Writings about Judith Foosaner
Review of show at Lora Schlesinger Gallery, Santa Monica, in October Artweek by Barbara Morris 
We have watched Judith Foosaner make light tendrils of organic line with huge amounts of white paper or surface between them--floating like ribbons of energy or thought. Like a John Cage score where silence is sound, those older works made us imagine that the absence of marks was as important, communicative and structural as the laying down of pigment. One admires Foosaner for pushing a formula that she had mastered so completely. In these current works, the lines have become fuller and harder edged; the motion is less balletic, the shapes more skeined and energetic. Her shapes in paint are denser and the whole matrix looks closer to action painting, where we still follow the hand with our eye but the trajectory is far more complex. Before she relied on the poetry of her ephermeal lines, now she has hit an excellent tension between things unraveling and things tightly coming together (Lora Schlesinger Gallery, Santa Monica).
http://artscenecal.com/ArticlesFile/Archive/Articles2008/Articles0308/CR0308.html