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

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

Articles and Reviews
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

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

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

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


Trippy colors create special effects in Susanna Starr’s sculptures


Posted: 2:41 p.m. Monday, Dec. 7, 2015

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By Felicia Feaster - For the AJC 


Playing with perception, artist Susanna Starr makes sculptures that look like psychedelic snowflakes in a solo show at Midtown’s Marcia Wood Gallery, appropriately titled “Hyperglo.”

Starr’s method for creating her trippy, fluorescent, shape-shifting sculptures is unique.


The artist paints thin pieces of Mylar in neon shades of Shrek, safety cone orange and Tide blue roughly the size of a personal pizza, which she cuts into intricate patterns. Depending upon the particular elaborate shape Starr creates, the works can conjure up all sorts of associations: to Spiro-graphs, kaleidoscopes, snowflakes, paper doilies (in fact, vintage lace doilies were the inspiration for these shapes), flowers, string art, op-art, organisms seen under a microscope, stained-glass windows and incandescent sea creatures. Starr then layers those variously colored ethereal shapes about 4 inches apart using hardware store nuts and bolts and projects them from the gallery wall.


From the side, the snow flake-like pieces jutting out from the wall in a soldierly row read one way. It’s like peeking behind the magician’s curtain to see the wizard at work. But looking at Starr’s artworks head on, or moving side to side, the magic happens and the sculptures become a different animal entirely. Enlivened by their bright neon colors, the sculptures seem to glow with some internal light, a trick of the eye created by their intense hues. Stare at them long enough and you seem to be falling into their depths. The layers of intricate pattern create an incredible, disorienting sensation of something solid and whole, unlike the delicate layers when seen from the side.


A bit of a magician herself, Starr conveys an impressive sense of pulsating movement and suggestive energy out of these utterly static objects by playing with color, pattern and light in imaginative ways. In a secondary special effect, depending upon ambient light, the lacelike shapes create beautiful shadowed patterns on the walls.


Starr’s punchy titles play with suggestive associations, too. In “Yelo,” the predominant color is a shrieking, unnatural shade of Day-Glo yellow that indeed recalls the assaultive neon hue of Mello Yello. “Groovy Kind of Love” suggests ’60s black light posters with its black vortex like cutout backed by shades of green, blue and orange that give it a trippy glow. In “Hot House Flower,” the acid shades of Starr’s neon colors are intensified by the eyeball-gouging hot pink wall behind it. But Starr’s work hardly needs that sort of visual helping hand.


Starr seems after something transportive, mystical, even transcendental in her work that speaks to the human desire for altered states of consciousness and enlightenment and the power of art to take us there.


ART REVIEW

“Susanna Starr: Hyperglo”

Through Dec. 23. Noon-5 p.m. Tuesdays-Saturdays. Marcia Wood Gallery, 1037 Monroe Drive, Atlanta. 404-827-0030

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

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