Untitled (child with knees bent), 1995Monoprint, 23 x 31 "
$750
September 13 - October 31, 2003"Paintings, Monoprints & Drawings" is Judy Glantzman's third solo exhibition at Dactyl Foundation for the Arts and Humanities. Since her first show at Dactyl, her career and work has continued to mature at both the professional and artistic level. Glantzman was awarded a Guggenheim Fellowship in 2001. A selection of her work is currently at P.S.1 (Museum of Modern Art) in a group show, "Site and Insight." Dactyl Foundation has always appreciated Glantzman's work as a tremendous contribution to contemporary art.
This year Dactyl Foundation presents Glantzman's never before exhibited monoprints (1995) and new drawings. At this point in her artistic career, it seems fitting to show Glantzman's progressing exploration of self-portraiture and human form, abstracted or precisely real. In her drawings, Glantzman demonstrates an ability to use the absence of color as a means of emphasis. Particular facial features, the shadows in the part of the lips or the slight wrinkles under the eyes, seduce the viewer into seeing depth in a one-dimensional composition. The monoprints are created by painting in oils on plexi plate and then running the paper through a press. This process leaves behind a print painted with both the translucent quality of watercolor and the bold presence of oil. In the monoprint, Glantzman's talents in both drawing and painting are fully apparent. The detailed renderings of eyes, shoulders, or hands are paired with broad and expressive strokes, creating a feeling of solidity and delicacy at the same time.
Untitled (child with knees bent), 1995
Monoprint, 23 x 31 "
$750
Untitled (bust of a woman), 1995
Monoprint, 23 x 31 "
$750
Untitled (kneeling figure), 1995
Monoprint, 23 x 31 "
$750
Untitled (huddled figure), 1995
Monoprint, 23 x 31 "
$750
Untitled (torso of a woman), 1995
Monoprint, 23 x 31 "
$750
Untitled (portrait), 1995
Monoprint, 23 x 31 "
$750
Art in America
Judy Glantzman at the Dactyl Foundation
Edward Leffingwell
By way of introduction to the theme of this exhibition, Judy Glantzman's preoccupation with face and figure informs a series of drawings and monoprints made in 1995. In three of four drawings in gouache and ink, the subject— her daughter—sports round-toed, strappy Mary Janes like an emblem of innocence. She is mostly foreshortened, as though to emphasize the disparity between the experience of a child and the outsized world of grown-ups. In one drawing, the child is skirted, maybe in a tutu, in the midst of a group of other children—who may be multiplications of herself—and she has lost one shoe. This tender regard for innocence and humanity was at the heart of Glantzman's striking show.
Compulsively iterated, the uncountable faces that populate Glantzman's nine untitled 2003 paintings tend to be ebullient and wide-eyed with wonder, different in their particularities yet alike in their expression of humanity. The visages are built up one stroke at a time with an enjoyment of color and paint laid down by brush or knife, red against yellow and blue; negotiated balances of abstraction and figuration hold the eye across these expanses. In the 2-foot span of a small, oval canvas, Glantzman locates one full, small figure with quickly brushed legs and arms that seems at ease amid controlled anarchy. As light strikes the painting at an angle, ridges of impasto reveal moments in the history of its making without disclosing what was buried in the process. In a second oval painting, the larger faces begin to resolve as identities, two of them cradled by an absent figure's hands in a gesture that might read as patient observation.
In one large painting, faces seem to grow from extended hands. Others are barely sketched in confident, thin strokes of red that bring them forward, separating the singular from the general. The heads grow larger in the painting's lower quarter, and, like souls rising on Judgment Day in some Renaissance chapel, faces quickly sketched in yellow float above a loosely brushed field of modulated colors. The figure of a woman drifts in a wash of cerulean blue; a pale violet indi-cates her hands and arms while a quick line defines her face. In the conversation between figure and color field, there are big, con-fident passages of a golden yel-low, which spills down along the surface. A few studies outlined in orange have the familiarity of figures drawn from life. During the weeks of the exhibition, Glantzman returned to the gallery after hours and continued to work on a large painting on the far wall, exploring and developing its expression amid the sea of humanity she had created.
