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Born in Sacramento

George Llewellyn and Olga Zorka (Zambelich) Von Euer family settles in Los Angeles with four children which grows over a period of 15 years to nine children – eight daughters and one son: Joan Marlene, Sonya Jeanne, Marcia Diane, Judith Adrienne, Linda Marilane, Michele Suzanne, Sheila Fleurette, Renee Christine and Gary Christopher.

Performs with sisters to raise money for the war effort selling war bonds at Pershing Square. Joins line of sisters tap dancing. Studies at the Garri Studio in Hollywood.

Is introduced to the C melody saxophone at age ten by Richard Bailey, director of the Le Conte Jr. High Orchestra. Primarily self taught. At eleven years of age plays first professional engagement at the Santa Monica YMCA and also begins playing bar mitzvahs and weddings in a small group organized by sister Sonya, age fifteen, who performs on string bass.

Plays tenor saxophone with the Le Conte Jr. High Orchestra.

Hears Coleman Hawkin’s 1939 recording on tenor sax of “Body and Soul”.

Studies tap and ballet with June Hope at the Perri Studios
on Highland in Hollywood. Purchases used Beuscher alto sax with monies acquired by performing with sister Sonya on local television talent programs.

Joins Musician’s Union Local 47 in Los Angeles. Plays local clubs (under age) with sister Sonya on bass and various jazz and pop groups. Receives Nikolas Talmanchoff Award as outstanding student graduating from Le Conte Jr. High.

Attends Hollywood High School and receives summer scholarship to study painting with Benton Shad at Otis Art Institute.

Begins classical saxophone studies with Merle Johnston, New York saxophonist, relocated in Hollywood.

Joins Ina Ray Hutton All Girl Orchestra and begins performing in various venues around Southern California and for weekly coast to coast T.V. show on KNBC Channel 4.

Attends Los Angeles City College and enrolls in general studies with an emphasis on art and music. Plays baritone sax with award-winning all male LACC Jazz Band directed by Robert MacDonald. Joins Spade Cooley All Girl Orchestra for a season on KTLA Channel 5. Studies jazz tenor sax with Charlie Deramo. Performs with the Phil Gray Quartet in local clubs.

Begins to ski in the Southern California mountains.
Makes several excursions backpacking in the High Sierra. Takes entry level summer position with Studio Artists, a graphic design firm.

Studies pictorial arts and music at U.C.L.A. Painting instructors include William Brice, Dorothy Brown, Sam Amato, and Eliot Elgart; printmaking with John Paul Jones; drawing with Jan Stussy. Continues to finance studies at U.C.L.A. by performing with various jazz and pop groups.

Graduates with honors from U.C.L.A. and decides to continue graduate studies leading to a Masters degree in Painting.

arranges to begin studying the koto. Establishes a printmaking studio for intaglio and relief prints, which grows to include lithography, within the Art Department at Los Angeles Valley College.

Invited by Orlando Gallery to participate in the “Comstructions” exhibition. Takes first trip through American Southwest. Establishes work studio on Lankershim Blvd. in North Hollywood. Begins to incorporate Southwest landscape and Southern California landscape to greater degrees in compositions. Studies lithography with Joe Funk in Venice, California.

Has first one-person exhibition which focuses on Diana/Caretaker Series of paintings, drawings, prints and watercolors at Orlando Gallery and receives a review from Los Angeles Times art critic, William Wilson.

Makes a three month visit to Europe traveling with colleague Harriet Baker. Begins to perform with the Wakita Japanese Ensemble and performs at Sunday afternoon concerts in conjunction with the Los Angeles County Museum of Art over KFAC radio. This affiliation continues for thirty years.

Returns to travel through American Southwest. Has surgery on right ear and loses hearing in that ear, fitted with a bi-cross hearing device.

Attends performance of “The Delusion of the Fury” by Harry Partch at Royce Hall, U.C.L.A., and is influenced by the musical structure, invention of musical instruments, and choreography of the performance. Begins to perform with the West Coast Consort on renaissance and baroque winds, directed by Gloria Ramsey. Moves studio to Strohm Street in North Hollywood.

