|"Art can function in any of four general realms: the personal, the
political, the spiritual, or the aesthetic. And occasionally, it can
demonstrate an integration of all four. Art that does so is often attacked
by narrow adherents of each realm as impure, yet such boundary-crossing
explorations are often the most moving kind of work we can encounter.
Matuschka's art is such work. It is hard to define and challenging to view.
It includes extraordinary vulnerability, fierce anger. . . . and much beauty."
Peter Schlessinger, Curator
New Art Center
"Matuschka's work includes a nod to modern art: there is as much of Andy
Warhol as there is of Dick Avedon in her photos. If the purpose of art is to
define the times in which we live, to give witness to what it feels like to
be alive during your time in history than Matuschka has fulfilled this
requirement. These works contain a microcosms of what it is like to live as
the Twentieth Century comes to a close. Matuschka has uncovered herself in
a brilliant attempt to reveal brand new, still beautiful and profoundly
The Censored Scar, 1995 Gauntlet
"Her photographs, posters and sculptures are testament to her artistic,
technical and intellectual abilities They insist that we see and feel the
fear, alienation, anger and pride experience by this versatile artist."
Susan L. Davis & Frances Kelley,
Co-Directors, Elsa Mott Ives Gallery
"The purpose of radical art is to raise the subjective dimensions of social
problems. Matuschka did just that with her picture on the cover of the New
York Times Magazine."
Brian J. Jones
Sociology, Micro, Macro and Mega Structures
Harcourt Brace, 1995
Miniature Museum of Amsterdam