2011 Urbanite e-zine Arts and Culture, February 15, Inner Turbulence by Cara Ober
2008 Style Magazine [About Town] Gallery, Vol16, No.1, Feb p22, Art from the Heart by Sarah Achenbach
2005 Baltimore Sun Critic’s Corner/Today 11/16/05 p4E Montage Gallery by Glen McNatt
2003 Baltimore SunLIVE! 09/25, p15T, Taylor’s images…‘pure line and color’ by Glen McNatt
2003 CitypaperBaltimore, 09/24-30, p37, Empty Spaces Exist No More by Blake de Pastino
1998, 92, 91, 88 Cover: George Meany Center for Labor Studies Curriculum Catalog
1997 Columbia Flyer, 03/27, Visual Arts, Slayton House exhibit is spiced… by Mike Giuliano
1996 Washington PostArts Beat Beyond Black Velvet, IASG at MOCA by Michael O’Sullivan
1990 George Meany Center Labor Studies (GMCLS)Tape Cassette Cover for Audio Educational Project
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Selected Quotes
“I was especially impressed by several big paintings that relate to the Abstract Expressionist movement that started 50 or 60 years ago and still has plenty of energy. Among the artists working this vein are Lou Bermingham, Pam Avery, Mark Eanes, Shirley Hazlett and Maxine Taylor.” – Charles Johnson on ART, Abstract 2000-2010 exhibit, Sacramento Temporary Contemporary, 2011
“I wish that I could introduce this exhibit (Taylor’s Shades of Life) with a sound of distant drums wildly beating, exploring, falling silent and thundering out.
This sophisticated exhibit has an appeal for the primitive in us, the soul that is weary of words, of explanations, of promises.” – Kim Robinson, 1991, Washington, DC
“…though surface and texture are of prime concern to Taylor, intersecting lines and emerging forms create a sense of space.” “…the directness of the process and its resulting emotional impact are immediately available to the viewer.” – Nancy Frankel, Sculptor, EyeWash, 1992, Studio Gallery, Dupont Circle
“Dancing brushwork characterizes Maxine Taylor’s painting show at the Columbia Art Center” – Mike Giuliano, 1995
…Taylor “made use of dazzling expressions to reveal a sense of phraseology through works like Out of the Depths and Guardian which effectively state their position without succumbing to something derivative…” – Stephen Gerard, Articulate Contemporary Art Review Marlboro Hall Gallery, September 1996
“…Verging on the calligraphic, the painting can be thought of as speaking to us.” – Mike Giuliano, Columbia Flier, 1997
“…this combination of muted color and lacy line is one of the more lovely motifs, intentional or not, of the exhibit, also appearing in the fluid forms of Maxine Taylor’s Subterranean.” – Kristen Hileman, KOAN, 1997, KOAN Emerging Talent at MOCA, Washington DC
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