April 7-May 21, 2001
paintings & drawings
Curated by Neil Grayson
ARTnews
The Dactyl Foundation board of directors is proud to open the 1998 fall season with an exceptional exhibition of one painting and twelve drawings by Judy Glantzman. Her work has received a number of prestigious awards, and her reputation has been thoroughly established in national art publications over the past fifteen years. In the early 80s the talk was about her precedents (i.e. Francis Bacon, Willem de Kooning or Edvard Munch), but, now that the force of her influence on contemporary artists is becoming more and more obvious, recent discussion has been engaged in finding a definition for her own unique style.
The Dactyl exhibition features obsessive, quirky self-portraits. The figures have just looked up and haven't yet recognized the image or person before them. They seem to be emerging from a chaos of prepubescent sexuality-on the verge of self-awareness. They mark the beginning of the human effort to make sense of the world, a sense from which there will be no escape. But what is important in these works is that this transition does not represent a loss of purity. Experience and growth are not to be regretted. The knowledge that it is we who make sense of the world does not seem to be a source of anxiety but a key to developing complex relationships. It is significant that Dürer, who discursively haunts her drawings, can be added to Glantzman's eclectic list of influences. It represents development beyond the intentionally awkward drawing style that characterized her East Village days. Though her recent sketches are as raw and exciting as the earlier work, they are more mature, less concerned with unmaking meaning or with commenting on the arbitrariness of convention than with expressing complex, indefinable emotions. The gestures continue to be dynamic, but without seeming to lose significance. This is what distinguishes Glantzman from her former peers, and what makes her visual vocabulary an important part of the evolving language of the twenty-first century.
Art on Paper
March - April 1999
The classical refinement of Judy Glantzman's draftsmanship came as a shock to me. My first impression was that she was reaching back stylistically through de Kooning's haunting portraits of the 1930's to find the roots of his fascination with Ingres. Further looking revealed innumerable other references, from Renaissance Italy through 19th century Symbolism. Yet there is nothing eclectic about these drawings, which somehow remain single-minded in their pursuit of a compelling vision, or rather, obsession.
As with her recent paintings, Glantzman's graphite drawings, at the Dactyl Foundation this fall, portray herself and her daughter, sometimes separately but usually together, isolated amid a lot of white space. Or perhaps its that they're always together, if only we could see it that way, for often enough the drawing will at first seem to be of one but they turns out to be of both: here is a baby that seems to have grotesquely mature hands, until you realize that they belong to the mother who must be holding her from behind; there, if the woman's face is eerily childish it's because she's holding the child, who's head has eclipsed her own. Each drawing thus encapsulates a complex connection, stormy or placid, sometimes of a nearly erotic entanglement. Everything is fluid here. Just as the identities of mother and child seem continually to merge and separate, so do the perception of both. It all depends on the incredibly ductile and imaginative quality of Glantzman's line, which does not draw the contours of bodies but gives bodies to contour. And these drawings are all line--even shading, which is abundant, is represented linearly. Occasionally this line gathers into passages of imperious darkness, where shadow becomes something like it's opposite, a sort of threatening glare; but it somehow touches me most when it becomes most faint, like a wire that cuts more deeply when pulled thinner. I've rarely seen such a light touch combined with this kind of vigorous, impetuous sketchiness. By comparison with most of the dozen drawings here, all untitled, the single large painting , also untitled, looks more conventionally raw, and somehow approximate, lacking the drawings' ruthless concision.
Review Magazine
Over the course of history, the techniques for art making reaffirm themselves through their power of spontaneous combustion. They are not so much self-reinforcing conventions as they are independent choices made over and again by practicing artists. They recommend themselves to artists, and the techniques that are retained and employed for centuries are those that call to the careful craftsperson with the offer of intricate and deeply personal achievement. They burst forth by their own energy, holding out the possibility of refined accomplishment, which harbors a joy and a sensation of fulfillment that cannot be had by other means.
