Bibliography
Authored texts
“Axis of Observation I: Frank Gillette”. Eds. Anker, Suzanne & Flach, Sabine. Peter Lang International Publishers, 2018.
“Antennae 10: A Decade of Art and the Non-Human 07-17”. Ed. Aloi, Giovanni, Forlaget 284 / Antennaeproject, 2017.
“The Biosphere Blues: Mending and Unhinged Earth”. O’NewWall Publication, Seoul, 2017.
Institutional Critique to Hospitality: “Bio Art Practice Now”. A Critical Anthology, Ed. Kaniari, Assimina. Grigori Publications, 2017.
“The Greening of the Galaxy” Interalia Magazine. June, 2015. http://www.interaliamag.org/articles/suzanne-anker/
“Naturally Hypernatural I: Concepts of Nature”. Eds. Anker, Suzanne & Flach, Sabine. Peter Lang International Publishers, 2016.
“Naturally Hypernatural II.” Antennae Magazine: The Journal of Nature in Visual Culture, Issue #33, Ed. in Chief Aloi, Giovanni; Eds. Anker, Suzanne & Flach, Sabine, Fall 2016.
“Naturally Hypernatural.” Antennae Magazine: The Journal of Nature in Visual Culture, Issue #33, Ed. in Chief Aloi, Giovanni; Eds. Anker, Suzanne & Flach, Sabine, Fall 2015.
“The Glass Veil: Seven Adventures in Wonderland”. Eds. Anker, Suzanne & Flach, Sabine, Peter Lang Publishers, 2015.
“The beginnings and the ends of Bio Art” in Bio Art: Life in the Anthropocene, vol 34 no 3, 2014.
The Greening of the Galaxy Deborah Colton Gallery, 2014.
“Embodied Fantasies: From Awe to Artifice”. Eds. Anker, Suzanne & Flach, Sabine. Peter Lang International Publishers, 2013.
M/E/A/N/I/N/G. 25th anniversary issue.
“Refigurations of the Animal: Plasticity and Contemporary Art”. Ed. Boetzkes, Amanda and Maria, Whiteman. (In progress).
“The Exant Vamp (or the) Ire of It All: Fairy Tales and Genetic Engineering.” Fairy Tales, Monters, and the Genetic Imagination. Ed. Scala, Marc. Frist Center for the Visual Arts, Nashville: Vanderbilt University, 2012.
“Fundamentally Human”. Contemporary Art and Neuroscience. Exhibition catalogue, Istanbul: Pera Museum, 2011.
“Culturing Life,” Inside – Arte e Ciência. Lisbon: Editora LxXL, 2009, pp. 86-91.
“Cultural Imaginaries and Laboratories of the Real: Representing the Genetic Sciences.” The Handbook of Genetics & Society. Ed. Atkinson, Paul, Glasner, Peter, Lock, Margaret. London: Routledge, 2009.
“Octet: Selected Works from the School of Visual Arts, New York”. Exhibition catalogue, Istanbul: Pera Museum, 2009.
“Science and Society: Neuroculture.” with Giovanni Frazzetto. Nature Reviews Neuroscience, Nov. 2009, pp. 815-821.
“Prime Objects and Body Doubles.” Art Journal, Winter 2009, pp. 99-104.
“Technogenesis: Aesthetic Dimensions,” with Susan Lindee, Dorothy Nelkin and Edward A. Shanken. Altering Nature. Volume I: Concepts of ‘Nature’ and ‘The Natural’ in Biotechnology Debates. London: Springer, 2008.
“Biofictions and Biofacts: Staking a Claim in the Biocultural Bank,” Visual culture and bioscience: an online symposium. Volume 12 of Issues in Cultural Theory. Ed. Anker, Suzanne and Talasek, JD. Washington, D.C.: The Center for Art, Design and Visual Culture, University of Maryland and Cultural Programs of the National Academy of Sciences, 2009.
