Essays and Reviews

In Dialogue at Conversations With, August 2023

Susan Yung, Stealing Light, August, 2022

Julie Warchol, Print Review, March 2017

Fran Kaufman, Conversation Piece, 2015

Susan Yung, Artseen, Brooklyn Rail, March 2011

Susan Yung/John King in dialogue, November-December, 2010

Vladimir Belogolovsky, Beeswax Rain of Artist John King
Tatlin News, 2008

Josef Woodard, ART REVIEW: Traveling Between Worlds, 2008

Stephen T. Vessels, The Quiet Power of the Ambiguous, 2008

William Corbett, Checking in at the Hotel King,
Exhibition essay, 2008

Kathryn A. Tuma, Much So Strangely Soft and Self-Illuminating: The Drawings of John King, Vicenza Arte exhibition essay, 2005

Mark Daniel Cohen, The Amplitude of Twilight
The Art of John King, Exhibition catalog essay, 2000

Joan D'Arcy, The Daily Freeman, Magical Mystery Tour, 1998

Renee Samuels, Woodstock Times, Fire Hammered Air, 1998

REFLEX Magazine, John M. King at Fuller/Elwood (Seattle), 1990

Fire Hammered Air

Looking at the translucent colors of John King's encaustic paintings, I am reminded of an image from Eliot's The Waste Land; fire hammered air. I can't quite remember what Eliot was referring to, probably a London passageway along the Thames suffused with the scent of frying steak and the reek of fish, but in King's paintings, the texture looks literally hammered, as if he spread the paint as thin as possible to reveal a light source behind the canvas. The atmospheres of his compositions shimmer, as if you were walking in a thick, pearly dream where the background zooms into the foreground and back again. You walk into walls. Subject and background swim together. The actual fuses with the potential and you think you can see the future, but what is it?

Renee Samuels

The Woodstock Times, January 2, 1997

Woodstock, NY

Renee Samuels, Woodstock Times, Fire Hammered Air, 1998