Glueck, Grace, ”Art: One Man’s Biennial Assembles 102 Artists,“ The New York Times, 15 April 1983
Mouferage, Nicolas, ”Intoxication, 9 April 1983,“ arts Magazine, April 1983 Preston, ”Art Review: Mystery in Queens,“ Newsday, 7 January 1983
Glueck, Grace, ”Art: ’Figures of Mystery‘ Shows New Work By 10,“ The New York Times, 7 January 1983
Sussler, Betsy, ”Michael McClard Interview“ Bomb Magazine, No.4, January 1983
Glueck, Grace, ”Of Beasts and Humans: Some Contemporary Views,“ The New York Times, 14 November 1982
Wolf, Deborah, ”Mary Boone“ Avenue, October 1982
Price, Katherine, ”Arte USA,“ Nouvi Argomenti, August-September 1982
Silverthorne, Jeannie, ”The Pressure to Paint,“ Artforum, October 1982
Wolfert-Wihlborg, Lee, ”Manhattan’s Avant-Garde Art Dealers,“
Town and Country, September 1982 (photo of ”Los Alomos,” p. 250)
Foster, Hal, ”Between Modernism and the Media,“ Art in America, Summer 1982
Smith, Roberta, ”Group Flex,“ The Village Voice, 22 June 1982
De Ak, Edit and Cortez, Diego ”Baby Talk,“ Flash Art, May 1982
Haden-Guest, Anthony, ”The New Queen of the Art Scene,“ New York Magazine, 19 April 1982
Castle, Ted, ”Michael McClard’s Faces,“ Artforum, January 1982
Yoskowitz, Robert, ”Michael McClard,“ Arts Magazime, December 1981
Acker,Kathy, ”Motive: Interview with Michael McClard“ Bomb Magazine, No.1, January 1981
Rose, Frank, ”Exploring the Art-Rock Nexus, (Part III)“ Artexpress, November 1981 (photo of ”Someone“ and ”Somebody“)
Foster, Hal, ”Michael McClard at Mary Boone,“ Art in America, December 1981 (photo of ”The Devil Goes to the Circus“)
Larson, Kay, ”Fear of Style,“ New York Magazine, 9 November 1981 Smith, Roberta, ”Space Walk,“ The Village Voice, 21 October 1981 Goldberg, Rosalee, Studio International, January 1977
Perron, Wendy, The SOHO News, 15 May 1976
Frank, Peter, The SOHO News, 15 January 1976 Moore, Alan, Artforum, Summer 1975
REVIEW QUOTES FOR MICHAEL McCLARD
“. . .An oddball but wonderful choice, for example, is Michael McClard’s ‘’Mise en Scene (circa 1500),’’ a painting based on the life of Michelangelo. Built out from the picture plane with thick plaster slabs and painted frescolike in rich colors that bring an old-master palette into the 20th century, it depicts Michelangelo in his cathedral workroom, wearing a funnel hat with a candle in it, leaning intently over a scabrous cadaver. At once affecting and funny in its comment on the profession of artist, it’s brought off with great verve.”
Grace Glueck, “Figures of Mystery,” The New York Times, Jan 7 1983 Participating artists included Susan Rothenberg and Eric Fischl.
“. . . All in all the show was a bizarre delight. . .Post-minimalist artists often used materials that were somehow tabooed, but McClard’s art is funnier than theirs. It is also more ambitious in content: the show ranged from shit to Saturn, from grotesques to Christs. Here was an art with a cosmology—the universe as delusion of grandeur. . .But the delusion seemed to know itself as such . . .
“. . .The clown, the circus, are also part of the iconography of painting . . . Artists like Schnabel and Clemente pretend to paint the great carnival of time, only to fall back on an old clown act. McClard, at least, shows signs that he knows his act for what it is . . .”
Hal Foster, “Michael McClard at Mary Boone,” Art in America, December 1981