Travels to Japan with the Wakita Family. Takes a six month sabbatical leave from teaching to work on “Flow Inversion” series of paintings and related work.

Shares office with faculty colleague Fidel Danieli at Los Angeles Valley College. Participates in Danieli’s “Los Angeles Artists Publication”.

Gives concerts with Li Trobador, directed by Gloria Ramsey, in the South of France and Siena, Italy performing on period instruments of the medieval, renaissance and baroque eras. Purchases a 17th century stone house in the village of Menerbes with colleague Harriet Baker. Sees Gagaku, Kabuki and Bunraku in Los Angeles and is influenced by the pace and structure of these traditional Japanese art forms. Takes six months sabbatical leave from teaching to continue focus on “Flow Inversion” paintings and related work.

Purchases personal home in Glendale, California. Returns to Menerbes, France to begin refurbishment of village house and set up studio space. Gives concerts in villages surrounding the area of Menerbes with Li Trobador. Each summer, continues travel to Menerbes to the present. Selected by Barbara Haskell and Lukman Glasgow under an NEA Grant to create a mural in the Civic Center of Los Angeles. The artist chooses a site at 100 Fremont Street. Continues to perform with Wakita Japanese Ensemble throughout Southern California.

Plays tenor, alto, soprano sax, clarinet and flute and dances percussive tap rhythms during experimental sound-jamming sessions with Masami Teraoka and Art Ellis at Masami’s studio in Silver Lake, Los Angeles. Visiting Art Instructor at University of California, Irvine teaching in the print studio. Studies techniques of sound recording and editing with
Carl Stone and begins building a “bank” of recorded sounds that are not traditional to music. Prepares videos shown on Theta Cable Public Access television dealing with invented sounds and unconventional visuals.

Takes position as visiting Instructor at U.C. Irvine teaching a course in performance art that leads to the structure, framing and presentation of “Ornette’s Way” at UCI in the Campus Theater, The Palos Verdes Art Museum and The Gallery Theater at Barnsdall Art Center.

George Von Euer, the artist’s father, suffers a massive stroke.

Returns to U.C.L.A. to study landscape architecture and works with Architerra (Elsa Leviseur, principal) on public and private projects in California. Develops interest and knowledge in native California plant materials for the purpose of utilization in landscape and site art related projects.

Early in the year, George Von Euer, the artist’s father, dies. Judith has one person exhibition at Conejo Valley Art Museum using work that centers on aspects of performance in sound and movement, “A Visual Display of Performable Work”. Completes landscape for the Huskey residence in Playa Del Rey, California focusing on the use of native plants with an emphasis on grasses.

Begins volunteering as a guide of tours through Earthside, Pasadena, a garden and non-profit organization devoted to education about the natural habitat and native California plants.

Travels to Greece, Israel and Malta. Leads a special seminar for students from L.A. Valley College Art Department on “Quantum Physics for Artists”.

Joins with the Wakita Japanese Ensemble in performing a work commissioned by the Community Redevelopment Agency and the Japanese American Cultural Center, composed by Kayoko Wakita, titled “Executive Order 9066: The Japanese American Journey”, and performed at the Japan American Theater in Los Angeles. Begins “Teaching Wall” series in the studio in Menerbes.

Travels to Italy to revisit Florence, Lucca and Assisi.

Begins to organize a body of snapshots covering 25 years of village life in Menerbes.

Retires from teaching.

Continues to work on “Teaching Wall” series. Participates in planning family reunion that takes place at sister Sheila’s home in Santa Monica attended by 65 family members.

Embarks on organizing the content of a catalog to include four decades of her work, assisted by sister Michele with graphic design by Tom Mossman and Nina Mashhood.

Continues work on “Teaching Wall” series in studio in North Hollywood. Retrospective exhibition at Los Angeles Artcore Center, in April 2001, under the directorship of Lydia Takeshita. Publishes catalog “Judith Von Euer, Retrospective, 1960-2000 ”.

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