“Technogenesis: Aesthetic Dimensions,” with Susan Lindee, Dorothy Nelkin and Edward A. Shanken. Altering Nature. Volume I: Concepts of ‘Nature’ and ‘The Natural’ in Biotechnology Debates. London: Springer, 2008.
“Art Schools: A Group Crit.” Art In America, May 2007, p. 104.
“Face Value: Plastic Surgery and Transformation Art.” Exhibition catalogue. New York: New York Academy of Sciences Gallery of Art and Science, 2005.
“The Molecular Gaze: Art in the Genetic Age”, with Dorothy Nelkin. Cold Spring Harbor: Cold Spring Harbor Laboratory, 2004.
“Reprotech: Building Better Babies?” Exhibition Catalogue. New York: Academy of Sciences, 2004.
“From Code to Commodity: Genetics and Visual Art”, with Dorothy Nelkin. Update: New York Academy of Science. 2003, pp. 4-5.
“Portfolio: The Double Helix Comes of Age.” Seed Magazine, March/April 2003, pp. 90-99.
“The Influence of Genetics on Contemporary Art.” with Nelkin, Dorothy. Nature/Genetics, vol. 3, December 2002, pp. 967-971.
“Mothers of Invention.” M/E/A/N/I/N/G. Ed. Susan Bee and Mira Schor. London: Duke University Press, 2000, pp. 255-259.
“Gene Culture: Molecular Metaphor in Visual Art.” Exhibition catalog, New York: Fordham University, Plaza Gallery. Reprinted in Leonardo 33, No. 5, 2000, pp. 371-375.
“Cellular Archeology.” Models, Metaphors, and Matter: Artists and Scientists Visualize Scientific Concepts. Art Journal, Vol. 55, No. 1, Contemporary Art and the Genetic Code, Spring, 1996, pp. 33-43.
“Models, Metaphors and Matter: Artists and Scientists Visualize Scientific Concepts.” Art Journal. 1996.
“Viruses and Pearls: the materialization of culture.” N.A.P. text(s), The Arts Program, Kutztown, PA, Vol. 1, No 2, 1995, pp.14-15.
“Creativity and the Retro-Virus.” M/E/A/N/I/N/G, May, 1994.
“The Bio-Logic of Joseph Beuys”. CAYC, Buenos Aires, Argentina, 1994.
“Viruses and Pearls: The Materialization of Culture”, NAP Texts, 1994.
“Genetics of Oedipus.” Tema Celeste, Winter 1993, no. 3989, pp. 42-6.
“Mendel’s Meltdown.” NaturKunden. Exhibition Catalogue. Koln: Paszti-Bott Gallery, 1993.
“Errata/Erotica: Proposition X”. Exhibition catalog, New York: B4A Gallery, 1992.
Miriam Bloom’s Punch Lines. Exhibition catalog, New York: B4A Gallery, 1992.
“Mothers of Invention”. M/E/A/N/I/N/G, November 1992.
“Synthetic Abandon”. Exhibition Catalogue, New York: V-Space, 1992
“Up Against Klein’s Line”. Artist Writing, 1992.
“From Fact to Fetish”. Exhibition catalog, New York: Dooley Le Cappelaine Gallery, 1991.
“Nature and the Body: Some Thoughts Concerning Sculpture”. Exhibition catalog, New York: Greenberg Wilson Gallery, 1990.
“Vessels of Meaning”. Exhibition Catalogue, New York: NYSCA, 1985.
Interview with Marcia Tucker, Ocular, 1980.
The Molecular Gaze: Art in the Genetic Age
Anker co-authored The Molecular Gaze: Art in the Genetic Age with the American sociologist of science Dorothy Nelkin. The publication examines the intersections between art and science in the developing arena of genetic research and engineering, focusing on the ethical and social issues that the genetic revolution poses on popular culture and visual arts. It was published in 2004 by Cold Spring Harbor Laboratory Press (associated with Cold Spring Harbor Laboratory where James Watson –the co-discoverer of DNA– was director).
