• Oliver Shultz, ‘Carol Hepper: The Skin of Things ’, CAS Arts Center, June 2018
  • Patterson Sims, ‘Interview with Carol Hepper ’, CAS Arts Center, June 2018
  • Ann Landi, ‘Carol Hepper's Brave Frontier ’, Vasari 21, June 11, 2017
  • Kathleeen Hulser, ‘Art and Preservation at the Park Avenue Armory ’, New York History, October 1, 2012
  • Deborah J. Botti, ‘‘Strong Language’ voiced at Callicoon Arts, Renowned Hepper brings works to Callicoon’, Times Herald-Record, April 15, 2011
  • Paulette Tobin, ‘Skin and Bones’, Grand Forks Herald, May 13, 2010
  • Nancy Princenthal, ‘Carol Hepper at Ramis Barquet ’, Art in America, New York Reviews, October 2008
  • George Melrod, ‘Gold Standard, art ltd’, West Coast Art + Design, pp 68-71, March 2007
  • ‘Memorial Art Gallery exhibits Extreme Materials’, Canada Free Press, cover & front page, February 27, 2006
  • The Science of Art ’, Grand Forks Herald, arts section, November 14, 2003
  • Marjorie Morris , ‘The World’s Backyard in Grand Forks’, High Plains Reader, December 18, 2003
  • Will Hipps, ‘Works of Violence and Solace ’, The Chronicle Review, section 2, December 6, 2002
  • Jessica Dawson, ‘True to Scale: Carol Hepper’s Fish-Skin Art ’, The Washington Post, November 21, 2002
  • Gadi Dechter, ‘Carol Hepper: Translucency and Light ’, Baltimore City Paper, Arts and Entertainment, December 4-10, 2002
  • Harmony Hammond, Christopher Lyon, ‘Lesbian Art in America: A Contemporary History’, Rizzoli International Publications, Inc., 2000
  • Stuart Horodner, ‘Reverse Osmosis’, Art Gallery Williams Center for the Arts, Lafayette College, October 22- November 19, 2000
  • Janet Kopolos, ‘New York Reviews, Carol Hepper at TZ’Art ’, Art in America, July 2000
  • Ken Johnson, ‘Carol Hepper ’, The New York Times Art Guide, February 25, 2000
  • Joyce Korot, ‘Carol Hepper @ Frederieke Taylor/TZ’Art ’, NY Arts, International Edition, vol. 5, no. 2, , February 2000
  • Andrea Artz, ‘Dance reviews 'Molissa Fenley' ’, The New Yorker 75th Anniversary Issue no. 44, February 21 & 28, 2000
  • Deborah Jowitt, ‘Uncharted Terrain; Molissa Fenley at The Kitchen ’, Village Voice, February 22, 2000
  • Eileen Myles, ‘Haikuriticism-17 Art Reviews (in 17 syllables) by 17 Writers’, Art Issues, #63, summer 2000
  • D.K. Row, ‘Hepper on Hepper ’, The Oregonian, October 8, 1999
  • J, Bowyer Bell, ‘Sculptors Draw’, Rosenberg+Kaufman Fine Art, Review, vol. 4 no. 1, Sept 15, 1998
  • Anne Barclay Morgan, ‘Paths to Success: Recently 'Emerged' Artists’, Sculpture, vol. 17, no. 6, July/August 1998
  • Mary Lynn Kotz, ‘At the White House: The First Lady's Sculpture Garden’, Sculpture, vol. 17 no. 6, July/August 1998
  • Beej Nierengarten-Smith and George McCue, ‘Laumeier Sculpture Park, Second Decade 1987-1996’, Laumeier Sculpture Park, Library of Congress No.:97-76150, ISSBN 0-940337-09-6, 1998
  • Charles A. Riley II, ‘The Saints of Modern Art The Ascetic Ideal In Contemporary Painting, Sculpture, Architecture, Dance, Literature and Philosophy’, University Press of New England, 1998
  • David S. Rubin, ‘The Human Touch in Contemporary Sculpture: The Continuing Vision of Eva Hesse ’, FocusOnArt, vol. 2, no. 1, spring 1997
  • Sarah Booth Conroy, ‘White House: A Test of Tradition, The Continuing Attraction of Contemporary Sculptures ’, The Washington Post, September 26, 1996
  • Kate F. Jennings, ‘Aldrich Museum's 'in the flesh' explores boundaries’, Darien News Review, March 14, 1996
  • William Zimmer, ‘Eleven Artists Ponder Flesh's Possibilities ’, The New York Times, March 10, 1996
