Saori Takeda "New art magazine, debut! Global, and sophicated!", NOTE, September 20, 2017​
"Artists' works were also exhibited. Arlene Rush's work was admired by art fans as "Amazing!" A female statue covered with fragments of glass all over the body. It is a work that refuses to see directly, touch. Contemporary people who interact with the world through displays, and cracks and scattered fragments looks like a metaphor for their danger. It is a masterpiece".

John Chacona "Foto Booth" puts artist selfies on display Erie", September 28, 2017
"New York photographers dominate the south wall with Nancy Oliveri’s Robert Rauschenbergian “Between the Pixels” and deadpan selfie in which Arlene Rush neither looks at the cellphone in her outstretched hand nor the camera that captured the scene from a step behind it".

Ann Landi “Me, Myself and I“, Varsari21, July 16, 2017
"Even though I was consumed with worry over the diagnosis and treatment, I took out the camera and did several self-portraits for a series, ‘Days After.”  I chose not to include my face, believing my body had become the face for many."

Ann Landi “Arlene Rush”, Vasari21, June 4, 2017​
 "But perhaps her most ambitious recent series has been documenting an artistic life that, like many, has suffered its share of rejections and setbacks. “Evidence of Being” started when Rush embarked on a project to archive the objects accumulated over the course of a 30-year career."

Marley C. Smit “Trust Issues: “Rush for President” and the Pitfalls of the American Electoral Process”, D/RAILED Contemporary Art Magazine, October 27, 2016
  “Perhaps the most ingenious coping strategy of all was devised by Arlene Rush, who has been in the process of "archiving" her 30-year career and turning it into art."

 Anna Savitskaya “Internalizing rejection can be detrimental to your mind, body, and work: an interview with Arlene Rush", Artdependence Magazine, September 28, 2016
  “In her work, Arlene Rush draws from her own personal experiences, offering the viewer her own approach to self-preservation in the face of rejection."

Ann Landi “Art and Meditation”, Vasari21, September 16, 2016
  “My work consists of multiples: I am doing the same thing over and over, and that repetitive act can be tiresome or it can become a meditation practice."

 Ann Landi “New Campaign Update” Fifteenth Anniversary of "Loft in the Red Zone ", Vasari21, September 9, 2016

Daniel Agulera "23 Wall" Tribute Loft in The Red Zone Project 5th Year Anniversary, Documentary Film September 2016

Ann Landi "You Don't Have To Say You Love Me: Part Two - Which rejection hurts the most, how to cope ", Vasari21, June 3, 2016
  "Perhaps the most ingenious coping strategy of all was devised by Arlene Rush, who has been in the process of "archiving her 30 year career and turning it into at...or sometimes quite literally into gold. Rush may be on to something. If revenge is a dish best served cold, as the Sicilian proverb has it, then rejection may be make more palatable turned into gold."

Claire Voon "In Response to Censorship, Artists Incite Users to Flood Facebook with Nudity", Hyperallergic, January 14, 2016

Seph Rodney “An Art Exhibition ‘for colored girls’, Hyperallergic, December 1, 2014
  “Arlene Rush's "Sechita" [...] is simulataneously deeply sensual and uncomfortable, particularly if one is privy to the story of the 'for colored girls' Sechita, a prostitute between whose thighs men throw gold coins."

Felicia R. Lee "Schomburg Center Plans Exhibition on 'For Colored Girls' ", The New York Times ArtsBeat, September 8, 2014

Peter "Souleo" Wright, "On the "A" w/Souleo: Groundbreaking Choreo-poem for colored girls... Turns 40", Huffington Post - The Blog, September 2, 2014​

Alexis Garrett Stodghill, "Harlem artists team up for a new Schomburg Exhibit honoring the 40th Anniversary of Ntozake Shange's poetic monologues", New York Daily News, October 13, 2014​

Makiko Wholey, "Artists of the Sol Studio Honor Ntozake's Seminal 'for colored girls' 40 Years Later", Artsy Editorial, September 2014​
  “In a striking sculpture by Arlene Rush, a faceless female form leans on a stool with one foot planted in a pile of glass -- the same glass that forms its skin."

Critic's Pick Round Hole Square Peg, Time Out New York Week of Aug 15-21, 2013
The diverse works in this group show explore the rapidly evolving definition of queer identity in the age of Grindr and marriage equaiity."

"Loft in the Red Zone" Art Fairs International Newspaper Issue #15, 2011

Michelle Falkenstein LOCUS catalog, April 2008
 “For her "Twin" series, Rush defies the tendency of the photographic medium to capture only the world as it is seen... seemingly using family snapshots from various eras, the artist transplants her face onto all of the figures [and in] doing so, Rush subverts assumptions about gender, age and kinship, imploying a contiuum and relationship both artistic and genetic." 

Staff Picks,, September 2005.
  “New York City artist Arlene Rush discusses her current exhibition, The Sum of the Whole, at the Center for Emerging Artists on September 8 at 5:30pm. Her mixed media sculptures of the human head are haunting in their lifeless, gender free qualities, but offer a stunning visual to modern art lovers when paired together, like “Snow White and the Seven Dwarfs,” which will be on display.”

S. Blomen-Radermacher, "Kunsterin Arbeitet mit der Kopf", Rheinische Post
September 2001
   “Arlene Rush uses herself in her artistic process; beside the casts of her head there are photographs of her head, as well as casts of other parts of her body. Yet there is no self-dramatization or egocentricity in her works. Rather, her heads seem like stand-ins for all human heads."


 "Go A Head", Stadtmagazine, September 2001

 "Go A Head", Monchengladbach/Aktuell, September 2001

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