Visual Culture and Bioscience: Issues in Cultural Theory
In 2008 Suzanne Anker co-edited with JD Talasek Visual Culture and Bioscience: Issues in Cultural Theory, No. 12, a publication organized by the Center for Art, Design and Visual Culture, University of Maryland Baltimore County and Cultural Programs of the National Academy of Sciences, Washington DC. The book is an exploration of the relationships between bio-sciences and art, and translates the remarks of participants in an online symposium centered on the “current dialogue surrounding the relationship between the science lab and the art studio”. (Panelists: Carl Djerassi of Stanford University, Troy Duster of NYU, Marvin Heiferman of SVA, David Freedberg of Columbia University, artists Oron Catts and Catherine Chalmers, Art in America Senior Editor Nancy Princenthal, writer Andrew Solomon and others.)
Handbook of Genetics and Society
Anker authored the chapter “Cultural imaginaries and laboratories of the real: Representing the genetic sciences” in The Handbook of Genetics & Society: Mapping the New Genomic Era, published in 2009 by Routlege. Her essay is focused on the pictorial practices employed by both artists and scientists to produce knowledge.
Social Text: Interspecies
In 2011 Anker contributed to Interspecies, Social Text issue 106 (Volume 29, Number 1, Spring 2011), published by Duke University Press. The journal includes an interview by feminist science studies scholar and anthropologist Sarah Franklin and Suzanne Anker, in an exchange that addresses the “visual culture of specimen display and its significance in both art and social theory, considering the role of bio-art in the production of the specimen as spectacle”.
Bio Art: Altered Realities
Suzanne Anker wrote the foreword to the book Bio Art: Altered Realities, authored by William Myers in 2015. The publication explores the work of bio artists, “those who work with living organisms and life processes to address the possibilities and dangers posed by biotechnological advancement”.
Exhibition Catalogs
Anker, Suzanne; Akkoyunlu, Begüm; Bahar, Tania; Pera Müzesi (2011-01-01). Temelde İnsan: çaǧdaş sanat ve nörobilim = Fundamentally human : contemporary art and neuroscience. Tepebașı, İstanbul: Pera Müzesi. ISBN 9789759123857.
Anker, Suzanne; Deborah Colton Gallery; McKinney Avenue Contemporary (Gallery) (2014). The greening of the galaxy. Houston, Tx.: Deborah Colton Gallery. ISBN 9780991662708.
Buchhart, Dieter (2014). The nature of disappearance. New York: Marianne Boesky Gallery. p. 93. ISBN 9780988275225.
Dehò, Valerio; Kunst Meran (2002-01-01). DNArt: Eurovision Ia Biennale Merano arte – DNArt = DNArt : Eurovision I. Biennale Kunst Meran – DNArt (in German). Milano: De Agostini Rizzoli Arte et Cultura. ISBN 8873170951.
Eimert, Dorothea; Leopold-Hoesch-Museum der Stadt Düren, eds. (1986-01-01). 1. Internationale Biennale der Papierkunst: ‘Handgeschöpftes’ = 1. International Biennal of Paper Art : Hand made paper : 25.5. – 17.8.1986 (in German). Düren: Leopold-Hoesch-Museum. ISBN 3925955003.
Farmer, Jane M; World Print Council; Sarah Campbell Blaffer Gallery (1982-01-01). New American paperworks. San Francisco, Calif.: The Council. ISBN 0960249613.
Farmer, Jane M; Kraft, Barbara S; Smithsonian Institution; Traveling Exhibition Service (1978-01-01). Paper as medium. Washington: The Service.
Heiferman, Marvin; Kismaric, Carole; Berry, Ian; Frances Young Tang Teaching Museum and Art Gallery (2001-01-01). Picturing the genetic revolution now. Saratoga Springs, NY; New York, NY: Tang Museum, Skidmore College. ISBN 0970879024.