  • Anne Barclay Morgan, ‘Orlando Museum of Art, Florida ’, Reviews Sculpture, vol. 15, no. 3, March 1996
  • Shannon Hicks, ‘Aldrich Exhibit Really Gets Under Your Skin’, The Newton Bee, February 23, 1996
  • Frank Merkling, ‘Aldrich tackles a paradigm of art ’, The News Times, February 23, 1996
  • Carolyn Wallace, ‘Aldrich opens diverse shows that explore organic surfaces’, Press, Ridgefield, Ct., February 8, 1996
  • George Melrod, ‘Preview, Openings’, Art and Antiques, January 1996
  • XXX Fruit, ‘reproduction of "Saint" and "Untitled 1990"’, issue #2 "Soil", January 1996
  • Out in America, ‘White House Art, Garden Party’, Out #25, September 1995
  • Philip E. Bishop, ‘Hepper Explores Dualities ’, The Orlando Sentinel, September 24, 1995
  • Randy Gragg, ‘Give that Artist the Championship Ring’, The Oregonian, June 24, 1994
  • Jeanette Ross, ‘Through a looking Glass ’, Artweek, vol. 25, no. 10, May 19, 1994
  • Cynthia Nadelman, ‘Recent Drawings by Sculptors: A Common Language’, Drawing, vol. XVI, no. 2, July/August 1994
  • Chris Schooner, ‘Fabricated Nature, Sculptural Dualities’, Reflex, August/September 1994
  • Tina Kaufmann, ‘Natural Sculptures von Carol Hepper’, Liechtensteiner Woche, July 11, 1993
  • Ariane Grabher, ‘Spannen der Diskurs fur den Betrachter: Natural Sculptures der New Yorker Kunstlerin Carol Hepper in Eschen’, Voralberger Nachrichten, Austria, July 10/11, 1993
  • Verbindung Natur und Mensch, ‘New Yorker Kunstlerin Carol Hepper Stellt in der Galerie Matt aus’, Liechtensteiner Volksblatt, July 9, 1993
  • Randy Gragg, ‘Between Mind and Body ’, The Sunday Oregonian, April 25, 1993
  • Donna Harkavy, ‘Showcase, Carol Hepper ’, Visions Art Quarterly, spring 1993
  • Hank Burchard, ‘Nurturing Natural Art ’, The Washington Post Weekend Magazine, November 13, 1992
  • John Weber, ‘Carol Hepper 'Material Identity: Sculpture between Nature and Culture'’, Portland Art Museum, 1992
  • Michael Welzenbach, ‘Doing What Comes Naturally, at Phillips, Organic Forms on an Intimate Scale ’, The Washington Post, November 30, 1992
  • Mary Sherman, ‘Brandeis Show Probes 'Breakdown' in Contemporary Life’, Boston Sunday Herald, April 12, 1992
  • Nancy Stapen, ‘Bringing Nature Inside the Museum’, The Boston Sunday Globe, March 29, 1992
  • Ann Schecter, ‘Hepper's Sculptures Combine the Natural and the Man-made’, Worcester Magazine, March 4, 1992
  • Bruce D. Kurtz, ‘Contemporary Art, 1965-1990’, Prentice Hall, Inc. Englewood Cliffs, NJ, 1992
  • Anne Barclay Morgan, ‘The Nature of Sculpture (review) ’, Sculpture, p. 57, January/February 1992
  • Jenifer P. Borum, ‘(Review) ’, Artforum, p. 136, September 1991
  • Roberta Smith, ‘On Long Island, Photos, Portraits, Pollock and Stereotyping ’, The New York Times, August 1991
  • Natalia Kozlova, ‘From the 'Bauhaus' School to the Macintosh Computer ’, New York Russian Daily, Novoye Russkoye Solvo, April 19, 1991
  • David Hirsh, ‘Architecture of the Body ’, New York Native, April 22, 1991
  • Alexis Gregory, ‘Art Show '91 Shines’, The Journal of Art, April 1991
  • Helen L. Kohen, ‘Women Artists Illustrate New Directions ’, Miami Herald, Miami, Florida, 1991
  • Carol Volk, ‘Openings’, Art and Antiques, p.70, March 1991
  • Dr. Laura Chapman, ‘Discover Art’, Davis Publications, Inc., Worcester, Massachusetts, 1991
  • Charlotte Streifer-Rubenstein, ‘American Women Sculptors: A History of Women Working in Three Dimensions’, G.K. Hall & Co., Boston, 1990
  • Elizabeth Hayt-Atkins, ‘The Anxiety of Influence ’, Contemporanea, pp.66-73, September 1990
  • Eleanor Heartney, ‘Eco-Logic’, Sculpture, pp. 36-41, March/April 1990
