Gerry Judah

Jonathan Glancey, 8 July 2011, The Guardian

The E-Type sculpture makes us see afresh the relationship between historic design and contemporary art...Read more...

David Cohen, artcritical.com, 25 January 2011

The debut New York show for India-born British artist Gerry Judah initiates a new venue, Fitzroy Gallery, which opened its Soho doors last month. Read more...

Tom Greenall & Ian Douglas-Jones, Building, 14 September 2010

Tom Greenall's verdict: From relatively inauspicious beginnings, with a classically-styled monumental prancing horse for Ferrari in 1997, Judah's sculptures for Goodwood's annual Festival of Speed have escalated to become an anticipated centrepiece for the festival's events. Read more...

Michael Glover, 18 March 2009

When is a painting not exactly a painting? Gerry Judah’s paintings occupy an uneasily anxious zone mid–way between painting and sculpture. Given that their obsessive subject matter – and Gerry Judah is nothing if not obsessive – is the terrible aftermath of conflict, this uneasy occupation seems to rhyme with their meaning. Read more...

Dan Carrier, Camden New Journal, 19 November 2009

Taking a sledge-hammer to a work of art that has taken you hundred’s of hours and buckets of perspiration may seem eccentric behaviour. But for Gerry Judah, wrecking the intricate models of cities he has built is the final stage of creating hard-hitting 3-D paintings that consider the effect our inhumanity has on the cities we call home. Read more...

David Littlefield, 2007

Gerry Judah is an artist for whom absence - in the sense of what was once there but is there no longer - is a generator for something positive. A ruin, the remains of signage which indicate a long-closed enterprise, an empty room... Read more...

Jonathan Glancey, 10 Years of Goodwood Festival of Speed, 2005

Time, like Spitfires and angels, flies. I first met Gerry Judah in the baroque gloaming of St James's, Piccadilly ten years ago. Beyond the pin-drop quiet red brick and Portland stone-trimmed walls of the seventeenth century Wren church, time flew furiously fast on the hurrying wings of effin' and blindin' black cabs, gargling Routemasters, sod-you motorcycle messengers, self-righteous cyclists and pavement-bound office workers trying their best to beat Sir Roger Bannister's sub-four minute mile. Read more...

Michael Glover, The Independent, 9 November 2005

When you try to bring to mind the most memorable renderings of the horrors of war - think of the paintings of Francisco Goya or Otto Dix, for example – two elements seem to be held on some kind of terrible, nerve-tingling balance: the human and the non-human. Read more...

Mick Walsh, 2001

Two years ago, the Imperial War Museum approached me to make a miniature representational model of Auschwitz-Birkenau for their forthcoming Holocaust Exhibition. This model was to focus on the selection ramp where trains pulled up on a specially built spur line to discharge prisoners to virtually certain death. Read more...

Michael Glover, 31st December 2010, The Independent

Over the next 12 months you will be able to see this sculpture as you enter the main exhibition area of the Imperial War Museum North, at Salford Quays in Manchester. It is high-hanging dramatically from the wall, bulky, cross-shaped, slightly askew, radiantly white against the black-painted, stainless-steel panelling, as if it might be the suffering saviour himself slumped slightly forward and sideways in his death agonies. Read more...

Dan Feeney, Creative Tourist, 25 Nov 2010

Judah focuses the viewer on the human aspect of war... Imperial War Museum North is a place where our everyday understanding of the world is up for negotiation. The museum’s collection examines the cost of human life shattered by conflict, while Daniel Libeskind’s building represents a globe shattered by war. The latest addition to this at times challenging museum is The Crusader, a sculpture by the acclaimed painter, sculptor and designer Gerry Judah. Read more...

Greer Crawley, Space and Truth, 2009

Gerry Judah’s paintings reveal the constructed nature of representation. They have their own logic and reality. The considered placement of the debris and rubble and painterly manipulation of form, light and shadow are scenographic. ‘The rigour of the tectonic form is broken up, and while the wall crumbles and holes and fissures arise, a life quickens which quivers and shimmers over the surface...' Read more...

Snejana Krasteva, Curating the Words, 8 December 2009

Often buildings are not given time to decay. Many are interrupted by a sudden death and left fossilized in partial horizontality. Such violent anti-architectural gestures found in modern urban conflict zones, are meticulously reiterated in the paintings of Gerry Judah, whose solo exhibition Babylon is currently on view at the Flowers Gallery in London. Read more...

Tony McIntyre, Building Design, July 2007

Gerry Judah sees destruction, and is fascinated by what he sees – the way we all were when the towers came down. His paintings have their origins in aerial photographs, taken from the internet, of ruined houses in Palestine. Read more...

Jay Merrick, Goodwood Magazine, 2006

The British tend to distrust those who excel at more than one thing. If Stirling Moss had been revealed as having had a hugely successful second life as a covert existential philosopher called Maxim Neubauer [note: Alfred Neubauer was his manager at Mercedes; a sly joke], his reputation as one of the most sublimely gifted racing drivers of all time might have been jeopardised. Read more...

Jay Merrick, Art Review, August 2005

Gerry Judah’s remarkable new series of paintings ‘Frontiers’, concerns the rupture of places, and architecture, by violence. To consider these big canvases and their delicate collages of desolated urban zones in places such as Jenin and Mostar, is to experience the ghostly complexities of a present without a past, and with no apparent future. Read more...

Martin Gurdon, The National, 30 June 2010

Artist and sculptor Gerry Judah is matter-of-fact about an unusual aspect of one commission. "I had to create a triumphal arch to hang a Ferrari." Such is the work he is used to now. Since 1997, Judah has been building enormous, car-themed structures for the annual Goodwood Festival of Speed. Read more...

Leah Borromeo, Sky News, 14 January 2009

Tucked away in a soulless building in Islington's Upper Street is the unexceptionally named Business Design Centre - home to the 21st London Art Fair. Look on it as the Ideal Home Show for the art world. Not as slick or suave as Frieze, nor as flea market as the Affordable Art Fair. Read more...

David Yu, Art Slant, 6 December 2009

The Mesopotamia Babylon was one of the first global cities. The term “babel” (confusion set by multiple languages) originates from Babylon and the biblical story of the tower of Babel. The story goes that after the flood all of mankind spoke one language and decided to build a tower in Babylon to honor themselves, a monument that can attest to the feats of humankind. Read more...

Robert Fisk, Babylon, October 2009

Ruins hide things. Not just the memory of what they were, but the memories they still contain. For years after the Lebanese civil war ended, I would prowl the ruins of downtown Beirut – as a journalist, of course, but truth forces me to admit that I was searching for something more than a reporter’s stories. Read more...

Jenny Blyth, Curator - Louise T Blouin Institute, 2007

Contemporary artist Gerry Judah challenges the boundaries between painting and sculpture. His paintings are inspired by images of war zones—scenes from Iraq, the Lebanon, Palestine and Afghanistan – and born of Baghdadi grandparents, the title for this new series, Motherlands, reflects his sense of roots. Read more...

Gerry Judah, 2001

Two years ago, the Imperial War Museum approached me to make a miniature representational model of Auschwitz-Birkenau for their forthcoming Holocaust Exhibition. This model was to focus on the selection ramp where trains pulled up on a specially built spur line to discharge prisoners to virtually certain death. Read more...