Impact International Printmaking Conference; Harrison, Paul Liam; Shemilt, Emile; Watson, Arthur; Duncan of Jordanstone College of Art and Design, eds. (2014-01-01). Impact 8: Borders & crossings : the artist as explorer. ISBN 9781899837700.
Kotik, Charlotta; Albright-Knox Art Gallery (1980-01-01). With paper, about paper. Buffalo, N.Y.: Albright-Knox Art Gallery. ISBN 0914782355.
Moura, Leonel (2009). INSIDE [art and science]. Lisbon: LxXL. pp. 84–91. ISBN 9789728615079.
Scala, Mark; Anker, Suzanne; Frist Center for the Visual Arts (Nashville, Tenn.); Winnipeg Art Gallery; Glenbow Museum (2012-01-01). Fairy tales, monsters, and the genetic imagination. Nashville, Tenn.: Frist Center for the Visual Arts, Vanderbilt University Press. ISBN 9780826518149.
Press
Akavia, Naamah. “Subjectivity in Motion: Life, Art and Movement in the Work of Hermann Rorschach”. Routledge, 2013.
Artspace Editors. “Slime Mold, Glow-in-the-Dark Bunnies, and “Victimless Leather”: 9 BioArtists You Should Know“. Artspace. Feb 7, 2019.
Ash, John. “Suzanne Anker at Greenberg Wilson.” Art in America. Oct. 1990, p. 208.
Assimina Kaniari, Editor. “Institutional Critique to Hospitality: Bio Art Practice Now”. Grigoris Books, Athens, Greece, 2017.
Bass, Ruth. Review. Art News. Jan. 1989.
––––––. “New Editions.” Art News. Oct. 1986, p. 100.
Beckenstein, Joyce. “When Artists Choose Artists”. The Brooklyn Rail, December 6, 2016.
Botte, Hans-Werner. “Naturkunden.” Exhibition catalogue. Budapest, Hungary: Goethe Insitut, 1994.
Boucher, Brian. “Symmetries of Art and Science”. http://ww.thething.net, April 24, 2002.
Boynton, Andrew. “Views and Voices.” Art and Antiques, October, 1987.
Boxer, Sarah. “The Critic’s Notebook: The Art of the Code, or, at Play with DNA.” New York Times. 14 Mar. 2003.
Braff, Phyllis. “The Lure of Handmade Paper.” New York Times, August 19, 1984.
––––––. “Art Reviews: Suzanne Anker.” New York Times, 04 Mar. 2001.
––––––. “Varied Work, Veering Far from Traditional.” New York Times, 08 Sept. 1998.
Bredekamp, Horst and Barbara Marie Stafford. “Hyperrealism: One Step Beyond.” TATE ETC Issue 6, Spring 2006.
Brenson, Michael. “The State of the City as Sculptors See It”, New York Times, 27 Jul. 1990.
Capocci, Mauro. “L’arte nell’era genetica”, Galileo, 21 Oct. 2004.
Carson, Juli. “The Auto-Erotic Object”. Hunter College Gallery, 1992.
Clark, Roger. “‘Value of Food’ Exhibit Takes Root Inside UWS Cathedral.” TWC News. October 5, 2015. http://www.ny1.com/nyc/all-boroughs/news/2015/10/5/-value-of-food–exhibit-takes-root-inside-uws-cathedral.html.
Clayton, Julie and Carina Dennis, Eds. “50 Years of DNA”. Palgrave Macmillan: New York, 2003.
Clurman, Irene. “Monumental Paper Pieces by Suzanne Anker”, Rocky Mountain News, Sunday, April 20, 1980.
Cohen, Mark Daniel. “The Aesthetics of Biology”, NY Arts, December 2000.
Cotter, Holland. Review. Arts Magazine. November 1985.
Cyphers, Peggy. “The Consumption of Paradise.” Art Journal. 1992, pp. 52-56.
Czoppan, Gabi. “DNA-Code furs Museum.” Focus. Nr 29/12, 16 Jul 2012. p 116.
