THE Magazine, Studio Visit: Susan York, Chelsea Weathers, 8/30/17
Susan York’s career has evolved over several decades and, in many ways, constitutes an ongoing investigation into materials, process, and site specificity. For the past several years, York has worked with graphite in two and three dimensions. Often, she will translate her drawings into three dimensions, or vice versa, in order to experience how perceptions of size and scale shift depending on their mode of representation.
Art in America, Santa Fe, Susan York,The Lannan Foundation, Sarah King, 12/08/2008
At first glance, the seriality and rigor of York's work evoke Minimalist forebears: Robert Morris, Carl Andre, Donald Judd. Yet as Lucy Lippard points out in the exhibition's catalogue essay, York wittily subverts minimalism's commitment to systemic composition and impersonal facture.We learn that the sculptures' perfectly smooth surfaces, which suggest industrial fabrication, are achieved in the artist's studio...
New York Times Magazine, Flying Geese, Lives Column, Susan York, 12/04/2005
I first saw the artist Agnes Martin lecture in 1982 in Albuquerque. She said: ‘‘My paintings are not about what is seen. They are about what is known forever in the mind.’’ I thought she was speaking directly to me. It took me a year to find the courage to call her. I wrote out a script of what I would say and laid my yellow legal pad with the dialogue printed in blue ink in front of me.
Pasatiempo, Art in Review, “Susan York: Carbon”, Michael Abatemarco, 2/12/2016
Susan York: Carbon is a stimulating way to re-experience works by Georgia O’Keeffe in dialogue with a contemporary artist. The context is a new, museum-wide presentation of O’Keeffe’s art — A Great American Artist. A Great American Story — which considers her from multiple perspectives in galleries separated by themes such as Abstract Nature, Georgia O’Keeffe’s New Mexico, Preserving a Legacy, and American Icon(s).
Lannan Foundation exhibition catalogue, essay by Lucy R. Lippard, Susan York 3 Columns, Between Tension and Tranquility, June, 2008
Susan York is heir to decades of “post minimalism,” but unlike so many of her peers in earlier and later generations, she has found a way to paradoxically revitalize this ongoing “ism.” I say “paradoxically” because the original Minimalism, at least in theory, heartily disavowed vitality in favor of stasis. York, on the other hand, subtly and studiously makes her forms just a little bit off, while...
11.Art in America, Susan York, Klaudia Marr Gallery, Sarah King, February, 2004
Susan York is a New Mexico-based artist who has been showing small sculptural pieces as well as spare large-scale installations in the Minimalist vein for over 20 years. Her striking body of work and systematic methods—influenced by the Con-structivist and De Stijl movements as well as ancient Greek premises of geometry—adroitly provoke tensions between space and form.
Adobe Airstream, Susan York at the O’Keeffe Museum, Ellen Berkovitch, May, 2016
Most of the time one doesn’t think of painting as volume, because a volume implies a third dimension. But on touring the Georgia O’Keeffe Museum’s winter show, Susan York: Carbon (January 21-April 17. 2016), it was easy to submit to a sense of pleasurable dislocation imparted when works of two dimension meet works of three, as in the meeting of O’Keeffe paintings and Susan York’s graphite sculptures.
Art Forum, Critics Picks: Susan York, Blake Gopnik, July, 2008
It might be tempting to write this work off as a late reprise of classic Minimalism, in the mode of John McCracken—that is, as a younger New Mexican artist bowing to a local master. But where McCracken’s Minimalism was largely about visible form and perceptual presence, York’s work is centrally about a concealed materiality. You can’t just look at her columns; you need to discover that they are made of solid graphite.
12. THE Magazine, Susan York, Center of Gravity, Arden Reed, 2003
Imagine Ellsworth Kelly’s shapes and colors married to Sol LeWitt’s wooden forms, miniaturize both, and you have some idea of Susan York’s new work. Her show is modest but engaging—nine small wall sculptures, each measuring between three and eight inches, that address issues of proportion, color, repetition, and movement. Each sculpture is composed of paper-thin shards of porcelain stacked to resemble crinkled pages of an old book.
Art in America, Susan York: James Kelly Contemporary, Harmony Hammond, March, 2011
Susan York represents a new generation of minimalist sculptors. While her formal vocabulary of columns, beams and slabs is heavily indebted to such artists as Donald Judd, Robert Morris, Carl Andre, Dan Flavin, John McCracken, Ronald Bladen and Richard Serra, her choice of graphite as a material (cast solid, kiln-fired, shaped into irregular geometric forms with saws and files, then hand-polished) contributes...
Sculpture Magazine, Eliminating Subject and Object, Jan Riley, July, 2008
York’s pieces are made powerful by the control that she exercises over them. Viewing her work, it is clear that you are in the presence of something to be taken seriously, as small or as simple as it appears to be. One of York’s graphite cubes mounted to the wall (even one as small as four by four inches) has a preternatural pull, almost like a specific gravity all its own.
13.THE Magazine, The Universe of Susan York, June, 1999
Susan York is an installation artist whose pieces have been influenced by the emptiness and openness of the New Mexico landscape. Using steel, porcelain, and graphite as her materials, York distills space and investigates the subtle tensions that exist among the various objects she places in a given location.