"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
Everett, Deborah, "Trajectories", NY Arts, Nov. 2000, Vol 5, No. 11
Dieu Donne "Pulp" Newsletter, Sept-Dec 2000, No.31
Feaster, Felicia, "Trippy Colors Create Special Effects in Susanna Starr's Sculptures"
Atlantic Journal Constitution, Arts & Theater Section, Monday December 7, 2015
Freedman, Matt, "Susanna Starr at Cynthia Broan Gallery",
Review Magazine, February 1, 2000,
Volume 5, Number 9
Gottlieb, Stacey, "Susanna Starr"
NYFA Current Magazine, May 2011
King, Howard," Gallery: Unseen opening at Collar Works", The Collaborative, Oct 28, 2019
Katz, Carissa, "At The Barn With Albee's Colonists"
East Hampton Star, Arts & Living, July 31, 2003
Lambert, Audra,"Illuminating the "Unseen": Collar Works in Troy, NY Elevates Contemporary Artist", Up The Ante, November 8, 2019
Long, Robert, "Susanna Starr Reading In Color", Solo Exhibition, Avram Gallery, LIU, Southampton, NY, East Hampton Star, Arts & Living, Sept 18, 2003
New York Times, Metropolitan Section, Calendar/New Jersey
Sunday October 23, 2011, page 14
Princenthal, Nancy, "Susanna Starr at Cynthia Broan", Art In America, June 2000, page 121
Schmerler, Sarah, "Tunneling" Famous Accounts, Art In America, November 2010, page 182
Terrell, Matthew, "Art Review: Susanna Starr's Psychedelic Doilies at Marcia Wood", Burnaway, December 15, 2015
Vartanian, Hrag, "Tunneling Through Famous Accountants", Hyperallergic, Sept 3, 2010
Weld, "Punk Rock Art", Arts Section, August 30-Sept 6, 2012 / page 17
Birmingham, Alabama
Romanov Grave Interview: One Question/One Answer, May 31, 2022
New York Times, Home and Garden Section, Thursday August 2, 2012
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.
Excerpt from the exhibition catalog "Beyond the Pale Material Possibilities"
Susanna Starr's work defines a distinct, new territory. She pulls painting completely off the wall and gives free reign to color and chance. For her, industrial sponges become the site of action for the painting. She gouges, stacks, and folds various types and sizes of sponges, sculpting them into shapes that hold and literally express the liquid paints she pours onto them one color at a time. The added portions of acrylic paint blend into and eventually seep through the sponge onto the floor, drying in unpredictable shapes. Starr's work may call to mind that of Yves Klein, who first used sponges in his pigment-saturated canvases in 1959/60, or Morris Louis and Helen Frankenthaler, who were pioneers of pouring paint; however, the rounded sponges in a pool of red, yellow, and white paint in Sop recall, in a strange way, the cartoonlike elements of Philip Guston. Starr's color choices, at least in her latest works, Green Gorge and Phantom Skin, may reflect an environmental overtone, which dates to Mark Rothko and his contemporaries during the Cold War era. Green Gorge appears to be a contemporary vertical landscape, which Starr has slit on one side at a critical moment in the process of pouring paint. A narrow trickle of green, yellow, and white runs down the side like a toxic leak, forming a small, swirled pool on the floor. Like the best of art, Starr's work contains multiple possible readings - the irony and humor of Green Gorge being that it may be viewed as a metaphor for the body, gorged until it is green around the gills.
As Starr and her contemporaries in Beyond The Pale attest, the look and definition of painting has definitely changed. These artists each have invented a personal visual language that continues and advances the dialogue and the metamorphosis of so-called painting. Their work kicks open the door to encourage consideration of the future material possibilities. Perhaps they are endless.
Dede Young, Curator of Modern and Contemporary Art