De Lutz, Christian, and Regine Rapp. “[macro]biologies & [micro]biologies”. Art and the Biological Sublime in the 21st Century. Berlin: Art Laboratory Berlin, 2015.
Downtown. “Anker Works”. April, 1987.
Dougherty, Linda Johnson. Review. “Art Papers”. April/May 1994
Farmer, Jane. “New American Paperworks.” Exhibition catalogue. San Francisco, California: World Print Council, 1982.
––––––. “Paper As Medium”. Washington, D.C.: Smithsonian Institution. Traveling Exhibition Service, 1977. Catalogue.
––––––. “New Ways with Paper”. Washington D.C.: Smithsonian Institution Press, 1978. Catalogue.
Fernandes, Maria Joao. “A Arte Como Ciencia Da Vida”, JL, October 26, 2005
––––––. “How Much Life Is in a Still-Life? Art’s Hyper-Natural Nature” in Naturally Hypernatural I: Concepts of Nature. Peter Lang, 2016. pp. 32-52.
Flomenhaft, Eleanor. “The New Explosion: Paper Art”. New York: The Fine Arts Museum of Long Island, 1983. Catalogue.
Fortun, Mike.“Now Then: Promising Speed Genomics”. “Paradise Now: Picturing the Genetic Revolution”. Ed. Heiferman, Marvin and Carole Kismaric. Exhibition catalogue. Saratoga Springs, New York: Tang Teaching Museum and Art Gallery at Skidmore College, 2002.
––––––. “Biological Relatives: IVF, Stem Cells and the Future of Kinship”. Duke University Press, 2013.
Frizzell, Deborah. “Suzanne Anker”, NY Arts Magazine, June, 2002.
Gannis, Carla. “Yuliya Lanina: Pre-pubescent Bosch.” NY Arts Magazine, Dec. 2007.
Garden Castro, Jan. ”New York: Suzanne Anker at Universal Concepts Unlimited.” Sculpture Magazine. Dec. 2004, pp.69-70.
Genocchio, Benjamin. “Art Review; The Haunting Terrain Between Creation and Science.” New York Times, 6 Feb. 2005.
Gerrit, Henry. “Paper In Transition”, Print Collector’s Newsletter, Volume X, Number 3, July-August 1979.
Glaubinger, Jane. “Paper Now: Bent, Molded and Manipulated”. Cleveland: Cleveland Museum of Art, 1986. Catalogue.
Glueck, Grace. Review. The New York Observer, November 2, 1992. p. 23.
Goodyear, Anne Collins. “Genomic Portraits.” (2004): n. pag. Web. 4 Aug 2011.
Graeber, Laurel. “What Struck These Artists? Meteorology Itself.” The New York Times, March 24, 2017, p.C22. Print and web. https://www.nytimes.com/2017/03/23/arts/events-for-children-in-nyc-this-week.html. Accessed March 24, 2017.
Grushkin , Daniel, (ed). “School of Visual Arts: Theme – Food”. Biodesign Challenge (BDC) 2016, January, 2017. http://biodesignchallenge.org/sva2017. Web brochure. Accessed January 27, 2017
Hannan, Greg. “Art Reviews, Washington Review”. Volume XVI, number 1, June/July 1990 pp. 25-26.
Haraway, Donna. “Modest Witness @ SecondMilleniumFemaleManMeetsOncoMouse: Feminism and Technoscience”. New York and London: Routledge, 1997.
Harrison, Helen A. “Exploring the Possibilities of Paper”, New York Times, December 19, 1982.
Harrison, Paul Liam. “Impact 8: Borders & Crossings : The Artist as Explorer”. Duncan of Jordanstone College of Art & Design, 2014.
Harvey, Doug. “Devices of Wonder”, LA Weekly, 23-29 Nov. 2001.
––––––. “In The Realm of 2 1/2 Dimensions”, New York Times, April 21, 1985.
