Books and Catalogues

"Those Spaces Between Us" Online Exhibition Catalog, 2021

Torpedo Factory, Alexandria VA

curated by Nikki Brugnoli

"SUPERSATURATION, Susanna Starr" Exhibition Catalog, 2002

Museum of Contemporary Art, Fort Collins, CO.

essay by Nancy Princenthal

"ABSORBED Susanna Starr", Exhibition Catalog, 2000

Cynthia Broan Gallery, NYC

essay by Douglas Maxwell

"Beyond The Pale" Exhibition Catalog, 2002

Neuberger Museum of Art, Purchase, NY

Curated and Essay by Dede Young

"Auga Doce/Fresh Water" Exhibition Catalog, 2014

Fundcion Cidade de Cultura de Galicia, page 188

Benton, Camille, "KYIV Art Collection of the US Agency for International Development"

Art In Embassies, US Department of State, 2013, pages 52,53

"I have a secret wish", exhibition catalog, 2012

Visual Arts Gallery, Univ. of Alabama, Birmingham, AL

Curated and essay by John Fields

Benton, Camille, "KYIV UKRAINE", Art Collection of the United States Embassy,

Art In Embassies Program, US Department of State, pages 44-45

"Rags To Riches 25 Years of Paper Art From Dieu Donne Papermill", 2001

Exhibition Catalog, page 27

"Corporal Identity Body Language" Exhibition Catalog, 2003

Museum of Arts and Design, NYC

pages 27, 290, 291

"DECADE Contemporary Collecting 2002-2012"

The Albright-Knox gallery, Buffalo, NY

organized by Douglas Dreishpoon, Louis Grachos and Heather Pesanti

The Buffalo Fine Arts Academy, 2012

pages 309 and 396

"New York's Underground Art Museum/MTA Arts & Design"

by Sandra Bloodworth and William Ayres,

The Monacelli Press, 2014, page 251

"Textility", Exhibition Catalog, 2012

Visual Arts Center of New Jersey, Summit, NJ

curated and essay by Mary Birmingham & Joanne Mattera

"Making It Up", Exhibition Catalog, 1999

Wake Forest University Fine Arts Gallery, Winston-Salem, NC

Curated and Essay by David Finn and Victor Faccinto

Articles and Reviews
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Everett, Deborah, "Trajectories", NY Arts, Nov. 2000, Vol 5, No. 11

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Dieu Donne "Pulp" Newsletter, Sept-Dec 2000, No.31

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Feaster, Felicia, "Trippy Colors Create Special Effects in Susanna Starr's Sculptures"

Atlantic Journal Constitution, Arts & Theater Section, Monday December 7, 2015

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Freedman, Matt, "Susanna Starr at Cynthia Broan Gallery",

Review Magazine, February 1, 2000,

Volume 5, Number 9

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Gottlieb, Stacey, "Susanna Starr"

NYFA Current Magazine, May 2011

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King, Howard," Gallery: Unseen opening at Collar Works", The Collaborative, Oct 28, 2019

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Katz, Carissa, "At The Barn With Albee's Colonists"

East Hampton Star, Arts & Living, July 31, 2003

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Lambert, Audra,"Illuminating the "Unseen": Collar Works in Troy, NY Elevates Contemporary Artist", Up The Ante, November 8, 2019

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Long, Robert, "Susanna Starr Reading In Color", Solo Exhibition, Avram Gallery, LIU, Southampton, NY, East Hampton Star, Arts & Living, Sept 18, 2003

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New York Times, Metropolitan Section, Calendar/New Jersey

Sunday October 23, 2011, page 14

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Princenthal, Nancy, "Susanna Starr at Cynthia Broan", Art In America, June 2000, page 121

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Schmerler, Sarah, "Tunneling" Famous Accounts, Art In America, November 2010, page 182

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Terrell, Matthew, "Art Review: Susanna Starr's Psychedelic Doilies at Marcia Wood", Burnaway, December 15, 2015

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Vartanian, Hrag, "Tunneling Through Famous Accountants", Hyperallergic, Sept 3, 2010

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Weld, "Punk Rock Art", Arts Section, August 30-Sept 6, 2012 / page 17

Birmingham, Alabama

Selected Website Listings
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Romanov Grave Interview: One Question/One Answer, May 31, 2022

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New York Times, Home and Garden Section, Thursday August 2, 2012

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Monday November 21, 2011 Featured Artist on "PEEK", a blog curated by the artist Lee Gainer that has featured a new contemporary artist every weekday since February 2008.



