Lo Spiffero
MAY 2023- Recycle Artist - http://spifferodariapura.blogspot.com
Haus-A-Rest
SEPTEMBER 2022- Feature Artist
Astonish Magazine
April 2022- Feature Artist - https://issuu.com/biafarinart/docs/artistonish_-_april_2022_-_discover_the_artist_med?fr=sMjEwNzQ5NDY2MDc
Alkali magazine
SEPTEMBER 2021- 7 Page Interview
Art reveal magazine
SEPTEMBER 2021- 6 Page Interview
Vast art magazine
FALL 2020- Artist to Watch
Pinky Thinker Press
FALL 2021- https://www.mignolo.art/ptp
ARTS MAGAZINE
APRIL 1983-
IMAGES AND IDEAS
SEPTEMBER 1983, Review of Cirrus Gallery Show
LOS ANGELES TIMES
JUNE 24, 1983 Review by W. Wilson
“(Her work) carries on in the psychotic accents of Neo-Expressionism, but their understanding of tense moment and nauseous color show mastery…”
ALL IN LINE
NOVEMBER 1980, Syracuse University Publication
D’ARS MAGAZINE
JANUARY 1980, (ITALIAN PUBLICATION) by Jonathan Crary
“Judith Ornstein, le cui modificazioni pittoriche di complicate figurazioni topologiche segnano un allontanamento dalla fiacchezza di tanta arte epistemologica degli anni settanta.”
CAPS CATALOG
Winners Catalog, 1979
GQ MAGAZINE
OCTOBER 1978, by H.H. Sloan
ARTFORUM
FEBRUARY 1978, Review of show by Leo Rubenfine
“Ornstein is so delighted by crayons and pencils- in short, by Picture-Making, that she cannot complete a series of isometric projections without succumbing to a devilish desire for polka-dots, dreamy scrawls, loopy S’s, giggles, whoops and sighs…..her drawings would doubtless give birth to a computer considerably more whimsical than Stanley Kubric’s celebrated Hal.”
PARIS REVIEW
WINTER 1977, COVER
ARTS MAGAZINE
DECEMBER 1977, Review by Jonathan Crary
“Judith Ornstein’s paintings describe the operation of thought not in an explicit demonstration but in an oblique, even veiled disclosure of the process”
VILLAGE VOICE
DECEMBER 14, 1977, Review by P. Frank
“There is a wealth of open linear - almost written - information in Ornstein’s oil crayon-on-mylar renditions. Thicker lines are intercut with thinner ones, the narrower lines seeming to recede and the thicker ones to advance, resulting in a counterpoint of several rhythmic patterns”