Photo by: Gloria Feinstein
Photo by: Lois Greenfield
ABOUT RITA
Rita Blitt is an international award-winning painter, sculptor and filmmaker working in the San Francisco Bay Area and Leawood, KS. Her works have been featured in over 70 solo exhibitions. The Rita Blitt Gallery and Sculpture Garden, Mulvane Museum, Washburn University, Topeka, Kansas is the home of the Rita Blitt Legacy Collection.
Blitt’s works are included in many museums and private collections, including: The Nelson-Atkins Museum of Art, Kemper Museum of Contemporary Art, John F. Kennedy Library, National Museum of Singapore, Spencer Museum of Art, Nerman Museum of Contemporary Art, Nevada Museum of Art, Spertus Institute, Skirball Cultural Center, Albrecht-Kemper Museum of Art, Kennedy Museum of American Art and the Mulvane Art Museum. Her monumental sculpture can be found in Australia, Israel, Japan, Singapore and the United States.
Rita Blitt: The Passionate Gesture was published in 2000 by RAM and Brandeis University. Rita Blitt: Around and Round was released by the Mulvane Museum in 2020.
Blitt’s work celebrates love of life, nature, music and dance. In 1977, she wrote “I feel like I’m dancing on paper”.
Caught in Paint, 6-minute film collaboration by Rita Blitt, David Parsons, choreographer, Parsons Dance Company, and Lois Greenfield, dance photographer has won 16 awards and has been invited to be shown in over 130 film festivals.
“Rita Blitt’s art and life are inseparable. Every gesture, in both, is borne on the wings of spontaneous responses unfettered by self-consciousness and guided by childlike purity and trust, immediacy, and an unshakable belief in ultimate goodness. Her constant search for the spirit and essence of reality is accompanied by a sense of wonder and mischief. She lovingly conveys with experienced choreographic lines her vision of the world, where the kinetic energy of dance and an entire musical universe are transformed into the realm of the visual. The sculpture and drawings are by turn fluid and harmonious or rhythmic and staccato. In each instance they resonate with primal memories of collective symbols.”