Techniques are chosen freely and, whether traditional or innovative, need not be defended by any authority - they assert and reassert themselves through use and if useful, will not permit themselves to be abandoned. Thus, they can be tested - put them aside and they may re-emerge. In fact, any technique for art generally considered appropriate should be abandoned periodically in order to be tested. It should be relegated to the scrap heap of history, only to see if artists insist on taking it up again.
Drawing, the careful craft of precise drawing, is one such technique - a method of making art that is often now dispensed with or done in cursory manner by many artists and, I am given to understand, is being de-emphasized in some art schools. It becomes a matter of interest, something of an experiment, to see if there will be artists in significant numbers who will insist on sustaining and deploying serious draftsmanship. It is in particular a matter of interest to discover an artist who finds it necessary to turn increasingly to serious draftsmanship.
That is the first point of intrigue regarding the current work by Judy Glantzman. She began her career in the East Village art scene in the 1980s doing expressive figurative painting. I am unfamiliar with her earliest work, but by published accounts, her touch as a draftsperson was less than sure. Now, it is masterful. The exhibition at Dactyl comprises 12 drawings in graphite on paper and one oil painting, all untitled and from this year, all of them presentations of the human figure. In her drawings, her control of the pencil is precise - she displays the full range of available effect, with such command over line weight, grey tones, hatching, and feathering that the works seem to have come from another era of art. Her handling of the figure is equally impressive and indicates the influence of extensive life drawing. Her knowledge of anatomy is flawless, and there is a silken fluidity to her figure drawing. She knows precisely how much of the thumb to show emerging from behind the outside palm of a hand, and she knows exactly what angle to set it at - she sees the side of the hand she is not drawing. She knows how the skin bunches up between the joints of a finger when the finger is flexed, and how to heavy up her line to convey the density of the folded flesh.
It must be noted that the curating of the exhibition by Neil Grayson of the Dactyl Foundation, who selected the works and arranged their display, is impeccable and serves the art very well. The drawings, all set at eye level, lead the viewer around the circuit of the gallery's main room, running a line from the unmistakable beginning at the left to the culmination on the right with the large, single painting. Twelve drawings on cream-colored paper mounted on white boards set in whitewashed hardwood frames convey the eye around the white walls - the series interrupted only by white doors, a white door frame leading to the gallery's back room, and a white sitting alcove - to end at the only explosion of color to be seen: a detonation of reds, blues, maroon, and black, with highlights of greens and light blues. This is a thinking distribution of tones, hues, and feeling.
The works all show the figure or figures as studies - there are no backgrounds, no environments for the human forms. The majority of the drawings present two, or perhaps more than two, figures superimposed; actually, portions of multiple figures superimposed. Two faces combine in some; torsos are out of proportion with the heads in others; indications of infant bodies blend with adult body parts in many. None are clearly male or female. All the figures seem to be out of phase, caught in some middle ground as if they were self-divided, never any one thing, never any one person, neither one thing nor another but some third thing - something unnamable. Most of the fusion faces look out from the paper and at the viewer. They are expressionless, unreadable, their emotional lives hidden and withdrawn, the interiors left interior, removed from view, something too strange to be recorded. They all seemed stunned, somehow blank as if struck dumb in their very expressions by the state they find themselves in, somehow ciphers.
Their emotional lives are set at a remove, but the renderings of them are far from emotionless. These drawings are deeply disconcerting, the very absence of emotionality triggers a feeling of profound monstrosity, a quality of terror. There is little that is more moving than the image of the human form rendered with a convincing lifelikeness. That is ultimately the purpose and worth of draftsmanship - to create an image of the living form that possesses the impression and the potency of being alive, that is confronted by the viewer like life itself. The vision of a living body causes an identification in the body of the viewer - one feels the stance and posture of the rendered figure in one's own body, one feels the lift in one's own arm, the stretch in one's own wrist, the grimace in one's own jaw. One feels the emotion in the drawn face. Where there is no emotion to be felt but the sense of life is recognized through the sheer power of drawing, the feeling comes that always comes when something should be there, must be there, but isn't. There is a terror that arises as if there were something wrong with the world - the horror of the unformed, the awfulness of the inchoate, of the unmade.
