Amy Goldin, Neuilly-sur-Seine, France, 1971 © Naomi Schiff
As Amy Goldin began writing criticism in 1965, her friendships in particular with the Deep Image group of poets, particularly Robert Kelly, Jerome Rothenberg, David Antin and George Economou, provided a sophisticated playing field and a ready audience for her early criticism.
Many facets of her existing interests aligned: her fascination with historical and contemporary art, her study of philosophy and sociology, her argumentative nature, her empathy with paint and painters. Over the next year she completed more than 100 short reviews for Arts Magazine.
Longer, thought provoking pieces soon became her forté. She loved to chew on an idea, particularly one that had not received much attention, read what others might have written, refute their positions, and then assert her own. After writing about George Sugarman’s work, they became devoted friends, correspondents and sparring partners.
[1] Interview with Rothenberg and Robert Kushner, May 23, 2007, New York.