Publications: About James Croak


Teresa Anna, The Virginian-Pilot,  “Baby Boom,” January, 1997.

        “Interview with the Artist,”  September., 1998

Sandy Ballatore, Images & Issues, “James Croak’s New Myths,” Winter Issue, 1984    Alf Bå rtvedt, Impressions, (Oslow: H. Aschehoug & Co., 1996) pp. 224

Deborah DiBlasi, Pitch Weekly,  “Dirty Work,”  March, 2001

David Bonetti, San Francisco Examiner, “Gallery Watch,” May, 1995

Suzaan Boettger, Sculpture, “Dirt Works,” November- December 1992

James R.Chiles, Smithsonian Magazine, March 1985.

Judy Collins, Sculpture Today, (London: Phaidon, 2007)

Laura Cumming, The Observer, review of Wellcome Trust “Dirt: the Filthy Reality of         Everyday Life.”

Michele Cone,  Artscribe, “Reviews,”  Fall 1991.

Thomas Csaszar, Sculpture, Reviews,  September, 1999. 

Dr. Jerry Cullum,   Art Papers Magazine, “ Crossing Borders”  November, 1999

        Atlanta Journal-Constitution, review of “NYC”, January, 2003

Robert Curcio,  Cover, Reviews,  May, 1999

Collins & Milazzo, Catalogue “Across The River and Into the Trees,” June 1994 

Catherine Dorsey, Port Folio Magazine,  Birth of An Exhibit, January 1997. 

 Hunter Drohojowska,  Artforum, “Young Turks Review,” February 1982.

        High Performance,  “Young Turks Review,” Fall, 1981.

        New West, “The Artist Armed,” September 1982.

James Croak: New Myths and Heroic Allegories, (Los Angeles: Otis-Parsons, 1983)

Wolf Von Eckart, Time Magazine, “Auto Intoxication,” September 1984.

Mark St. John Erickson, Daily Press, “Heavy Art Done with a Light Touch,” December, 1998

 John Fairley, The Art of the Horse, (New York: Abbeville Press, 1995) pp. 178-179.

Andrea Fink-Belgin, Collectie De Leeuwenhoeve, (Hagen: Osthaus, 2014) 

Colin Gardner,  Artweek,  “Revising the Archetype,” November 1983.

Suvan Geer, Los Angeles Times, Review of “Spellbound,” Oct., 1989.

Jonathan Gilmore, Art In America, Review of Stux 2001 show, January 2002

Grace Glueck, New York Times, Review of “Corporal Identity, December 2003

Katrien Gottlieb, Het Parool (Netherlands), February 1994.

Jonathan Goodman,  Sculpture, Review of 2001 Stux show, May 2002.

Doris Grootenboer, Algemeer Dagblad (Netherlands), February 1994.

Ritva Haavikko, Hevonen Taiteessa, Runoudessa Historiassa, (Helsinki: Werner Soderstrom, 2003)

Kathleen Hagarty, Los Angeles Times, “Reviews,” February 1982.

Pamela Hammond, Images & Issues, “Forms in Space,” March 1985.

Hellen A. Harrison, New York Times, review of “The Riddle of the Sphinx.” Nov 1994.

Eleanor Heartney, Arts, “Reviews,” June 1984.

Anthony Iannacci, Titolo (Italy),  “La Positiva Assenza Di Originalità  Nell’Arte,” October         1992 segno (Italy)

         “Niente di Nuovo,” Flashart August 1992

Tom Jacobi, Stern (Germany), “Die Cowboys Haben Umgesattelt,” March 1985.

Carlos Suarez De Jesus, Maimi New Times,  “The Large and the Small of It,” April, 2006

        “The Price of Passion,” January 2006

Ken Johnson, New York Times,  April 2012,  review of “Swept Away: Dust Ashes and Dirt in Contemporary Art and Design. 

Ken Johnson,  New York Times,  review of “Show of Hands” May 21, 1999

    New York Times, review of “New York Classicism Now,” Sept. 9, 2000

Vincent Katz, ArtNews, review of “Dirt Man” show, September 1994.

