Judy Glantzman
Dressing for the Carnival
September 9, - October 17, 2015
ALICE NEEL, 1999-2000
Oil on canvas
88 x 77 in.
223.52 x 195.58 cm
JG12839
UNTITLED, 1993
Ballpoint pen on paper
12 x 9 inches 30.48 x 22.86 cm
JG12887
(JG12885)
UNTITLED, 2000
Pencil on paper
75 1/2 x 51 3/4 in.
191.77 x 131.45 cm
JG12889
RED DRESS, 1999
Oil on canvas
92 x 82 in.
233.68 x 208.28 cm
JG12890
TORQUE, 2001
Oil on canvas
92 3/8 x 81 3/4 in.
234.63 x 207.65 cm
JG12891
UNTITLED, 2000
Oil on canvas
40 x 30 in.
101.6 x 76.2 cm
JG12894
Judy Glantzman was born in Long Island, NY in 1956 and graduated from the Rhode Island School of Design in 1978. She began exhibiting in the early 1980’s in the East Village art scene, at Civilian Warfare and Gracie Mansion. She followed with shows at BlumHelman and Hirschl & Adler Modern in the 1990’s and at Betty Cuningham Gallery for the past five years. Most recently, she had a 30 year retrospective at Dactyl Foundation in spring 2009.
The artist’s work can be seen in numerous public collections, including the Grey Art Gallery, New York, NY; the Phoenix Art Museum, New York, NY; The Progressive Collection, Cleveland, OH; and the Tampa Museum of Art, Tampa, FL. She has been the recipient of numerous awards and grants, most notably the John Simon Guggenheim Memorial Fellowship, 2001; the Anonymous Was a Woman Foundation Grant, 1997; the New York Foundation for the Arts Grant, 1994; and the Pollock Krasner Foundation Grant, 1992. The artist lives and works in New York, NY.
Click below for full press release.
A CONVERSATION: JUDY GLANTZMAN by New American Paintings
May 15, 2013, 8:30 am
Filed under: Interview | Tags: A Conversation, Arthur Pena, Judy Glantzman
To know Judy, a wonderful and generous artist and teacher, one has to reconcile her kind spirit with her absolutely gruesome work. Body parts, heads (so many heads!) and objects of destruction are rife throughout her recent solo show at Betty Cunningham Gallery. Glantzman’s raw imagery, what Peter Plagens of the Wall Street Journal called “studenty” (a term Glantzman enjoys) is tough to deal with. Addressing her personal relationship to the idea of war while pulling from the works of Goya and Picasso, Glantzman “orchestrated” over 200 pieces for the viewer to work through, a feat for both sides. After mounting her show and while commuting between Providence and New York, Glantzman and I had a conversation. - Arthur Peña, Dallas Contributor
I love it when established artists start something new. After seeing Pablo Picasso's Guernica for the first time three years ago, Judy Glantzman began moving away from the introspective self-portraits she had been making for many years toward a less self-engaged exploration of the devastation caused by war. Determined that she was done with psychological self examination, Glantzman set out to develop a new, more outward-looking visual language. Here are images of a sprawling, roughly hung exhibition at Betty Cuningham in which Glantzman presents powerful work from her ongoing series.