  • Leah Ollman, ‘'Seven Sculptors' Offers Engaging Sampling’, Los Angeles Times, March 2, 1990
  • John Howell, ‘Setter of Tender Traps ’, Elle Decor, pp. 116-119, March 1990
  • George Melrod, ‘(Review) ‘CAROL HEPPER Rosa Esman Gallery and Germans Van Eck, New York’ ’, Contemporanea, p. 95, March 1990
  • Nancy Princenthal, ‘(Review) ’, Art in America, pp. 167-168, February 1990
  • Eleanor Heartney, ‘(Review) ’, ARTnews, pp. 162-66, January 1990
  • Peggy Cyphers, ‘(Review) ’, Arts Magazine, pp. 94-95, January 1990
  • Brooks Adams, ‘Preview ’, Interview, p. 38 , October 1989
  • George Melrod, ‘Carol Hepper Sheds Her Skin ’, Sculpture, p. 25 , May/June 1989
  • Eric Gibson, ‘Donald Judd: The End of Sculpture’, The New Criterion, pp. 53-55, April 1989
  • Robert Mahoney, ‘(Review) ’, Arts Magazine, January 1989
  • Judith Collischan Van Wagner, ‘Lines of Vision: Drawings by Contemporary Women’, Hudson Hills Press, New York, 1989
  • Michael Brenson, ‘Carol Hepper in Wood: A Supple Synthesis ’, The New York Times, October 28, 1988
  • Deborah Pearlburg, ‘New York: Day by Day ’, ARTnews, pp. 114-115, September 1988
  • John Loghery, ‘17 Years At the Barn’, Arts, p. 110, April 1988
  • Robert Mahoney, ‘Best Art Bet This Season’, New York Press, September 30, 1988
  • Mirella Bentivoglio, ‘Visti & Da Vedere’, Arte e Cornice, p. 43, September 1988
  • Marsha Miro, ‘Eye on Art: Hill Gallery’, The Detroit Free Press, July 11, 1988
  • Cynthia Nadelman, ‘Gabo's Progeny ’, ARTnews, pp. 123-127, December 1987
  • Eleanor Heartney, ‘Emerging Artists 1978-86: Selections from the Exxon Series ’, ARTnews, p. 206, November 1987
  • Robert Mahoney, ‘Contemporary Syntax’, Arts Magazine, p. 108, December 1987
  • Vivien Raynor, ‘The First Rule is Break the Rules ’, The New York Times, p. 36, October 11, 1987
  • Phyllis Braff, ‘Beyond Visual: Alternatives to Traditional Sculpture ’, The New York Times (LI), p.22, June 28, 1987
  • Robert Long, ‘Sculpture on the Edge’, Southampton Press, June 18, 1987
  • Andrea Silverman, ‘Private Images (review)’, ARTnews, p. 216, summer 1987
  • Michael Brenson, ‘Private Images, Drawings By Sculptors’, The New York Times, p. C 23, February 6, 1987
  • Professor Paul Zelanski and Mary Pat Fisher, ‘Shaping Space: The Dynamics of Three-Dimensional Design’, Holt, Rinehart and Winston, New York , 1986
  • Michael Brenson, ‘Sculpture Breaks the Mold of Minimalism ’, The New York Times, sec. 2, p. 1, November 23, 1986
  • Virginia Watson Jones, ‘Contemporary American Women Sculptors’, Oryx Press, Phoenix, Arizona, 1986
  • Celeste M. Adams, Franklin Kelly and Ron Tyler, ‘America: Art and the West’, Harry N. Abrams Inc, New York, 1986
  • William Zimmer, ‘[ title missing ]’, The New York Times (CT), August 4, 1985
  • Cynthia Nadelman, ‘The New American Sculpture ’, ARTnews, pp. 63-70, January 1984
  • John Marcus, ‘The Guggenheim Dares the Future’, Cape Cod Times, p. 21 , November 24, 1983
  • Kay Larson, ‘The Barons Bounties’, New York Magazine, pp. 88-89, October 17, 1983
  • John Russell, ‘Younger Americans: Visitors From the Past’, The New York Times, September 30, 1983
  • Edward J. Sozanski, ‘The Challenges and Rewards of 'Emerging Art'’, Philadelphia Inquirer, p. 16 K, November 20, 1983
  • Malcolm Preston, ‘The Promise of 11 Americans’, Newsday, October 30, 1983
  • Janet Kutner, ‘Art From Museum Points of View’, Dallas Morning News, p. 1 E, November 22, 1983
  • Sylviane Gold, ‘Art's New Perspective is in Diversity’, USA Today, October 3, 1983
  • Fred Ferratti, ‘The Evening Hours’, The New York Times, September 30, 1983