Hawley, Anthony. “Blueprints for Our Future Planet as It Moves Toward Extinction“, Hyperallergic, April 16, 2019.
Hirsch, Fay. Working Proof, Art On Paper, September-October 1998.
––––––. “Working Proof, Art On Paper”. Vol.4,No.4, March-April 2000.
––––––. “Working Proof, Art On Paper”. Vol. 7, No. 1, September-October 2002, pg. 84
Heller, Jules. “Papermaking”. New York: Watson-Guptil Publications, 1978.
HOVAB (A History of the Visual Arts in Boulder). “HOVAB Artists.” HOVAB, Boulder, CO, 2017. http://hovabcelebrations.org/hovab-artists/. Accessed February 4, 2017.
Hoffman, Jascha. “Science Events: Dancing Particle Physics and Science-Inspired Fashion”. Science, The Scan. The New York Times, September, 29, 2014
Holtzmann, Bettyann and Daniel J. Kevles. “Truth, Beauty and the Double Helix”. Newsweek (International Edition), 24 Feb. 2003, pp. 42-44.
Hood, Leroy and David Galas, “The Digital Code of DNA”. Nature Supplement, vol 421, January 23, 2003, p. 144.
Jaeger, William. “Genetics Codes”. Times Union of Albany, NY, September 2001.
Johnson, Ken. “Art Guide.” New York Times, 13 Oct. 2000.
––––––. “Art Review, Long Island Shows: The Gilded Age to the Swirl of the Double Helix.” New York Times, 25 Jul. 2003.
Johnson, Linda. “A Dialogue With Nature: Nine Contemporary Sculptors.” Exhibition catalogue. Washington, D.C.: The Phillips Collection, 1992.
Kalina, Richard. “Reviews: Suzanne Anker at Greenberg Wilson.” Flash Art. 1990.
Kachur, Lewis. Revivals and Survivals, Art International, Summer 1990.
Keller, Evelyn Fox. “Review: The Molecular Gaze: Art in the Genetic Age”. BioEssays, Vol. 26, Issue 7, July 2004
Kemp, Martin. “The Mona Lisa of Modern Science”. Nature, vol. 421, January 23, 2003. Pages 416-420.
Kickstarter, Editor. “Biodesign NYC.” March 20, 2017. Press release, correspondence. Kickstarter, Brooklyn, NY. http://www.ediblebrooklyn.com/event/biodesign-nyc/. Accessed March 25, 2017.
Kimmelman, Michael. “Art Guide.” New York Times, 20 Oct. 2000.
King, Mary. Suzanne Anker’s Work Emphasizes Textures, St. Louis Post-Dispatch, September 25, 1980.
Kisters, Von Jürgen. “Kultur: Die Kamera spielt Springmaus”. Kolner Stadt-Anzeiger, Nr 142, 22 Jun. 1993.
Knight, Christopher. “Illuminating a Modern Marvel”. Los Angeles Times, November 19, 2001.
Kotik, Charlotta. “With Paper, About Paper.“ Exhibition catalogue. Buffalo, New York: The Albright – Knox Art Gallery, 1980.
Kruglinksi, Susan. Reviews: “The Molecular Gaze”. Discover, Vol. 25, No. 10, October 2004
Landi, Ann. “Brain Wave”. Art News. Jun. 2009, pp. 88-93.
Lewis, JoAnn. “Galleries”. The Washington Post, Saturday, May 27, 1989.
Levy, Ellen K. “Wet Lab: The New Nexus Between Art and Science.” Exhibition catalogue. Fairfield, Connecticut: Sacred Heart University, 2005.
Long, Paulette, Editor. “Paper, Art & Technology”. San Francisco: World Print Council, 1979.
Lorber, Richard. Review, Arts Magazine, April, 1976.
MacMillan, Kyle. “Contemporary’s ‘Archipelago’ Does Its Job Brilliantly”. Denver Post, June 21, 2002
Mahoney, Robert. Review, Arts. Apr. 1990.
––––––. New York in Review, Arts, November, 1990.