The ambiguous figure, the amorphous self - Glantzman has said that these are self-portraits, but it does not matter, for they are everyone, and they are no one. And they are not truly emotionless, for the very absence of perceptible clear expression in the faces is itself an expression of astonishment. These figures are astonished at their own complexity, astonished at their own incomprehensibility. They have no identities, theirs is an identity that has not congealed, or perhaps has not yet congealed, for the infant is evident in many of them. It may be the self that never fully develops, never fully matures, or it may be the self that develops out of the mature body, for these bodies may well be female. Or perhaps not even that is definite, nor matters, for both sexes participate in generating another body, make a new body out of their bodies, and then, eventually, die, leaving the new body to do its part to make another and then, eventually, die.
Or perhaps it is not the identity that has yet to congeal. It may be the identity that is dissolving, melting like ice in the heat of the sun, reflecting clear visions that last but a moment and then are gone, replaced by others just as fleeting. The dissolution of the self, the destruction of what seems in us to be so sure, so certain - the fact of ourselves, the fact that we, in fact, are. Cogito, ergo sum. We pride ourselves with the belief that we do exist, that we exist as the individuals we believe ourselves to be, the possessors of the needs we take so seriously, the ambitions we so treasure, the hungers we work so hard to feed. But it may not be so. The fact that each of us is an individual body demonstrates nothing more than the fact that each of us is an individual body - it proves no person as an individual, distinct from all others, identifiably itself. Subjectivity may be no individual self, no soul - subjectivity as a teratism, a monstrous organism, just a living thing.
The series of 12 drawings, 12 organic anomalies resembling something human, ends with the painting. It is a grander vision of much the same living discourtesy - a large head faintly rendered, gazing out and to the left. A second head is at its cheek, sketched roughly in white. Three arms are evident, one leg, and something of an orange dress. Deep recesses of dark blue, red, and maroon surround the figure(s). Red paint drips down, a bit like blood. But what should have been a culmination is not, and what would have been a riveting image in oils is less than mesmerizing, for it is overshadowed in quality and impact by the drawings, the caliber of which is not matched by the painting. The painting alone might have been an expressionist-tinged portrait, maybe of a mother and child. Here, it is something other than that, something more horrifying, for it obtains its implication from the overwhelming presence of the works in graphite.
This is, in the end, a drawing exhibition, not just in the sense of a display of draftsmanship, but in the sense of being a display of works in graphite. It is the drawings that dominate, that set the tone and grant the meaning, and that ratify a technique. The very fact that they can possess a room containing a painting six feet high gives the voice of the artist's assent to the technique. There is a vote at Dactyl for the perpetuation of draftsmanship, through the testimony given to the eye that drawing is anything but obsolete.
EDUCATION
AWARDS
ONE PERSON EXHIBITIONS
SELECTED GROUP EXHIBITIONS
BOOKS AND CATALOGUES
PUBLIC COLLECTIONS
Judy Glantzman at Dactyl Foundation
Cynthia Nadelman
It was fitting that around the corner from Judith Glantzman’s recent exhibition there was a show of James Ensor’s works
on paper at the Center, the site of Glantzman’s comeback almost a decade ago, when she was found to
have been quietly focusing on drawing in ballpoint and graphite. Many of those
were included in the show at Dactyl. The elements of intense self-scrutiny – of the child in the adult (and vice versa), of androgyny, identification with
animals, masquerade – are part of what link Glantzman to such artists as Ensor,
Schiele, and Picasso, as well as the powerful Polish artist Witold Wojkiewicz
and Paula Modersohn-Becker. These drawings frankly stand up to the best of
those others in psychological intensity, confidence of draftsmanship, and
honesty of communication from heart and head to hand.Many of Glantzman’s recent drawings have been monumental in size, and their directness and spareness of line have translated
into paintings (examples were included here), contrasting with the artist’s iconic, paint-encrusted earlier works. By claiming a de
Kooning-esque freedom of gesture and attitude for her self-portraiture, Glantzman
allows herself room to brood, reflect, and comment. While this work lacks
irony and rhetorical grandstanding, it nevertheless includes a sense of being
about painting and not just about painting. The drawings, however, are too intimate to
be about drawing – they are simply drawings. With their marks over marks,
the directness of the subjects’ gazes, and their variety of selves, they are
a latter-day anomaly. Perhaps a century out of sync, they constitute a fresh
wrinkle in the tradition of draftsmanship that
September 17 - October 31 1998
One painting & drawings
Curated by Neil Grayson
--Victoria N. Alexander
Judy Glantzman, Dactyl Foundation for the Arts & Humanities, New York.
