Douglas Crase, Lines from London Terrace, Essays & Addresses, 2017, Pressed Wafer publisher, Aperture on a Virtual World, p. 229-238
Video Interview, November 13, 2016
Zachary Keeting & Christopher Joy
Buhmann, Stephanie, New York Studio Conversations, Seventeen Women Talk About Art, 2016, The Green Box, Kunst Editionen, p. 174-183
Vol. 48, No. 1 Summer/Fall 2019
Michelle Jaffé (2005) Soul Junk video and sound installation at Milton Art Bank, White Box, Wappen Field sculpture and sound installation at New Media Gallery, Vancouver, Canada, Tea with Estelle: InEquality Webisode #4, film of The Revisionsit and The Astropastorals written and read by Douglas Crase.
Stony Brook University
50 Years of Music & Technology: From Sine Waves to Robots
Perform "Impulsions" with composer Phil Edelstein,
October 14, 2016
The Key Reporter (Phi Beta Kapa), Life of the Mind, Svetlana Alpers review of New York Studio Conversations, Seventeen Women Talk About Art, 9/21/16
Washington Post, In the galleries: Where nature and art come together, Women Sculptors, by Mark Jenkins, June 20, 2014
Interview: Beall Center for Art + Technology,
Sight & Sound, October 3, 2013-January 25, 2014
University of California, Irvine
October 3, 2013
The New York Times, Where Medieval Armor Meets the Aquatic, Susan Hodara, September 19, 2013, p. WE9
A Public Space, Aperture On A Virtual Field,
Douglas Crase, Winter No. 17, 2012, p.68-79,
By permission of Douglas Crase c/o Writers' Representatives
StephanieBuhmann.com, Interview 01, Stephanie Buhmann, January 29, 2013
The New Criterion, Gallery Chronicle: To be a Lady: forty-five women in the arts, James Panero, Volume 31, November 2012, p. 52
New York Times , The Latest Vibe Moved to Brooklyn, Bushwick Open Studios , Holland Cotter, June 7, 2012
World Sculpture News, Seeking a Definition: The Multiple Directions of Sculpture Today, Robert C. Morgan, Spring 2012. p. 48, 49, 50
Times Newsweekly, Crawling Through Ridgewood Art Scene, Exploring the Work of Artists on Queens Side of the Border, Sam Goldman, May 17, 2012. p. 25, 65
Queens NYC, ‘Actually It’s Ridgewood,’ actually awesome. In your face Brooklyn., Elizabeth Daley, May 14, 2012, web online
Times Newsweekly, Queens Museum Sponsors a Ridgewood Art Crawl, May 10, 2012, p. 27
Daily News, Queens Museum of Art to highlight Ridgewood Art Scene, Clare Trapasso, May 11, 2012, p.53, Queens Edition
New York Culture Beat, by Suki Park, March 20, 2012, Exhibition Review of "Awakening (at the Lightning Field)" by Michelle Jaffé and "Visitors" by Heather Sheehan on exhibition at Sylvia Wald and Po Kim Art Gallery, Non Profit Foundation.
Wall Street Journal, Arts Scene Sprouts in Ridgewood, Queens, Kavita Mokha, January 27, 2012, p. A20
Art Experience NYC, When Bad is Good, Creativity and
the Downturn, Claire Lieberman, Vol 1
No 3 Summer 2011, p 19-37, online magazine
Grand Rapids Press, UICA exhibit embodies ArtPrize, Becherer, Joseph, September 27, 2011, p. A7, PDF
Grand Rapids Press, UICA exhibit embodies ArtPrize, Becherer, Joseph, September 27, 2011, p. A7, Web Link
Grand Rapids Press, ArtPrize 2011 Reprise (photo editor's favorite photos), Hamilton, T.J., October 10, 2011
Grand Rapids Press, GVSU ArtPrize Project: UiCA review, Johnson, Dale, October 3, 2011
Grand Rapids Press, GVSU ArtPrize Project: Review of UICA works, Smith, Jessica, October 8, 2011
Yahoo News, Photo by T.J. Hamilton, October 21, 2011
Trend Report: Past, Present, Fuchsia, California Home + Design, April 2010, p.44
Genocchio, Benjamin, Where Fashion Meets Its Artistic Match, The New York Times, Long Island Edition, January 8, 2009
Caputo, Tinamarie, Assorted apparel tapered as art,
The Suffolk County News, December 18, 2008, p.13
New York Culture Beat - Korea
Scroll to photo at bottom of article about Po Kim to
News of exhibitions by Michelle Jaffé Awakening (at the Lightning Field) and Visitors by
Heather Sheehan, March 8 - 31, 2012 at Sylvia Wald and Po Kim Art Gallery, Non Profit Foundation
Fox 17 Grand Rapids 9/19/11 Live Interview about Wappen Field sculpture & sound installation at UICA, Urban Institute of Contemporary Art
The New York Times
July 11, 2004
ART REVIEWS; Beautiful, And No Water Required
By HELEN A. HARRISON
'Site Specifics '04' Carriage House, Islip Art Museum, 50 Irish Lane, East Islip, (631)224-5402. Through July 25.
This year's invitational exhibit features seven artists who have adapted the building's interior for site-specific installations.
Bill Schuck's ''Confines'' refers poignantly to the estate's former use as a home for orphans. His closetlike room is a claustrophobic environment where grass seed grows under artificial conditions. The seed is planted in tiny holes in the walls, where it sprouts into words that express the installation's memorial intent.
Memories also reverberate in Todd Johnson's untitled piece made of uprooted trees displayed on a bed of pebbles, as if they had been washed ashore. Unlike conventional driftwood sculpture, these objects remain as relics of destruction, with only a few teacups added to suggest human intervention.
In adjoining galleries, two artists play with the notion of temperature extremes. Michael Dominick's infernal constructions of recycled radiators pump heat into the space, pushing it to the limit of tolerance. One of them actually melts itself, while the other serves as a shrine that might be interpreted as a critique of religious zeal. At the opposite end of the temperature scale, Itty Neuhaus's ''Fathom'' evokes a frigid landscape in flux. Projecting images of glaciers onto a three-dimensional model of an iceberg, she simulates the constant movement of the ice from land to sea, as the glacier breaks up and the iceberg grows.
''Color Coded,'' Jerry Mischak's labyrinth of colorful plastic piling, emerges from the building's bathroom like a plumber's nightmare come true. At its center, organic forms appear to sprout from the pipes, further threatening the structure's tenuous equilibrium. There is a curious analogy between this static piece and Amy Globus's oddly titled ''Electric Sheep,'' a fascinating video of an octopus squeezing itself through transparent channels.
In an area that has been caged off with wire walls, Michelle Jaffé has installed ''Preying Mantis,'' a hanging sculpture of plastic mesh cut into the shape of a splayed-out undergarment, specifically a teddy. The artist exploits the analogy between the confines of the space and the confining character of the garment, as well as the implicit tease -- look but don't touch -- represented by their see-through materials.
Harrison, Helen, "Site Specifics '04", The New York Times, July 11, 2004, p. 11, LI edition.