––––––. “Tips on DNA.” Art News. Jan. 2001.
Marantz, Robin Henig. “Where Studio Art meets Science Lab.” New York Times. 8 May 2004.
Masters, Greg. “Disparate Mating”. Cover, April, 1987.
Matos, Miguel. “Arte: A arte pos-Darwin.” Time Out Lisboa. Sep. 2009, p. 48.
Metanexus.org, “The Molecular Gaze: Art in the Genetic Age”. 2004.
Myers, William. “Bio Art: Altered Realities”. New York: Thames & Hudson, 2015.
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Moreno, Fred. “DNA Exhibition at NYAS Through 4/11, The Gene Queen”. Update, NYAS, May 2003.
Morgan, Robert C. “Fragments, Parts, Wholes: The Body and Culture”. Tema Celeste, April-June, 1990. p.63.
––––––. “Two Morphologies”. NY Arts, June 2002.
Nathan, Jacequeline. “Do Not Assume: New Music and Art Festival.” Exhibition catalogue. Bowling Green, Ohio: Bowling Green State University, 2005.
Nelkin, Dorothy. “The Gene As A Cultural Icon”. Art Journal, Spring, 1996.
Nelkin, Dorothy and Lindee, Susan, “The DNA Mystique”. University of Michigan Press, 2007.
Nelson, Robin. “Suzanne Anker.” Extensions. 1989, pp. 6-12.
Ollman, Leah. “When Seeing is Marvelling” Los Angeles Times, November 18, 2001.
Oynar, Hande. “In Focus at Pera Museum.” The Guide Istanbul. May-Jun. 2011, pp. 74-77.
Pannucci, Cynthia. “Vanitas (in a Petri dish): Digital Prints by Suzanne Anker – Show Extended to February 26, 2017.” Review of exhibition: Suzanne Anker: Vanitas (in a Petri dish), September 17, 2016 – February 26, 2017, New York Hall of Science. http://www.asci.org/suzanneankervanitas.html. Accessed January 27, 2017.
Perego, Jeanne. New York: Nella Cattedrale Cresce L’insalata Del Futuro. Insalatamente. December 14, 2015. http://insalatamente.com/new-york-nella-cattedrale-cresce-linsalata-spaziale/
Petteys, Martha. “Science Through Art”. The Post Star, Glens Falls, NY, September 13, 2000.
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Pini, Gari. “9 Must-See Art Shows Opening This Week”. papermag.com, October 2014.
Pollack, Barbara “The Genetic Aesthetic”. Art News, April 2000
––––––. Gene Therapy: “Four New Exhibits Showcase DNA” Time Out New York, March 27- April 3, 2003, pg 53
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Princenthal, Nancy. “Code.X: Genome (Review)”. Art in America, February, 2001
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“Prints and Photographs Published”. Print Collector’s Newsletter, Volume XXII No. 1, March-April 1991.
“Prints and Photographs Published”. Print Collector’s Newsletter, September-October, 1991. (Gene Pool)
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Rossa, Boryana. “Corpus Extremus: Life+.” Exhibition catalogue. New York, NY: Exit Art, 2009.
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––––––. “Art Schools: A Group Crit.” Arts Magazine. May 2007, pp. 99-113.
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––––––. “New Faces, New Images.” Ocular. 1981, pp. 62-65..
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––––––. “Natural Anti-Naturalsim”. Flash Art, January, 1988.
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––––––.Visual Analogy: “Consciousness as the Art of Connecting”. Cambridge: The MIT Press, 1999
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––––––. “Review of Institutional Critique to Hospitality and Open Science: Singularity and Emergence” in Leonardo, September 2017. https://www.leonardo.info/review/2017/09/review-of-institutional-critique-to-hospitality-and-open-science-singularity-and
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––––––. Review, The Washington Times, June 8, 1989.
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VV.AA. “Suzanne Anker – The Genetic Gaze”. Colorado University Art Museum, 2005.