Whitney Kimball interviews painter Judy Glantzman about her process and her new series of work.
Kimball writes: " 'The beginnings of paintings are always really nice,' Judy Glantzman tells me, 'because the quality of touch, the hand, are almost the realest moments…and then you have to go the whole friggin' time to get back to that moment where you basically don’t care.' This internal combat describes both what’s in Judy's paintings and how they’re made. Hers is a method of slashing, burying, and digging through layers of paper, often finding mangled figures which invoke Goya as much as formative years spent in the East Village in the 1980s. In other words, it makes sense that she's begun to paint about war."