Barry Schwabsky
Drawing and Painting
The Dactyl Foundation through October 31
BY MARK DANIEL COHEN
B. F.A. in painting, Rhode Island School of Design
2001 Guggenheim Fellowship, New York, New York.
1994 New York Foundation for the Arts Grant, New York, New York.
1992 Pollock Krasner Foundation Grant, New York, New York.
1989 Artist Space Exhibition Grant, New York, New York.
1987 New York Foundation for the Arts, Artist on Location Grant. Woodstock, New York.
1982 Cummington Community of the Arts, Cummington, Mass.
1978 Silver Medal from the Royal Society of the Arts, London, England,
awarded to outstanding graduate of the Rhode Island School of Design
1977 Florence Leif Award, Rhode Island School of Design
2003 Dactyl Foundation, Monoprints, New York, New York
2001 Nina Freudenheim Gallery, Buffalo, New York
Dactyl Foundation, Drawings, New York, New York
2000 Gracie Mansion Gallery,New York, New York
Carl Hammer Gallery, Chicago, Illinois
1999 Hester Gallery,University of Mass. Amherst, MA.
1998 Dactyl Foundation for the Arts & Humanities, New York, New York
1995 Gracie Mansion Gallery, New York, New York.
Harley Baldwin Gallery, Aspen, Colorodo.
1994 BlumHelman Gallery, New York, New York. "Paintings."
1993 Nina Freudenheim Gallery, Buffalo, New York.
1994
1990 Hudson River Museum, Yonkers, New York.
1989 St. Mary's College, Baltimore, Maryland.
1988 Kuntsverein Anna, Anna, Germany.
Carol Getz Gallery, Miami, Florida.
da entlang galerie, Dortmund, Germany.
1987 Institute for Art and Urban Resources, P.S. 1, Long Island City, New York,"special project."
Gross McCleaf Gallery, Philadelphia, New York.
1986 da entland galerie, Dortmund, Germany.
1985 Grace Mansion Gallery, New York, New York
Steven Adams Gallery, New York, New York.
"Glantzman Cuts Up
Her Friends."
Harris Samuel Gallery, Coral Gables, Florida.
1984 Civilian Warfare, New York, New York.
Anna Friebe Gallery, Cologne, Germany.
Saint Peter's Church, Citicorp Center, New York,
New York.
1983 Civilian Warfare Gallery, New York, New York.
Fashion Moda Gallery, Bronx, New York.
2003 P.S.1, Long Island City, New York,”Site and Insight.”
June Kelly Gallery, New York, New York,”According to Nadelman: Contemporary Affinities.”
Educational Alliance, New York, New York,”My Mother's An Artist.”
Dactyl Foundation for the Arts and Humanities, New York, New York,”Heroes and Villains.”
2002 Frye Art Museum, Seattle, WA,”The Perception of Appearance.”
Gracie Mansion Gallery, New York, New York.
2001 Carl Hammer Gallery, Chicago. Il.,”Smaller.”
2000 Sylvia Heisel,New York City,”Go Figure,”
Pace University Gallery,Pleasentville,New York ”Reconfigured”
Exit Art,New York City, ”THE END: An Independent Vision of
Contemporary Culture 1982-2000”
Brenda Taylor Gallery, New York City, ”Unusual Suspects”
1999 Exit Art, New York City, ”Monumental Drawings”
Rebecca Ibel Gallery, Columbus, Ohio, ”Works on Paper”
Gale Gayes et al, Brooklyn, NY, ”Size Matters”
1998 Speed Art Museum, Louisville, Ky., ”Theater of Self-Invention: Self Portraiture in Contemporary Art”
1997 Lawling Gallery,Houston, Texas. ”Fracturing the Gaze.”
Jan Baum Gallery, Los Angeles, CA. ”Remembrance of
Exhibitions Past”
Hunterdon Art Center, Clifton, NJ. ”Line Drawing as
Idiosyncratic Art.”