Exhibition Catalogues

Carol Hepper: The Skin of Things

Carol Hepper: The Skin of Things is accompanied by a catalogue comprises a critical essay on Hepper’s work by art historian Oliver Shultz, Curatorial Assistant at MoMA PS1, and an interview between the artist and Patterson Sims, independent curator. The 56-page publication is produced by the Catskill Art Society and available at the CAS Arts Center, Livingston Manor. The publication, Carol Hepper: The Skin of Things includes an interview with the artist conducted by Sims, and essay from Shultz.  

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Inside the Between

Billings, Montana. Yellowstone Art Museum. Paperback. An exhibition honoring Hepper’s achievement close to its point of origin. The essays that follow, by Dr. Leda Cempellin and Eleanor Heartney, shedlight on Hepper’s complex goals and her means of reaching them. The Yellowstone Art Museum is honored to partner with sister institutions in the Dakotas to acquaint our audiences with Hepper’s thoughtful and highly personal sculptural work.

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A part Together

New York: Galeria Ramis Barquet, 2008. Softcover. Bright green & illus. wraps, French flaps, 54 pp. many color illus. In conjunction with the a 2008 exhibition of creative pieces by American artist Carol Hepper. Begins with a poem "As in over" by Michael Coffey, then showcases Hepper's work. 

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Reverse Osmosis

Easton, Penna: Williams Center for the Arts, Lafayette College, 2000. Softcover. VG. BW illus. stapled wraps, 21 pp., 23 BW & color illus. Issued in conjunction with a 2000 exhibition featuring the works of American sculptor Carol Hepper (b. 1953). With an essay by Stuart Horodner and many examples of Hepper's creativity. She served as the Detwiller Visiting Artist at the time.

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Wet Paint

Dartmouth College, 2000. Softcover. Essay by Nancy Princenthal 'A Local Abstraction: Recent Work by Carol Hepper'. "In a public dialogue on the occasion of her collaboration with Carol hepper, the dancer Molissa Fenley described using Hepper's sculpture Island as a "spatial incentive" for movements that were aqueous, tropical," that evoked "billowing breezes" and the graceful underwater life..." 

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Portland Paintings

Portland Institute for Contemporary Art; First Edition edition (1999). Softcover staple bound exhibition catalog with dustjacket, 32 pages, with color reproductions.

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Despite the seemingly disparate styles of Carol Hepper's recent output, all her sculpture has in common a unifying desire to understand our complex and often uneasy relationship to nature. The collision of the natural and the manufactured is made palpable in Hepper's inventive mix of materials. 

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Carol Hepper

Rosa Esman Gallery. Carol Hepper [cover title]. NY, 1991. Text by John Howell ("Spirit in Place"). Exhibition catalogue of chiefly large mixed-media sculptures (steel, rope, hide, industrial materials). In Howell's words, their "Constructivist process principles are punctuated by a visceral kind of High Plains visual language (Hepper grew up in South Dakota)."

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