The Ark, - July 6, 2011 by Lidia Wazowicz Pringl
"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."
Marin Independent Journal, - June 23, 2011 by Paul Liberatore
“Her Art Has Guts” ....”She is 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”.
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....
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....
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. ....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
.... 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.
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.