Klaus Kertess, The Martin Z Margulies Collection, (Miami: Margulies Foundation, 2008) 

Elizabeth Kirsch, Kansas City Star, Review: “Ashes to Ashes Dirt to Dirt,” May 1997

Christopher Knight, Los Angeles Herald Examiner, “An Artist Who Thrives on        Disorder,” July 1981.

        Los Angeles Herald Examiner, “The Bizarre Art of James Croak,” Nov 1983.

Joyce Korotkin,  The New York Art World, Review:“New York Classicism Now”  Sept. 2000

Michael Kimmelman, New York Times, “Review of The Dark Sublime,” Oct, 1989Helen Kosher, Artweek, “Nighttime Moves,” March 1980.

Kim Levin, Village Voice, “reviews,”  March 1994

 Sven Lütticken,  Het Parool, “Overleven in een hond,”  January 1996

Robert Mahoney,  Edifice Rex, “Review of NY Classicism Now,” June, 2000

Mary Ann Marger, Times,  “Art Beat,” September 1995

Neil Mathews, California Magazine, “Heist of the Year.” February 1982.

Thomas McEvilley,  “Strategies for Survival,”  catalogue essay fr. New Skins for the Coming Monstrosities  (Amsterdam: Galerie de la Tour, 1996)

        Sculpture, “The Millennial Figure,”  October 1997.

        James Croak (New York: Harry N. Abrams, 1999) 146pp, 108 illus.

Sculpture in the Age of Doubt (New York: Allworth Press, 1999) 448pp, “Reassembling the Pieces: The Sculpture of James Croak,” 

George Melrod, Art & Antiques, “Openings,”  June 1997

Joanne Milani, The Tampa Tribune, “Some scenes for a crisis,” September 1995.

Luigi Meneghelli, Flash Art, Review of “Niente di Nuovo,” Summer 1992. 

Saskia Monshouwer, Alert, “Galerie de la Tour: Vitale Kunst,” September 1996

Harry Mulisch,  The Procedure, (New York, Viking, 2001)  cover

Suzanne Munchnic, Los Angeles Times, “Animal Magnetism,” November 1983.

        Los Angeles Times, “Lightning and Melodrama,” February 1980.

        Los Angeles Times, “MOCA Marks A Milestone,” December 1988.

Edith Newhall,  New York, “Down to Earth,”  Oct 29, 2001

Paul Bob, Esquire, “The Art of James Croak,” June 1984.”

Peter Plagens, Art in America, “LARoundup,”  April 1985.

Imogen Racz, “Art and the Home, Comfort , Alienation and the Everyday ” (London:  I.B. Tauris, 2015)  

Michael Salgado, L.A. Weekly, “Pick of the Week,” November 1983.

Peter Schjeldahl, The New Yorker, “Going Ons About Town,” Nov. 2001

Martha Schwendener, New York Times, “Rumors of Paintings Death?” August, 2007

Nancy Stapen, Boston Globe, reviews, March 1994

Bianca Stigter, Handelsblad (Amsterdam, The Netherlands), February 1994.

Edward Lucie Smith, American Art Now,  (New York: William Morrow & Co. Inc., 1985)  Frontispiece.

Edward Sozanski, The Philadelphia Inquirer, Review of “Child’s Play,” October 1991.

Marina de Vries, Het Parool, “Madurodam van Landart,”  April 1997.

Barrett Watten, Artweek, “A Condition of Loss,” January, 1992.

John Welchman, “Peeping Over the Wall,”  fr. Narcissism: Artists Reflect Themselves  (Escondido: California Center for the Art Museum, 1996) pp. 19-20, 29, 60.

William Wilson, Los Angeles Times, “The Automobile as Artistic Challenge,” July 1984.

         Los Angeles Times, Ars Longa, review of “Automobile &  Culture” curated by Walter Hopps’,  August 1982.

         Los Angeles Times, “California Sculpture Dreaming,”  August 1982

        Los Angeles Times, “Reviews,” July 1980.

        Los Angeles Times, “Reviews,” September 1978.

William Zimmer, “The Body, Ever the Subject, Never Out of Style,”  New York Times,   August 8, 1999

Leslie Wolf, LA Weekly, “Art of the Week,” November 1983