"Marianne Gagnier and Kim Sloane - Out of Thin Air" catalogue for exhibition at Cedar Crest College, October 27 2014 - January 3, 2015. Essay by Elizabeth Johnson
Marianne Gagnier, "Of this World - New Paintings", catalogue for exhibition January 28 - February 22, 2014 at The Painting Center. Essay by Kim Sloane
Review of "Farrago" exhibition at Equity Gallery, October 2020,
by Elizabeth Johnson at deliciousline.org.
Excerpt: "Countering beauty with brawn, Gagnier's Air series, white cherishes subtle, chance paint on smeared, torn, or trampled paper shards – yes, messier is better."
Excerpt from essay by Michael Gormley, "Captivated by Collage",
writing about "Farrago" exhibition at Equity Gallery, October,
"Marianne Gagnier is an alchemist—her collages hard won distillations of color, form and texture deployed in a Hofmann-esque triumph to compositional tension. Aptly titled “Repair Series”, Gagnier’s collage surfaces are battle fields; layers upon layers, torn and stacked, pasted and re-pasted and painted all over again. Their very making, the great effort to pull together opposing parts (however fractured) into a compelling and greater whole, embodies what collage does best and why it calls to us so loudly on this day."
Luxe - Interiors and Design
reproduction of painting, "Brooklyn"
“Marianne Gagnier: On Process” tilted-arc.com, February 16,
Xico Greenwald, “Grand Gestures” painters-table.com, February 20, 2014.
"Marianne Gagnier at Maurice Arlos Fine Arts"
maureenmullarkey.com, January 19, 2002
Marianne Gagnier's art has a curious air of familiarity. Yet there is also an unaccountable strangeness here in the very fact that one seems already to know her work even before one had made a mental catalogue of—or even recognized—its contents. This seems counter-intuitive, yet both the symbol-laden universe of dreams and the abstract realm of mathematics are based on a kind of irrefutable knowledge which precedes perceptions. Indeed, in such realms what one perceives appears actually to be a demonstration of what one already knows, not contrariwise.
Despite its foundation in abstraction, Gagnier's work, like dreams and mathematics, has immanently practical applications: it engages out attention rigorously in the very practical act of perception itself. Like her precursor, Claude Lorraine, she explores through art the ways the mind orders what the body senses. The sensuous surfaces, the murky light, the half-decipherable scenarios all draw attention to the interaction between the work itself and our perception of it. Thus Gagnier, like Claude, evokes in the viewer an unexpected sense of nostalgia, for she enables us to rediscover timeless worlds we've always known but never realized concretely.
"Marianne Gagnier, Morris Arlos Fine Art"
artcritical.com, November 2002