Susan Rothenberg: Emotions I think I care about beauty, but I don’t go for it. I hope it sometimes might be in there. I think maybe more in terms of a beautiful moment than trying to figure out what beauty is. I hope that my paintings can be emotional moments for people. I just know that it takes a certain emotional lock in for me to commit to a painting. And a certain timidity at first, and then the second painting, and then I might go back to the first painting, And then force some more bravery on it, And say, “Oh, this is okay. You can handle this.” I have given myself full range of the painting. I don’t limit myself in anyway. I know I’m not a landscape painter. I know that. I know that’s sombody else’s job. And I don’t think I’m a still life painter. But I would like to think that I can paint portraits, which I have not successfully done. I’d like to think that the whole thing is wide open and that I don’t have to abide by any rules, anymore. But I was happy to when I was young, because it looked like a very radical world. And I really wanted to be part of it. We had to put that dog down, because she was in kidney failure. And I was holding her before the doctor did that, and I wanted to make a painting about it. How it felt, to remember her by. And I’ve had the arm… Everywhere you see this darker tone, I’ve had the arm there. [chuckles] I had it like this, like this, then I could not figure out where the feet should be, Then, I couldn’t figure out where the arm might be coming of the body. And finally, I decided to stop worrying about it. All I wanted was that dog held there, And my sneakers grounding the bottom of the painting. I just felt so sad, and so… I felt the loss of this dog quite a lot. So I just try to recover her for a moment in the painting. It’s completely personal. And I could see that the hand’s not painted well enough… That one is, that one isn’t. [WOMAN, OFF SCREEN] Which one? [ROTHENBERG] The left hand is just fine. It’s doing what it needs to do. This one is blobby. [laughs] It needs some wristbones, and some fingernails, and some definition. In the paintings where it’s there–the tenderness–I work for it. I’m not afraid of it. If I could put my bleeding fucking heart in there, I would. [chuckles] But as it is, it’s her and my arms and my shoes. You know, in the most all-embracing kind of send off that I could give her.