Susanna Starr’s Psychedelic Doilies at Marcia Wood

Matthew Turrell - Dec 15, 2015 in Art Review

The show card for Susanna Starr’s “hyperglo!” at Marcia Wood Gallery looks like a glow-in-the-dark psychedelic poster from the 1970s. The vividly colored artwork and curvy logo font evoke memories of the trippy children’s show “H.R. Pufnstuf.” Starr’s work, which blends sculpture, painting, and installation, changes as you move around it; I found myself bobbing in a circle, examining it from all sides, and blowing on it to see how it changes. This show offers up work that’s fun to interact with, and blurs the boundaries between 2-D and 3-D art.

Starr is interested in the physical manifestations of color. The works are made of hand-cut Mylar painted with a palette of eye-popping fluorescent colors. The thin, translucent Mylar both absorbs and reflects color, giving the impression that the material is just a floating field of color. Starr cuts these Mylar sheets with an X-acto knife into shapes reminiscent of granny’s crocheted doilies. She then layers three to five differently colored patterns on the projecting wall mounts, each layer separated by just a few inches of space. As you look through the front of the works, you can see the outlines of the other colors peeking through the front. Adjust your height, pan right or left, and the shapes change and move with you like a flat, morphing figure. Look over to the side of the work, and the art becomes a 3-D object as the overlapping shapes produce a colorful cylinder receding into the wall.

Starr demonstrates how scale distorts our perception of color in two pieces, Morning Glory (23 by 23 by 12 inches) and Shangri-La (49 by 49 by 12 inches). These two works use the same doily pattern, although the negative space becomes much more apparent in the larger piece. In Morning Glory, the tight pattern makes the colors pop out more and play with each other in intriguing ways. The larger Shangri-La looks more like lace, and there’s less interplay of color as you move around the piece. The two works have a completely different arrangement of color layers. Shangri-La leads with black and dark red, green, and blue, thus making the piece seem shadowy and receding. Morning Glory leads with blue and finishes with black, which gives the sense that the colors are being pushed forward. This thoughtful exploration of form and design shows how color, and our perceptions of it, can be easily manipulated by the artist.

The intense amount of handiwork that goes into these pieces is apparent. You can see the delicate, hand-cut lines Starr cuts out of the Mylar. To amplify the doily effect, she cuts her shapes slightly irregular, creating the outline of a string crocheted by human hands. There are even spaces where the string would be knotted up, and Starr makes sure these shapes are cut into the pattern. The thin, gauzy lines Starr cuts out must take tremendous effort, and I imagine her material is not very forgiving. The way these works interact with the natural light in the gallery is intriguing. Below each of the pieces are multiple shadows of complex patterns, forming even more complex shapes against the wall. I was told that the artist isn’t too keen on the shadows, but I think they add so much to the work. The dense piece another time another place had the most beautiful shadow pattern. Layered pink, blue, green, and black, this one did not have much negative space, so there wasn’t the same morphing color pattern as the other works in the show. What this piece did possess was a much more elaborate and interesting pattern, and wall shadows that echoed the beautiful shapes.

Starr’s work manipulates and distorts colors to create bold, fantastical patterns. Imagine shutting your eyes really tight and seeing pulsing, fractured patterns of color shoot across your closed eyelids. The delicate patterns swirl with color as you move around the works, almost like a spinning hypnotist’s aide. The fact that these works can shift between drawing and sculpture invites viewing from all angles. They possess a playful levity that makes their minimalism even more enjoyable.

-Matthew Terrell 

Terrell, Matthew, "Art Review: Susanna Starr's Psychedelic Doilies at Marcia Wood", Burnaway, December 15, 2015