Lynne Golob Gelfman grew up in New York. She graduated from Sarah Lawrence College, (BA, 1966) and the School of the Arts, Columbia University, (MFA, 1968). She taught art at the Dalton School from 1968 until 1972, the year that she and her husband started a flower farm outside Bogotá, and moved to Miami, an import gateway for the flowers. For Gelfman, who had loved Bogotá as an American Field Service student in 1961, the culture and landscape of Colombia as well as the diverse, subtropical world of Miami are important influences, along with her strong ties to New York.
Gelfman has had more than 40 solo shows. Her first solo show was a prize awarded by Miami’s Metropolitan Museum and Art Center in 1974, then under the leadership of Arnold Lehman. Since then, Gelfman has exhibited nationally and internationally in galleries and museums. Recent solo exhibitions include dying the grid (2015) William Siegal Gallery, Santa Fe, trued surface (2014), Dimensions Variable, Miami; scapes (2012), The Patricia and Phillip Frost Art Museum, Florida International University (FIU), Miami; sand (2012), Alejandra von Hartz Gallery, Miami; between (2009), Carol Jazzar Gallery, Miami; cloud/water/sand (2010), Luminaire X, Miami; react (2006), across (2003), Fredric Snitzer Gallery, Miami; resist/react (2006), Newman Popiashvili Gallery, New York; 18 paintings (2003), Suite 106, New York.
Her work is in many public and private collections as well as in the permanent collections of museums, including Pérez Art Museum Miami, Museum of Contemporary Art, North Miami (MOCA), Smithsonian American Art Museum, Norton Museum, Baltimore Museum of Art and Detroit Institute of Arts. Gelfman has taught art at FIU, University of Miami, Miami Dade College, Metropolitan Museum and Art Center and MOCA North Miami. For the last 15 years, she has developed art projects with inner-city children at the Barnyard, Coconut Grove.
As Judith F. Rodenbeck describes in her essay included in the book trued surface:
"...Gelfman is seated firmly within her generation of North American abstractionists yet brings to her work a very particular set of referents, many extending from her deep engagement with South America. Sources for Gelfman, whether these involve visual effects, questions of technique and surface, procedural encouragement, or straightforward motifs, can be found in Chinese scholar rocks and in fragments of African and Latin American basketry or textile fragments the artist has collected over the past four decades; in the delicate yet forceful meditative repetitions of the painter Agnes Martin, with their reference in the experience of vision’s extent in the crisp expanses of New Mexican air, or in the free-flowing stain-paintings of Morris Louis’s furling series; in the hallucinatory optics of British painter Bridget Riley, which themselves also have an interesting relation to textile patterns and repeats; in the architectonics of the Venezuelan Gego’s deceptively delicate wire structures or Brazilian Lygia Clark’s phenomenologically complex neo-concretist paintings and constructions, works that engage the eye as an organ of touch."