Selected Group Shows

DONT MISS (ART PICKS),
"Marischa Slusarski - The Bruise of Human Contact" - Los Angeles Times "The Guide,"
November 11, 2007

FLAVORPILL LA
"The Bruise of Human Contact" - Robert Berman Gallery, Cover Design #241 and profile, 10/7/2002, review, 11/3/2007
"Marischa Slusarski's paintings would be at home in Bosch's nursery school. Her strange, surreal landscapes — full of hideously adorable babies and creatures cavorting most scandalously — charm despite their unnerving imagery."
-Shana Nys Danbrot

THE ARGONAUT
"Seemingly Estatic Extremeophiles" featured, Marischa Slusarski, "The Bruise of Human Contact." October, 18, 2007

ART LTD/WEST COAST ART + DESIGN MAGAZINE
Bergomot Station - Robert Berman, showcase, Marischa Slusarski
01/2008

JOAN QUINN PROFILES, "Marischa Slusarski," Time Warner Cable, television interview, November 2008, Aired in various sectors...

FLAVORPILL LA
"Family Garden" - Elizabeth Paige Smith Gallery
Cover Design #221, May 22-28 2007
"Marischa Slusarski's work contorts standard perceptions of our natural surroundings, adorning realistic outdoor landscapes with dark, dreamlike creatures."

SANTA MONICA MIRROR
May 2005
"Venice Is Art All the Time" - Marischa Slusarski studio, "On the Fringe Victoria Avenue Artists.

VENICE ART WALK Catolog
May 2005 pg. 21
"On the Fringe Victoria Avenue Artists"
Susan Narduli and Marischa Slusarski Studios
"Etched out of glazed, marble dust surfaces, Marischa Slusarski depicts accidents of nature; hyper-accentuated mystical animals who wear their deformities as gracefully as they don our humanity"

CHICAGO JOURNAL
September 2004 pg. 10
"Marischa Slusarski - Species"
Linda Warren Gallery

CHICAGO GALLERY NEWS
September - December 2003 Volume 18 #3 pg. 30
"Marischa Slusarski and Claire Barron Dead Rabbit"

CHICAGO READER
"Hot Picks, Galleries and Museums"
September 2003 pg. 31-33
Marischa Slusarski and Claire Barron
"Gidget goes to London"

(A-N) MAGAZINE FOR ARTISTS,
“Familiarity Breeds Contempt”
pg. 16, What’s On, London
“Slusarski and Barron’s photographs are a sinister and humorous take on the human condition, a mix of genetic engineering, cloning technologies and vivisection.”

SX MAGAZINE, (United Kingdon)
“Familiarity Breeds Contempt”
London Exhibition, pg. 29, Night Out
“A collection of huge photographs of clay figures and “squirrel corpses”, the exhibit is sure to raise more than a few eyebrows.”

TNT, (United Kingdom)
“A Dying Art,”
June 11, 2001, Richard Berry, pgs. 24-25
“The images have that special car accident quality that you just can’t look away from, even though you know you should. God help the two artists if they lost these photos on the Tube because the police would be waiting at the lost property office for sure.”

MARIN INDEPENDENT JOURNAL
"Best Bets, The Hunted"
September 9, 1999, IJ Weekend,
Entertainment Editor, Tricia Cambron, p.3
“Viewing life from the vantage point of the beast, Marischa Slusarski’s paintings seek to point an accusatory eye at the viewer…powerful enough to make Ted Nugent feel guilty.”

NEW TIMES LOS ANGELES
"Home Is Where The Art Is, "
September 9-15, 1999, Stephen Lemons, p. 28

COAGULA,
"Mad Season Diaries"
May 1999, Shana Nys Dambrot, p. 21

GALLERY GUIDE-WEST COAST,
"The Hunter's Dilemma,"
March 1998, p. 22

BANGKOK METRO MAGAZINE
"Best of The Year (1996) - Marischa Slusarski at Utopia Gallery, Bangkok, Thailand."
January 1997
cover and p. 6

ASIAN ART NEWS (Hong Kong)
Exhibition Reviews: “Marischa Slusarski at the Utopia Gallery, Bangkok, Thailand”
July/August 1996 p. 83
“Slusarski’s strange fantasy land of benevolent and parasitic creatures bears the echoes of childhood dreams and nightmares.”

BANGKOK POST,
“A Ride in the Vanished Forest”,
May 11, 1996, p. 3 Outlook
“She’s not afraid to seduce you into a dilemma, to make you look into a stranger’s windows and implicate you in fiendish schemes. There is something alien in her images, something pushing up from a dark garden root.” – John Goss

BANGKOK METRO MAGAZINE
“In Memory of Deer Departed”,
April 1996
Hot Stuff Sompong Muensuttawong, p. 11
“Influenced by the Ramayana, her erotic allegories have the mythic power of a tarot card design, every component of the frame being loaded with meaning. The creatures depicted are part god, part animal and seem to be the product of an evolution…that would have happened were it not for genocide of the animal part by man.”

KUNSTWERK,
“Holland Art Fair 1996 - Strakke VierKanten en Weelderig Brons”,
April 1996
Art Media, Amsterdam, p. 44

LOS ANGELES DAILY NEWS
“New Shows Are In Store”,
August 8, 1992
Entertainment & Arts, Review by Meg Sullivan, p.1