{"id":509,"date":"2001-04-07T12:25:52","date_gmt":"2001-04-07T19:25:52","guid":{"rendered":"http:\/\/i81.a52.mywebsitetransfer.com\/?p=509"},"modified":"2010-07-08T11:10:18","modified_gmt":"2010-07-08T18:10:18","slug":"judy-glantzman","status":"publish","type":"post","link":"https:\/\/dactylfoundation.org\/?p=509","title":{"rendered":"Judy Glantzman, works on paper"},"content":{"rendered":"

\"\"<\/a>April 7-May 21, 2001 <\/strong><\/p>\n

Works on Paper by Judy Glantzman<\/a>. Curated by Neil Grayson<\/p>\n

ARTnews<\/p>\n

Judy Glantzman at Dactyl Foundation<\/p>\n

Cynthia Nadelman<\/p>\n

It was fitting that around the corner from Judith Glantzman\u2019s recent exhibition there was a show of James Ensor\u2019s works on paper at the Center, the site of Glantzman\u2019s 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 \u2013 of the child in the adult (and vice versa), of androgyny, identification with animals, masquerade \u2013 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\u2019s 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\u2019s 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 \u2013 they are simply drawings. With their marks over marks, the directness of the subjects\u2019 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 culminates in a distinctly 20th Century view of the self.<\/p>\n

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Upturned Breasts<\/figcaption><\/figure>\n