Livestock Gallery, New York, New York.
1996 PPOW, New York, New York. Watercolors.
Baldwin Gallery, Aspen, Colorado. Drawings.
Gracie Mansion Gallery, New York, New York. ”Personal
Impersonal.”
Livestock Gallery, New York, New York. ”Lady's Lounge.”
Gallery 128, New York, New York. ”Women Draw.”
1995 Exit Art, New York, New
York. "Transfers."
BlumHelman Gallery, New York, New York.
1994 The Drawing Center, New York, New York.
"Selections Spring " '94.
BlumHelman Gallery, New York, New York. "Painting."
White Columns , New York, New York. "Splat Figures."
Monique Knowlton, Kent, Connecticut. "Leslie Dill,
Judy Glantzman, and Arthur Gonzales."
1993 Pamela Auchincloss Gallery, New York, New York.
"Drawings."
Exit Art, New York, New York. "1920."
Greenville County Museum of
Art,Greenville, South Carolina.
"Already Buddha."
Washington Project for the Arts, Washington, D.C.
"Beyond Loss."
Germans Van Eck Gallery, New York, New York
1992 CDS Gallery, New York, New York.
1991 da entland galerie, Dortmund, Germany.
Home for Contemporary Theater and Art, New York,
N.Y. "The
Return of the Prodical Son."
1990 Carol Getz Gallery, New York, New York.
1989 Sally Hawkins Gallery, New York, New York.
"Painters at the End
of a Decade."
Seibu Department Store, Tokyo, Japan. "I Buy Art."
Stadistische Galerie, Regensburg, Germany. "Art...Made in the
USA,37 Postitionen Junger"
1988 Galerie da entlang, Dortmund, Germany
Duke University Museum of Art, North Carolina.
"Fables and
Fantasies."
New School for Social Research, New York, New York.
"Selections from the Collection. "
1987 Greene Gallery, Coral Gables, Florida. "Sculpture
Show."
Galerie Barbara Farber, Amsterdam, The Netherlands.
"Stock Show."
Gross McCleaf Gallery, Philadelphia, Pennsylvania.
"Exploring the Raised Surface."
Watermill Museum, Southampton, New York.
Bemis Foundation, Omaha, Nebraska. "Drawings."
1986 DiLaurenti Gallery, New York, New York. "Female
Nude."
The Fashion Institute of Technology, New York, New
York. "The East Village."
CDS Gallery, New York, New York. "13 Americans."
Mokotoff Gallery, New York, New York. "Heads."
Kenkelaba House, New York, New York. "Self
Portraits."
Anna Friebe Galerie,Cologne, Germany. "Accorage. "
1985 Ackland Art Museum, Chapel Hill, North Carolina.
Karl Bornstein Gallery, Los Angeles, California.
Hal Broom Gallery, New York, New York.
Saide Bronfman Center, Montreal, Canada.
Anna Friebe Gallery, Cologne, Germany.
1984
Sande Webster Gallery,Philadelphia, Pennsylvania.
Vorpal Gallery, San Fransisco, California.
The Center for Contemporary Art, Seattle, Washington.
City Gallery, New York, New York. "Not Just Black
and White"
Dramatis Personae, New York, New York. "Portraits."
Zero 1 Gallery, Los Angeles, California.
Modernism Gallery, San Fransisco, California.
Anna Friebe Gallery, Cologne, Germany.
The Progressive Collection, Cleveland, Ohio.
Grandin Gallery, Louisville, Kentucky.
Wessel O'Connor Gallery, Rome, Italy. "The
Discovery of America."
Brentwood Gallery, St. Louis, Montana. America Haus, Berlin, Germany. " Women of Influence."
BIBLIOGRAPHY
Artist Space, New York, New York. "Galleries of
the East Village."
University of California Art Museum, Santa Barbara,
California.
