Judith K. Brodsky

Judith K. Brodsky is Distinguished Professor Emerita, Visual Arts, Rutgers University and Founding Director, Rutgers Center for Innovative Print and Paper, renamed Brodsky Center for Innovative Editions in her honor.
The Brodsky Center mission is to work with culturally diverse artists. Residencies have included over 300 artists since the BCIE inception in 1986 including four MacArthur Foundation genius award recipients (Fred Wilson, Joan Snyder, Pepon Osorio, Amalia Mesa Bains), American artists such as Leon Golub, Miriam Schapiro, Faith Ringgold, Yolanda Lopez, Luis Cruz Azaceta, June Wayne, Willie Cole, Magdalena Campos-Pons, Trenton Doyle Hancock, Kiki Smith, and Richard Tuttle, and international artists like William Kentridge. Projects created at the Brodsky Center are in the collections of Metropolitan Museum of Art, Museum of Modern Art, Whitney Museum of American Art; the Smithsonian; Bibliothèque nationale; Victoria & Albert; Stadtsmuseum, Berlin, National Gallery of Art and many others.
She is co-founder and co-director of the Rutgers Institute for Women and Art which oversees The Feminist Art Project, a national program to promote understanding of the role of women artists in the cultural milieu.
Brodsky is chair of the board of Philagrafika 2010, a citywide global visual arts triennial festival focusing on the printed image. She is past national president of ArtTable, College Art Association, and Women’s Caucus for Art. She is on the boards of International Print Center/New York and New York Foundation for the Arts.
Brodsky has organized and curated many exhibitions and written extensively about women and prints.  She was a contributor to the first comprehensive history of the American women’s movement in art, called The Power of Feminist Art and with her colleague, Ferris Olin, curates exhibitions such as How American Women Artists Invented Postmodernism, and Eccentric Bodies, under the Mary H. Dana Women Artists Series, which they direct.
Brodsky’s work is in over 100 permanent. Her images of the environment, women, and family become metaphors for life, decay, death, and possible salvation. A new body of work is titled The Twenty Most Important Scientific Questions of the 21st century