The Aesthetics of Graffiti" at the San Francisco Museum of Modern Art.
By 1983 her career moved to the national level with a solo exhibition at the venerable Cayman Gallery in New York making her the first Chicana to extend her artistic reach beyond the West coast. The international significance of her work came in 1989 with the first exhibition of Chicano art in Europe, Les Démon des Anges. Hernández was one of sixteen artists (one of three women) who’s work was part of this ground-breaking exhibition. Her studio practice has been devoted to the lush pastel paintings for which she is best known. Christopher Knight, the Los Angeles Times Pulitzer Prize winning art critic has written, “…Hernández’s art is churned by her marvelous color sense, which unmoors any illustrative limits of the genre.” The legendary art historian, Margarita Nieto has also noted, ".... (Her work) speaks of the problematic and ephemeral situation of woman hidden in her masks of roles…Hernández’ paintings speak to those masks in an extraordinary combination of darkness and color, enhanced by a subconscious precognition of a mythic past."
Over her 50-year career, she has established a significant record of exhibition and acquisition of her work by major public institutions and private collections which include: the Museum of Modern Art, New York; the Smithsonian American Art Museum; the Pennsylvania Academy of Fine Art, Philadelphia; the National Museum of Mexican Art, Chicago; the Los Angeles County Museum of Art, the UCI Museum/Institute for California Art, Irvine; the Cheech Marin Center for Chicano Art & Culture (Riverside Art Museum); the AltaMed Collection and the Bank of America. She has been the recipient of the prestigious Artist-in-Residence of the Center for the Study of Race, Politics, & Culture, University of Chicago; the City of Los Angeles Artist Fellowship (C.O.L.A.) and the Anonymous Was A Women Grant.
After more than 40 years, her artistic presence returned to downtown Los Angeles in 2020 when her seven-story mural “La Nueva Reina de Los Angeles” was installed at La Plaza Village one block north of El Pueblo de Los Angeles Historical Monument District.
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