"Neo York."
P.S. 1, Long Island City, New York. "Portraits."
Galerie Engstrom, Stockholm, Sweden. "Climbing."
New Math Gallery, New York, New York. "Dolls and
Other Effigies."
Condeso Lawler Gallery, New York, New York. "Fall
Show."
Civilian Warfare Gallery, New York, New York. "25,000
Sculptors."
SUNY at Purchase, Purchase, New York. "Personal
"Expressionism."
Hal Bromm Gallery, New York, New York. "New Talent."
Niveau Gallery, New York, New York. "East Village
Art."
2003 “Galleries-Soho,” The New Yorker (May 26).
2001 Nadelman, Cynthia.“New York Reviews,” ArtNews,(September) p.178
2000 Bell, Bower J., “Unusual Suspects.” Review (January 15) p.37
1999 Schwabsky, Barry, “Judy Glantzman. Dactyl Foundation for
the Arts & Humanities,” New York. Art on Paper, (March-
April) Pp.62-63
Kirwin, Lisa& McCormick, Carlo “The Wild East, Rise and Fall of
the East Village” Artforum(Oct) Pp. 126, 159,161
1998 Cohen, Mark Daniel, “Judy Glantzman Drawing and Painting,”
Review (Oct.1) Pp.30-31
Hwang, Caroline, “A Mystery Gift for Women Artists,” Glamour
(Feb) p.89
1997 Schwabsky, Barry, “Judy Glantzman Hirschl and Adler Modern.”
Artforum (December) Pp.116-117
Dobrzynski, Judith H., “Anonymous Gifts, So Women Won’t Be.”
The New York Times (October 12, 1997.) Pp. 1,14.
Levin, Kim. “ Art Galleries.” The Village Voice (October 7,
1997. (p.12, Voice Choices.)
1996 Sheets, Hilarie, M., "Studio." Artnews (January.)
Pp.71-72
1995 Smith, Roberta. "Transfers." The New York Times
(October 27, 1995.) P.C1
Heartney, Eleanor. "Judy Glantzman at BlumHelman."
Art In
America (January 1995.) p.100
Costa, Robert. "Judy Glantzman at BlumHelman."
Cover (Winter
1995.)
1994 Raynor,Vivian. "All American." The New York Times
(21 August,1994.)
Cotter, Holland. "The Joys of Childhood
Reexamined." The New York Times. (25
March, 1994) p. 30C.
"America 100 Top Collectors." Art and Antiques
(March 1994)
p.50
"Judy Glantzman" The New Yorker. (November 28,1994)
p.34
Grace Glueck. The New York Observer (November 28,
1994.)
"Art in Review" The New York Times (December 2,
1994) C19
1993 Cotter, Holland. "Art in Review." The New York
Times. (16 April) p.28C
1992 Pincus-Witten, Robert. "Timothy Greenfield-Sanders."
Tema Celeste (June) pp.67-68
Wyer, E. Bingo. "Any Resemblance is Purely
Intentional."
Avenue Magazine (January) p.59.
Azon, Gary. "Art Around Town, Art Auction Uproar."
Downtown (14 November) p.2A.
1989 Nally, John. "The Excessive 80's." Outweek
(November 12)
p.54-55
1988 Turner, Lisa. "Glantzman's Work at Carol Get Gallery."
The Miami Herald (9 November) p.5D
Heresies:Coming of Age pp.92-92
Greenberg, Blue. "Myth A Hit. Durham Morning
Herald (April
29) pp.13,21,22.
1987 Sozanski, Edward J. "On Galleries." Philadelphia
Inquirer )
(3 September) p.4D
Rubin, Edward. "Space And the People Who Inhabit It.
Daniels, Rebecca. "Capturing the Person."
WoodstockTimes
(July 2) pp.1,46-47 section 2.
Dunning, Jennifer. "Dance:Glenn and Lund." The
New York
Times (June 14) p.67.
1986 Tanaka, Hiroko "Judy Glantzman". High Fashion. Japan
(September) pp.142-43
Klein, Ellen Lee. "Review: 13 Americans at CUDS
Gallery."
Arts (November) p.123
"Avante-garde Artist Bringing Special Exhibition to
Juniata."
Daily News Huntingdon, PA (March
31) p.7
"Paintings on Exhibit." Centre Daily Times PA
State College
(March 30)
Siegel, Judy. "Judy Glantzman--Girl of the East
Village Big
Bang." Woman Artist News (September)
pp.5,36-38.
"Glenn-Lund Dance in Two Premieres." Back Stage
(June 27)
Rubin,Ed. "Reviews:The East Village at FIT." New
Art Examiner
(June.)
Esler, Vera. "Die Neuen Stadt-Streicher."
Schweizer Illustrierte
(May 12) pp.66-67
"Menschenbilder Kraftvoll und erdig."
Ruhr-Nachrichten
German (July5).
"Leere Muskeln da entland: Judy Glantzman zur US
Woche."
Waz German (July 5).
"Judy Glantzman aus New York." Westfalische Rundschan
(June 28.)
Klein, Ellen Lee. "Reviews: 13 Americans at CDS
Gallery."
Arts Magazine (November) p.123
1985 McNally, Joe and Brewster, Todd. "The Art
Scene:Far Out's
In." Life Magazine (May)pp.46-52
Pincus-Witten, Robert. "The New Irascible." Arts
(September)
cover &pp.46-52
Russell, John. "Art: New Paintings." The New York
Times (25
January)
Cameron,Dan. "The Attack of the B-Girls: Four
Women Artists
in the East Village." Arts (May) pp.74-77.
Januszak,Waldemar. "The Kiss of Art and Commerce."
The Guardian . London (January 19).
Clothier, Peter. "East Village Artists at Karl
Bornstein." LA Weekly
(July 12-18) p.59.
Weisang, Myriam. "Trendy Artists from A to D."
Bay Guardian
(May 22-29) p.5.
Warren, Ron. Arts Magazine (May) p.43
Daniels, Dimitria. "Artists Unite for a Benefit of
Fashion Moda."
Soho Arts Weekly (November 13).
Bleigerg, Larry. "Drawing Attention Graffitti
Artists to Create Charity Here."
Louisville Times (December).
Mann, K. "My Wanderings are tinged with
gloom...Nowhere can I get a Chocolate Milkshake." Sunstorm Oct 15
Bourbon, David. "Sitting Pretty." Vogue
(November) pp.108-116
Berger, David. "East (Village) meets West in off
the wall art show."
The Seattle Times (April 12) pp.D1,5.
"Gracie Mansion." People Magazine (December 23-30)
pp.112-113.
1984 Robinson, Walter and McCormick, Carlo. "Slouching
Towards
Avenue D". Art in America (Summer Issue.)
Cotter, Holland. Review: Judy Glantzman." Arts.
(November)
Harper, Paula. The Miami News (March 2) p.10C
Wilson, William. "Art Calender." Los Angeles Times
(November 18)
Fischer, Jurgen. "The Pier." Stern Magazine
(January)
1983 Savard, Dean. "Force of the Figure." The New York
Native (April)
Haaren, Peter. Arts Magazine (January).
1982 Eder, Bruce. "Figures." Arts Weekly (December 8)
Rubin, Ed. "Three Women Painter Find Their
Voices." Villager
(January).
The Paris Review, Summer, 1995
Belamy, Peter. The Artists Project, 1991
Fables and Fantasies, Duke University Art Museum
Neo York, University Art Museum, University of California, Santa Barbara
Women of Influence, Six American Women, America Haus, Berlin, 1984
East Village Art in Berlin: Romance and Catastrophe, Zellemeyer Galerie, 1984
Chase Manhatten Bank, New York, New York.
The Progressive Collection, Cleveland, Ohio.
Franklin Furnace Archives, New York, New York.
Equitable Bank, New York, New York.
Bell Savings Bank, Pennsylvania
Museum of the University of Southern California at Santa Barbara, California.
Grey Art Gallery, New York, New York.
New School for Social Research, New York, New York.
Tampa Museum of Art, Tampa, Florida.
RETURN TO DACTYL FOUNDATION