Boston Globe, Boston, MA, July 28, 2015, Depictions and Disruptions, Cate McQuaid
"Like the nerd crowned prom queen, Murphy Spicer's works glory in the awkwardness of it all."
New American Paintings Blog, July 30, 2015, Nancy Murphy Spicer's Disrupted Drawings, Shana Dumont Garr
"Disrupted Drawings flirts with the boundaries between fine art, design and play. Murphy Spicer's process allows for a balance between strategy and body memory."
Art New England, Boston, MA, March/April 2015, The Physicality of Color, Christopher Volpe
"Color's essence tantalizes and eludes. It's both material substance and optical phenomenon, surface and insubstantial light. The Physicality of Color at the University of New Hampshire Museum of Art invites viewers to experience color as a palpable presence with physical dimensionality as well as affective force."
Boston Globe, Boston, MA, August 7, 2012, Reimagining an Urban Landscape, Cate McQuaid
"These little spatial tricks drop the viewer down a rabbit hole: from flat, abstract, symbolic reading - as of a map - to something more precarious and fanciful. Borders are constantly impinged. Figures pop up whimsically here and there, linking us to yet another visual language."
Der Tagesspiegel, Zitty Berlin, Berlin, Germany, July 23, 2012, Tagestipps (Critic's Pick) for 18m Salon exhibition, Biking in Berlin
Boston Globe, Boston, MA, June 16, 2012, Ten contemporary works to see now, Cate McQuaid
"Murphy Spicer’s lyrical works on pages from a guidebook trace her travels by bike around Berlin. Her responses to the terrain sport
big blocks of color, with collaged bits and cutouts adding texture to the abstracted cityscapes."
Biking in Berlin Catalog, July 2012, text by Berlin art historian, Karin Lelonek
"The continuous process of overwriting, deleting and rewriting is ongoing. This city has constantly re-formed itself, storing its past in the evolving layers of space that is Berlin today. With the Biking in Berlin series, Murphy Spicer has added her own layers, her traces of personally experienced space, to the stratification of Berlin."
Art New England, November/December 2008, Spotlight Review, David Raymond
"Hanging Drawing Half-Drawn is a big physical event, a pouring of odd catenary arches that drape to and across the floor in a stop-action of self-description."
Boston Globe, Boston, MA, December 24, 2008, The Year's Top 10, Cate McQuaid "Many Kinds of Nothing, " Montserrat College of Art Gallery
Boston Globe, Boston, MA, October 2008, Nothing' is happening, Cate McQuaid
"The works in this show don't carry you away with color and drama. Indeed, they're spare, oblique, and lacking in narrative. They don't expect the viewer to make sense of them; rather, they invite you to engage and discover what the art provokes within you. Intrinsically, they're less about themselves than they are about you and your response to them. They work to open an empty space, in which your assumptions fall away or are elucidated, and your perceptive powers quicken."
Boston Phoenix, Boston, MA, August 2008, One World, Several Dreams, Randi Hopkins
"Sculptural installations and photographs by Roni Horn, Nancy Murphy Spicer, Dan Senn, and Liz Sweibel promise an enlightening experience and a bit of respite from the clatter of the usual. This show looks like a sleeper, in the best sense of the word."
bigredandshiny.com, December 23, 2007, Drawing the Line at Mills Gallery, David O. Avruch
“Hanging Drawings succeeds through its simple, overt engagement with its materials and environment. Not only is it interactive and
fun to use (draw?), it is a fully realized work of art. Engaging in a three-way conversation between the viewer, the pins, and gravity, the
black friction tape becomes an extension not only of the viewer's artistic will but of his/her understanding of the work's specific
parameters and his/her flexibility in interpreting them. In this way, the piece is almost self-aware. It is a delightful piece.”
Boston Globe, Boston, MA, December 2007, Drawing show works around the edges, Cate McQuaid
“Nancy Murphy Spicer’s Hanging Drawings does offer a fresh, interactive take on the oldest of mediums. She has mounted pins on the
wall and invites viewers to drape a long, black rubbery string over them and make the work their own.”
meganandmurray.com, September 2007
“One of the most impressive shows we saw at the South End Open Studios in Boston was one that crept up on all of us....we were
unknowingly standing in the midst of the exhibition: something along the lines of 'I know this room is probably just being de-installed,
but it's my favorite thing I've seen all day.’”
