2020: Roman Elegies, graffiti, and…


May we all enjoy 20/20 vision as we enter a new decade. During 2019 I concentrated on my Roman Elegies series (many of the paintings were sold) in response to a return trip to Rome, one of my favorite cities and surely the most magical, but also a sorely tainted kingdom haunted by silent screams. But nothing is stationary and as usual I explore the constant, energizing flux of  opposites — clarity/mystery, place/displacement.

16 x 24 Roman elegies.jpg

24 x 24 Ghosteen.jpg

24 x 16 graffiti 1.jpg

24 x 16 gra.jpg

16 x 24 rom1.jpg

36 x 12 new.jpg

Josepha 20 x 16 art.jpg

55 x 10  3 panels.jpgFIRST STRREETgutelius_josepha_3.jpg24 x 16 Angels Fall.jpg



Artist’s Statement, sold works, new to 2018


I post regularly on Instagram, so feel free to check out #josephagutelius !

FYI:   Painting for me is a constant, energizing connecting of opposites — place/displacement, certainty/mystery. As a former playwright, I tend to see the figures in my paintings as characters with an implied before and after, where “beingness” itself is relational and in flux. My primary interest is to capture layers of consciousness, the precarious balance of time/ timelessness, the overlap of memories.

I usually work in series, with different subject matter brought together under one theme, such as “School Days,” “The Shape of Water,” “Silence of Nowhere.”In my latest series, I’ve focused entirely on the narrative of masculinity — men clothed, naked, solid, disintegrating. While male painters have traditionally objectified women as sirens, muses, demons, mothers, etc. I am reaching for a holistic depiction of maleness, not as “mankind” but as a specific gender in a state of disarray and off-balance, which reflects my feelings of where I stand today as a female (feminist) artist looking at men– an anxious stance. In my series “Silence of Nowhere,” I’m capturing the sense of expectancy, of looking outward, but also searching from within. My practice often involves taking the same scene and varying it slightly in different panels, like frames of a film, to signify the passage of time. I start with ink or charcoal and add thin layers of acrylic and watch a drama unfold.

2018 I sold more drawings and paintings than I ever have in the past 4 years of switching from being a writer to being a visual artist. Much of the sold work was via ShoutOut Saugerties, the Saugerties Artists Studio Tour, and Emerge Gallery. Also, I must express my thanks to the Barbara Deming Memorial Fund for a generous grant in 2018.

Now, for a look at some new work from 2018, not at all comprehensive, but selections from several ongoing series, including a new series, Roman Elegies (certainly to be continued).


shape of water 4 16 x 2020 x 10


beers20 x 30 pil

beers20 x 30

20 x 16 roman elegy 2

queen and king 16 x 20

30 x 40 motorcycle

“Truth Out” art show and Wolf of Wall Street

contemporary, contemporary art, female artist, Uncategorized

One recent work “Wolf of Wall Street”

and installation photo from “Truth Out: current controversies, historical injustices”– group show curated by Rosary Solimanto and Jean Tansey, Unframed Artists Gallery, New Paltz, NY


Installation view, “Truth Out”


“Wolf of Wall Street” acrylic, charcoal, pastel, 49 x 34 inches

New Paintings

acrylic paintings, contemporary art, figurative art, Uncategorized
Gutelius, 26 x 19, Push to Open jpg

Push to Open, 26 x 19 inches, acrylic on canvas

Gutelius, 20 x 17, Watch

Watch, 20 x 17 inches, acrylic on canvas

Gutelius, 19 x 15, Marilyn at Walmart

Marilyn at Walmart, 19 x 15 inches, acrylic on canvas

Gutelius, 26 x 20, My Girl

My Girl, 26 x 20 inches, acrylic on canvas

Aesthetica, John Keane


Aesthetica is a glossy cultural magazine reminiscent of the exquisite glossies that came out of Switzerland’s connoisseur closets in the 80s. Aesthetica’s grand annual art prize is one I was considering applying for, until I saw the extraordinary prize winners of the past, including the ueber extraordinary (how can I resist super-superlatives?) John Keane.  Recently, Keane has been taking off where anti-pop Gerhard Richter started in the 60s — the richly monochrome portraits. Richter has reportedly disowned those figurative works – why oh why? Or perhaps that’s only a rumor or perhaps only a passing mood of Richter’s.  Richter’s mesmerizing portraits of family, friends, and his stark, terrifying portrait series of Baader Meinhof: does he really not appreciate…?  

For me, who’s been eagerly awaiting Richter’s return to the figurative, there is John Keane as a perfect haunting. Not as quietly outraged as the young Richter was, Keane is exploring a vast dark tunnel into global suffering — while also exploring a brilliant range of painterly techniques. Beauty and terror become sublime. Actually, I imagine Keane is not afraid of anything. 

Here’s a link: