Judith Goldman

Judith Goldman is a writer, curator and publisher who lives in New York City.

Judith Goldman
BornUnited States
OccupationWriter, independent curator and publisher.
EducationBard College

Early life

Born in Chicago, Goldman attended Bard College, where she majored in literature and studied woodcut with Louis Schanker; she briefly attended the Institute of Design in Chicago, where she studied etching with Misch Kohn.

Career

Beginning her career as an editor, Goldman was managing editor of Artist’s Proof (1966–69); founding editor of The Print Collector’s Newsletter (1969–1973; and managing editor of ARTnews (1973–1975) . From 1977 to 1991, she was advisor and then curator of prints at the Whitney Museum of American Art, where exhibitions she organized included: “New York on Paper” (1977); “Jasper Johns, Foirades/Fizzles”; (1977); “American Prints, Process & Proofs” (1981) and “Frank Stella, A Print Retrospective”, 1982. As an independent curator, she has organized : “Rosenquist, The Early Pictures” (Gagosian Gallery 1992); “Frank Stella, A Painting Retrospective” ( Reina Sofia, Madrid 1995); “The Pop Image, Print & Multiples” (Marlborough Gallery, New York, 1994);” Frankenthaler, The Woodcuts” (Naples Museum of Art, 2002)”; “The Painted Sculpture of Betty Parsons” (Naples Museum of Art, 2005); “Robert and Ethel Scull, Portrait of a Collection” (Acquavella Galleries 2010);[1][2] “Phoenix, Xu Bing at the Cathedral,” (Cathedral of St. John the Divine, 2014–15); “James Rosenquist, His American Life,” Acquavella Galleries 2018). In 1999, she established the Blue Heron Press (with Paul Kasmin) which has published etchings and lithographs by Walton Ford and Elliott Puckette. That same year, she established Deuce II Editions to publish artists’ books and prints.

Books and publications

She is the author of Windows at Tiffany: The Art of Gene Moore (Abrams, 1980);[3][4] American Prints: Process & Proofs, (Harper & Row), 1981;[5]Jasper Johns, 17 Monotypes (ULAE, 1981);[6]Jasper Johns: Prints 1977 – 1981 (Thomas Segal Gallery, 1981); James Rosenquist (Viking, 1985);[7][8] James Rosenquist, The Early Pictures (Rizzoli 1992);[9] The Pop Image: Prints & Multiples, 1994); Helen Frankenthaler, The Woodcuts, (George Brazillier 2002);[10] Robert & Ethel Scull, Portrait of a Collection ( 2010). Her essays have appeared in The Village Voice, New York Daily News, Vogue, Art in America, The Art Journal, Print Quarterly and ARTnews. In 2014, Deuce II Editions published Xu Bing's four-panel lithograph The Suzhou Landscripts (2003-2013).

Awards

Art Critics Fellowship, National Endowment for the Arts, 1978

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gollark: I mean, it's obviously much worse in terms of calculation throughput.
gollark: You mean faster as in latency or boot time or what?
gollark: Calculators are a vaguely weird and annoying product because they're very expensive, worse than equivalent general-purpose computing things like phones, and basically *only* exist for exams.
gollark: It always annoys me that foolish human brains are really bad at running things like high-quality RNGs or cryptography.

References
  1. Fred Kaplan, “Showing a Couple’s Eye for Art (and Money).”, The New York Times, April 30, 2010
  2. Roberta Smith, “Appetite for the New and Next New,” The New York Times, April 16, 2010
  3. Amei Wallach, Newsday, November 30, 1980
  4. The Chicago Tribune, pp.96, December 15, 1980
  5. John Russell, “Art:American Prints and How They’re Made.”, The New York Times, Dec. 24, 1981
  6. Calvin Tomkins, The New Yorker, January 17, 1983
  7. Calvin Tomkins, The New Yorker, pp. 64, December 23, 1985
  8. John Russell, The New York Times, June 27, 1986
  9. Peter Schjeldhal, Village Voice, “Classic Pop” June 9, 1992
  10. Hilarie M. Sheets, ARTnews, pp. 88-90, March 2003
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