Maxine Taylor

Publications and Reviews












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2005  Baltimore Sun, Critic's Corner/Today 11/16/05 p4E At Montage Gallery by Glen McNatt
2003  Baltimore Sun, LIVE! 09/25, p15T, Taylor’s images…‘pure line and color’ by Glen McNatt

2003  Citypaper, Baltimore, 09/24-30, p37, Empty Spaces Exist No More  by Blake de Pastino

1998, 92, 91, 88  Cover: George Meany Center for Labor Studies Curriculum Catalog

1997 Columbia Flyer, 03/27, Visual Arts, Slayton House exhibit is spiced… by Mike Giuliano

1996 Washington Post, Arts Beat Beyond Black Velvet, IASG at MOCA by Michael O’Sullivan

1990 George Meany Center Labor Studies (GMCLS)Tape Cassette Cover for Audio Educational Project
















See the following links for complete text of reviews:

2005 Baltimore Sun, Critics Corner

2003 City Paper review

2003 Baltimore Sun review

2003 Radar magazine

1997 Washington Post Review

Artist-in-Residence, GMCLS -Publications

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“I wish that I could introduce this exhibit (Taylor's Shades of Life) with a sound of distant drums wildly beating, exploring, falling silent and thundering out.

This sophisticated exhibit   has an appeal for the primitive in us, the soul that is weary of words, of explanations, of promises.” Kim Robinson, 1991, Washington, DC

“…though surface and texture are of prime concern to Taylor, intersecting lines and emerging forms create a sense of space.” 

“…the directness of the process and its resulting emotional impact are immediately available to the viewer.”

Nancy Frankel, Sculptor, EyeWash, 1992, Studio Gallery, Dupont Circle

 

“Dancing brushwork characterizes Maxine Taylor’s painting show at the Columbia Art Center"

Mike Giuliano,  1995

…Taylor “made use of dazzling expressions to reveal a sense of phraseology through works like Out of the Depths and Guardian which effectively state their position without succumbing to something derivative...”

Stephen Gerard, Articulate Contemporary Art Review

Marlboro Hall Gallery, September 1996

“…Verging on the calligraphic, the painting can be thought of as speaking to us.” Mike Giuliano, Columbia Flier, 1997

 

“…this combination of muted color and lacy line is one of the more lovely motifs, intentional or not, of the exhibit, also appearing in the fluid forms of Maxine Taylor’s Subterranean.”

Kristen Hileman, KOAN, 1997, KOAN Emerging Talent at MOCA, Washington DC