The Ark newspaper
July 6, 2011

"Her unusual selection- (gutskin)........ .her ingenious redefining of fiber art, and her
insightful explorations of the darker themes in human existence set her apart from
other sculptors." Lydia Wazowicz Pringl

Marin Independent Journal
June 23, 2011

“HER ART HAS GUTS”
....”.She;s quite amazing for someone of her generation,”Winter said.”There’s a kind
of edge to her work. She’s pushed herself well beyond the traditional fiber arts and
the limits of people in her circle....and not everyone can do that”. PAUL LIBERATORE.

Art Santa Fe Magazine, Summer 2007
by Alex Ross

"Gallerie Haasner, of Wiesbaden, offers works by Gertrud Parker...
Parker's art collides the biological with the manufactured as well as the traditional
with the transgressive...her unsettling juxtapositions encompass the shock of the
fragmentary as they communicate the strange beauty of materials alienated from
their usual surroundings.

Kleine Zeitung, May 5, 2006 (Austria)
"Artistry which goes under the Skin" (translation)
by Erwin Hirtenfelder

Wiesbadener Kurier and Badener Tagblatt (Germany) June 9, 2006
"The Potential of the Fibrous Membrane: Gertrud Parker's Objects of Animal Skin"
by Haasner

"The Visceral Sculpture of Gertrud Parker," 2002
by Peter Selz

....Inspired by the traditional Alaskan material, Parker began working with gutskin in the
late 1980s. Gutskin is a material that appears to be fragile, but it is actually highly
resistant-gutsy. Parker's inclination toward unusual materials brought her to make a
sculpture of dyed skin and colored feathers from a male duck. The piece is enigmatic,
surreal work, called "Blue Markings". It was one of three American entries in the
Toyamura International Sculpture Biennale of 1999.

ARTWEEK, September 2002
by Frank Cebulski

....Two other notable sculptures on view, American Icon and Unwritten Pages are meant to
be exhibited and viewed together.... Together these two sculptures make a political
statement about the relationship among power, performance, religion, and the holy
unspoken and sacred and scary. These are good effects and go further than mere
concepts of art, aesthetics and beauty.

Kleine Zeitung - Klagenfurt, Austria, September 4, 2001
by Bernd Czechner

....It is an exciting encounter, which Galerie haaaauch is presenting in the exhibition series
"seemingly familiar" with Gertrud Parker.... her artstic work interwines impressions,
remembrance, experience with a "life long fascination and love for the work with different
fabrics.... "haaaauch" whisper thin gutskins which she stretches, pulls and forms over
metal armatures. Transparent (even when dyed) and hard, still appearing fragile even in
the stiff format, appear brain ghosts, which seemingly open-remain mysteriously closed....

Wiesbaden Kurier - Wiesbaden, Germany, March 15, 2000
by Anne Stephan-Chlustin

....Two experiences from seemingly highly different culture-areas are building the ferment
of her work: the artisan tradition of the Wiener Werkstaette and the encounter with the
Inuit and Indian culture of her exile homeland, America.... The oneness of Art and Life,
that Jugendstil device which contributed to the renewal of the handicraft aesthetic at the
beginning of the 20th century, Gertrud Parker found all this confirmed in the culture of the
native american of her homeland. Her work, to be sure, are works of art of an
unforgettable uniqueness.

Womans' Art Journal, Spring/Summer 1999
by Amy Winter

Portraits GERTRUD PARKER "Sheer Artistry"
....After three decades of artistic practice....Parker created her first sculptural works in
gutskin. ....Her work evolved to three-dimensional figurative representations composed of
mixed materials applied to armatures of handmade paper and chicken wire. Parker later
welded armatures of aluminum, brass, copper, and steel.....These works are indeed
paradoxical: The coarse gutskin, to the Western mind an almost unthinkable medium,
became something elegant. In all cases the traditional artifact or entity that had served as
a starting point for experiment and improvisation was transformed into something unique.

Sentinel - Santa Cruz, CA, March 15, 1996
by Julia Chipapella

....In fact, gut of some sort or another plays a seminal role in this exhibition. Gertrud
Parker’s work in the main gallery makes good use of the stuff as she stretches long strips
of it over steel frames for her "Five Panels" a piece that hangs in a ghostly reverie like
some ancient sails of the Argonauts. Each of Parker's panels dyed a different color and
the texture is such that it looks marbled, streched taut over the frame in the most delicate
of hues ....

Coastal Post - Bolinas, CA, February 22, l988
by Jeff Greer

....Parker’s sculptures are airy, flexible membranes enclosing space and delightful
mysteries-...Parker’s fiber paintings recall primitive art, but vibrate with very sophisticated
mastery of texture and luminous color.