Books and Catalogues

"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
Bibliography article icon

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

Bibliography article icon

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

Bibliography article icon

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

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

Bibliography article icon

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

Review Magazine, February 1, 2000,

Volume 5, Number 9

Bibliography article icon

Gottlieb, Stacey, "Susanna Starr"

NYFA Current Magazine, May 2011

Bibliography article icon

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

Bibliography article icon

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

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

Bibliography article icon

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

Bibliography article icon

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

Bibliography article icon

New York Times, Metropolitan Section, Calendar/New Jersey

Sunday October 23, 2011, page 14

Bibliography article icon

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

Bibliography article icon

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

Bibliography article icon

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

Bibliography article icon

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

Bibliography article icon

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

Birmingham, Alabama

Selected Website Listings
Bibliography external website link icon

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

Bibliography external website link icon

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

"Beyond The Pale" Exhibition Catalog, 2002

Neuberger Museum of Art, Purchase, NY

Curated and Essay by Dede Young