Reviews & Articles

“At the bottom edge the curls of fractured color zig and zag five or six times in one deft stroke—these are the pleasures of watching a virtuoso in action .”

– Charles A. Riley II, “Sea Fever in Two Exhibitions at the Quogue Gallery”, Hamptons Art Hub, September, 2015  read the article

“…she paints abstract figures informed by motion, water and emotion.”  

– Quogue Gallery Debuts at ArtHamptons, Hamptons Art Hub, July, 2015  read the article

“…allowing the paint gesture tell the story rather than realistically rendering the face.”  

– Scott Iwasaki,
 Reunion Park Record, Park City, Utah, July, 2013  read the article

“…explorations of “the tension of the horizon, light, and weather in an abstract context.”  

– Frances Malcom,
 Big Water, Press Release, September, 2012   
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“I am not trying to freeze reality like a camera. I want the figures to move in the water.”   

– DeWitt Cheng,
 Big Water, Catalogue Essay, July, 2012  read article

“Crossman’s treatment of her subject invites psychological consideration,”  

– Jonathon Keats,
 Class Action, Catalogue Essay, October, 2007   read article

“…she herself is riding a fine line between reality and abstraction.”  

– Kate Pappas, 
24SEVEN, June 29-July 5, 2006   read article

“In each painting she wanders through many stages of paint action and destruction…” 

Artville, Julie Nester Gallery Presents,
  July 1-26, 2006   read article

“…the grid creates a constant tension between the individual and the group.”  

– Erica Rheinschild, “W Hotel Artist Profile,”
W Hotel Magazine, September, 2002, p. 12   read article

“…she reinvents the class picture and transforms it into a kind of anti-portrait…”  

– Alicia Miller, “Marshall Crossman at Dolby Chadwick Gallery,”
Artweek, March, 1999   
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“Crossman is interested in portraying the psychology of motion,”  

– Anne Telford, “Art,” 
Northern California Home & Garden, December, 1988, p. 30-31   read article

“This theme licenses her flashy brushwork and translucent color.”  

– Kenneth Baker,  “Art With Overtones of Terror, Torture and Violence,” 
SF Chronicle, July 20, 1987, p. 52   
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“Her style is physical, these are not timid paintings.”  

– Anne Telford, “Artist’s Profile”,
 April, 1990   
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