Whitney McVeigh

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2011 - Culture and Life - Mind Exhibition

2011 - Liquida World News South Africa

2011 - What's on Johannesburg
2011 - Art South Africa
2011 - Saatchi Online - South Africa exhibitions
2010 - Saatch Online Magazine - Identity Theft curated by James Putnam
2010- Identity Theft Publication - James Putnam - Mimmo Scognamiglio Artecontemporanea
2010 - Mesh Minds - Hong Kong
/>2009 - an magazine - Artist’s Talking - November 19th
2009 - BBCFour Press release - Where is Modern Art Now November 18th, 2009                                                                        

2009 - Aesthetica Magazine online - October 21st
2009 -Guardian online - Skye Sherwin - Exhibitionist - 16th October - Frieze round up
2009 - Evening Standard Profile - ES magazine - 16th October - Emily Bearn
2009 - Evening Standard online - October 13th
2009 - Country and Town House Diary
2009 - Esquire - Back to Basics - October 12th
2009 - The Times Playlist 10 October 2009.pdf- Escape Frieze, explore these - October 10

2009 - Wallpaper magazine - October 9th
2009 - The Guardian Guide 3 October 2009.pdf
2009 - Time Out Listing - October 8th
2009 - Fad website - October 9th
2009 - A Foundation Bulletin - October 3rd
2009 - Artdaily.org - 2009 - Artipedia.org  - Venice Biennale
2009 - CNN News - Saatchi Free the Artists Campaign - 22nd April
2009 - Financial Times - How to Spend it - Emma Crichton-Miller - May 8th
2009 - MyArtSpace Interview- Brian Sherwin - January 9th
2009  - Point de Vue magazine - Paris - For the Love of Art - Saatchi Online - February edition
2009 - Artdaily.org - Saatchi Campaign - May
2008 - International Life - Rebecca Wilson - Heads Series
2008-  FAD magazine interview - July
2008 - Design Week Interview
2008 - Markets Column, daily Telegraph - Colin Gleadell - March
2008 - Form Art Fair Catalogue - March
2008-  Financial Times - Two Faces of Portraiture - Sunday 1st March - Collecting
2008 - The Times - Image of the Day - March 14th, 2008
2008 - NY Arts review - 'Two artists one Location' - The Gallery Soho
2008 - June - 'Bed Heads' - NY Arts magazine - Suzie Walshe - Volume 13
2006 - Transformation of the Feminine catalogue
;  ;  ;2006 - Heads Series Catalogue
2006 – Saatchi online magazine - Emerging artist of the week - October 23rd
2006 – Guardian Guide
2004 – Notes on the Work by Kirsty Gunn
2002 – Hindu Times Review - Impressions of India - January 19th
2000 - The Times – Review Giles Sutherland
2000 – Evening News Edinburgh - Susan Nickalls - January 13th
2000 – Scottish Television interview
1999 – The Sunday Times - Feature - Jean West - December 19th
1999 -  List Magazine

 

Selected quotes from press

“Time after time Whitney explores the suggestive potential of the imagined human form, creating a multitude of unique images which resonate with our own observation and require our active participation. The febrile energy of the work induces states of both breathlessness and addiction.”

Tim Llewellyn – former head of the Henry Moore Foundation, July 2011

“There is something intriguing about the yellowing pages of old books, and as such, when we came across American-born artist Whitney McVeigh’s latest exhibition we were compelled to find out more...McVeigh has torn, cut, painted and drawn - transforming the decaying pages into vivid works of art.’  Wallpaper magazine October 2009

"Elegant and elusive, her paintings embrace ambiguity in life, death and art, often translating the chaste into the erotic with painterly abandon"
NY Arts magazine, July 2008

"Her drawings use paper torn from old encyclopedias and sailing manuals: diagrams of knots and splices become the enigmatic counterpoint to semi-abstract stains of paint, which hover ghost-like amid the text.“
Guardian Online, October 2009

"Fragile intriguing works on found paper”
Nancy Durrant, The Times Play list - Escape Frieze see these - October 2009

“Each inky stroke contains something of a human presence, whether it’s the spidery lines of a handprint or the irregular shape of a thigh.”
Guardian Guide, 3 October, 2009

“McVeigh is something of a slow burner when discussing her in terms of the art market, but it is exactly this that has made her a strong, solid candidate for success in a post recession art market.” Art Republic - November 2009

“There is an immediacy about Whitney's work - particularly pronounced in the new series - and a powerful sense of the freedom of the continuous line, a mark-making which is not preordained but open to the practical as well as emotional pulls of the moment”.
Rebecca Wilson, Saatchi Magazine, October 2006


“Whitney McVeigh brings an indisputably female perspective to her work. These works are intense but not self-absorbed…they demonstrate that figurative art remains a powerful medium of expression.”
Giles Sutherland, The Times, January, 2000


“Over the last decade Whitney McVeigh's work has evolved. While she has always passionately struggled to seize psychological and iconographical fundamentals, she has increasingly mastered her ideas to produce a body of work in which a cogent style has emerged. McVeigh's is now a mature and distinctive art, operating on a thrilling emotional canvas, through which archetypes may be glimpsed.”
Alex Linklater - Editor - Prospect Magazine - March, 2009


"...last night’s exhibition highlighted McVeigh’s extraordinary ability as an iconographer. Drawing from a cacophony of timeless symbols, themes, cultures, periods, media, ways of thought, and of life, she captures a rare truth within each of her images. It is this truth and brutality that make images that startle the viewer. Unlike the Surrealists, who directed their attention to creating a new visual vocabulary in order to elucidate traditional meanings, McVeigh’s images are pure inventions replete with new understandings."
NY Arts magazine, March 2008


"They are uncompromisingly uncertain these works – and this is their universality. The critic and writer Edward Said has remarked that, as artists, the more true we are to ourselves in our work, the more particular and specific, the more universal we are. This is the effect of this show of prints, paintings and sculpture. That these images speak not only for their gender, struggling with responsibilities of motherhood and sexuality, but for all of us, men and women alike."
Kirsty Gunn - December, 2004


"On seeing "The Carrying": The feeling of constraint is inherent to our condition, foremost the constraint of mortality, but there are others: physical, mental, emotional, social, professional, cultural, and so on. How we understand these constraints and deal with them defines our lives. The key to freedom, then, is through making the most of constraint."
Yann Martel - July, 2007


“McVeigh’s paintings do not tell a story, nor do they provide a description of a situation—the work does far more than this; each image attempts to unsettle the observer's conventional assumption of reality."
Louise Walshe - Ny Arts, March 2008


“What the viewers in China may see is that Whitney McVeigh’s art is the combination of the primitive and the contemporary; that this unlikely combination bestows a sense of timelessness to the work; that it is transcendent art and iconography that seems to have existed since the dawn of humanity.”
Milton Fletcher 2007 (photographer – New York)


“Whitney does not make at statement about her subjects, in fact she does not try to do more than recreate the vibrancy of life that is innate in each of her subjects”

HIndu Times - January, 2002