Books and Catalogues
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Nick Stillman, catalog essay for 2009 Joan Mitchell Foundation MFA Grant Recipients

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Steve Stelling, "Sunrise Through Crosshairs" catalog essay, 2004

Articles and Reviews
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Charles Schultz, The Brooklyn Rail. Review of "New Paintings" exhibition at Elizabeth Harris Gallery, Februay 2012

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Roberta Smith, The New York Times, 2006

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Roberta Smith, Last Chance, The New York Times 2006

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R.C. Baker, The Village Voice, 2007

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Melissa Starker, The Columbus Alive, 2007

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Kaizaad Kotwal, The Columbus Dispatch, 2007

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Bill Mayr, The Columbus Dispatch, 2005

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Ann Landi, Artnews, September 2008

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Maureen Mullarkey, The New York Sun, 2004

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Maureen Mullarkey, The New York Sun, 2008

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"Common Objects", The New Yorker, 2007

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Melissa Starker, The Columbus Alive A-List, 2005

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Absolutearts.com, January 2005

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Jeanne Fryer-Kohles, The Columbus Dispatch, 2003

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Nikki Davis, The Columbus Alive, 2003

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Bill Mayr, The Columbus Dispatch, 2007

Selected Website Listings
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Dinter Fine Art Project Room, "Weekend Journey", 2007

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Interview with Mario Vasquez, author of Super Mario's Art: Fine Art in the Fast Lane

Daina Higgins’s early art-making experiences were as a tagger, so it’s logical that her paintings of New York cityscapes show the city’s forlorn industrial places where a graf writer’s clandestine work is usually done. Referencing her roots, she often incorporates graffiti tags into her paintings—they’re there above a busted awning in the now-demolished Shea Stadium in Shea Dusk, 2009, or scrawled on a Flushing restaurant window in Northern Boulevard, 2009. But Higgins’s recent work isn’t so much about graf in New York’s sleepy residential and industrial neighborhoods, it’s about the feel of those neighborhoods themselves. The paintings have the colors and gloss of commercial window displays. There’s a feeling of bathos in these scenes, which show the multicolored pennants of used-car parking lots, deli “grand” openings, and racetracks. A telltale canary-yellow band of police tape cordons off the scene of small-scale architectural collapse in Shea Dusk. Higgins’s New York is bordered by these colorful synthetic banners. She has described her paintings as an “archive of the margins.” While on one hand there’s a romantic flâneur quality to the idea, Higgins’s paintings starkly show the reality of twenty-first-century New York, a city pockmarked with unfinished architecture and empty lots, and characterized by a massive imbalance of wealth. “Grand old New York” only stretches so far.
Nick Stillman, 2009

Nick Stillman, catalog essay for 2009 Joan Mitchell Foundation MFA Grant Recipients