Boston Globe, Boston, MA, September 2007, A Touch of Abstraction, Cate McQuaid
“(Murphy) Spicer’s work is low-key and delightful, as if she’s showing you a treasure map of a place you thought you already knew.”
Art Papers, January/February 2005, Reviews, David Hall
“Seamless is the sort of decadent array of drop-dead gorgeous objects and visceral encounters that makes post-structuralists blush.”
Memphis Commercial Appeal, Memphis, TN, October 15, 2004, 'Seamless' a model of beauty, Frederic Koeppe
“Seamless seems like a model, in however brief or uncrowded a survey it may be, of contemporary abstraction. Rarely have the
problems of filling space spontaneously yet coherently been better solved.”
Boston Globe, Boston, MA, July 11, 2004, Pretty, vacant: High-quality local work gets showcase at Tufts, Cate McQuaid
“Nancy Murphy Spicer's installations of dried paint pools and stretches of wood curling from wall to ceiling... challenge our
perceptions of how to read an exhibition space and push at our expectations of what art is.”
Boston Globe, Boston, MA, February 1, 2004, At 'The Drawing Show,' works literally leap off the page, Cate McQuaid
“Many drawings insinuate themselves into the viewer's space. Those last make a strong show. Nancy Murphy Spicer's
Drawing Objects features a periscope-shaped streak of poured brown latex paint rising from a puddle on the floor and turning
a corner of the gallery at its top, with a fine drawn line above a nervy contrast to the mass of brown...incorporates the floor,
making the art physically approach the viewer, evoking unexpected intimacy.”
South End News, Boston, MA, January 22, 2004A painterly touch in BCA's Drawing Show, Shawn Hill“Somewhere indefinable
between painting, sculpture and drawing resides Nancy Murphy Spicer's Drawing Objects.”
Sculpture Magazine, September 2003, Reviews, Marty Carlock
“Paint becomes an object, drawing surfaces erupt into puzzle pieces, two dimensions erupt into three dimensions. Nau and
Spicer’s collaboration is proof, if any is needed, that no métier is separate and isolated any more.”
Art Papers, November/December 2003, Reviews, Robin Bernat
“Eight compositions...though individually distinct, naturally correspond, cohering into a single organic space and conjuring
up a variety of biomorphic associations related to the human body, sea forms, pond life...all pulsing and effervescent.”
Art New England, June/July 2003, Regional Reviews, Shawn Hill
“Nancy Murphy Spicer's poured works are the most provacative in the show. Here near-subliminal Drawing Above is a tangled
skein of busy loops in gray, black and white...Here, at last, gesture and process break through to become idiosyncratic and affective.”
Boston Globe, December 29, 2002, Best of 2002, Cate McQuaid
“Chris Nau and Nancy Murphy Spicer, in their self-titled show at the Gallery at Green Street, separately and together created
a thrill ride that toyed with viewers' expectations of what, exactly, is flat.”
Boston Globe, August 23, 2002, Some Edgy Artists Play with Space, Cate McQuaid
“By using the entire room, Murphy Spicer opens up the painting and lets us walk in.”
Retro-Rocket.com, August 16, 2002, On the Wall, Paul Parcellin
“The fact that this work is anchored to the gallery wall makes it a one-of-a-kind experience.”
ArtsMedia, September 5, 2002, Gallery, Rachel Strutt
“(Murphy) Spicer's installations are also not to be missed. At once whimsical and insidious...the large-scale works are enveloping,
inviting viewers to be protagonists in Spicer's surreal, otherworldly landscape of dots and loops.”
Boston Herald, December 9, 2002, Toale Gallery Exhibit Draws on Trends, Mary Sherman
“Nearly all of these pieces, however, adhere to the convention of drawing as something executed within a rectangular frame.
The exception is Nancy Murphy Spicer's quirky piece Black and White Cells. White circles, outlined in black, extend from the floor
up the wall, like some strange hybrid virus bubbling up and intruding into the gallery's elegant installation of identically framed works.”