Artillery Magazine, review of "Really?", group show at Wilding Cran Gallery
"Mary Henderson: istantanee da un weekend," L'Espresso, February 24, 2014
Harper’s Magazine, July, 2011 (image reproduction)
“Interview with Mary Henderson,” Hypocrite Design (hypocritedesign.com)
“Hyper-Real Oil Paintings of Found Vacation Photos,” Maria Galperina, Animal New York, May 11, 2011
"Mary Henderson plunders photo-sharing sites for recent vacation photos of bored teens and breeders making their seasonal suburban exodus to the beach. Then, she appropriates them into photo-realistic portraits. Her work is a nod to late-19th-century Impressionist and Neo-Impressionist art theme of languishing “bathers,” a remix of the banal as “archetypal” and just a tad bit creepy."
"Check out: Mary Henderson’s The Bathers at Lyons Wier Gallery from May 12 – June 11, 2011", Arte Fuse, May 13, 2011
"La spiaggia iperrealista di Mary Henderson," %L'Espresso,% June 3, 2011
Ben Fulton, The Salt Lake Tribune, December 31, 2009
Back at you: BYU Museum exhibition considers the identity questions
"If you're interested in modern art, Brigham Young University's "Mirror Mirror" is a must-see exhibition, with 32 local and international artists and work spanning the artistic genres of installation, multimedia, painting, photography and video. Just be sure you show up at BYU's Museum of Art with a full stomach after a full night's sleep. If you're serious about taking in this exhibition's 56 works for all they offer, chances are you'll cancel lunch. But you'll feel a delicious sense of exhaustion, hours later, when you leave...
Some of the exhibition's most technically accomplished work comes from Mary Henderson, who uses oil and gouache to produce striking, small-scale realistic portraits of Army Reservists, football fans and old friends. The images reproduced, however, aren't so traditional, but were taken online from the Internet.
Lambson said ignoring traditional portraiture in an exhibition about identity would have been a grave omission. Ignoring a new approach would have been just as grave. 'The key is finding realistic, narrative artists that have new meaning in their work.'"
Harper’s Magazine, December, 2006 (image reproduction)
Michael Amy, Art in America, January 2007
"There is something almost frightening about the perfectly shallow lives of the young women in Mary Henderson's small paintings and drawings (none here was larger than 11 by 14 or 14 by 11 inches). Aiming for the superficial slickness of snapshots, she bases her carefully crafted images on pictures posted by the subjects themselves on photo-sharing Web sites. They appear as they want to be seen by friends, acquaintances and total strangers, revealing their exhibitionistic urges. They remind us that the Internet places 15 minutes of fame within everyone's reach, regardless of how undeserving. With digital cameras and cell phones allowing for unrestrained picture-taking, surveillance cameras peering down at us from everywhere, and reality TV bombarding us left and right, an overload of images of ourselves has become central to our identity. As this work implies, our culture is all about surface.
Henderson's meticulous technique in her oils on panel, executed with almost invisible brushstrokes, allows her to attain the luminosity and high finish of a color photograph, though with a slight softness in the modeling. End of the Year (all works 2006) shows a brunette girl at a three-quarter angle from above. She is seated on the grass with her arms and legs bared; her right arm, on which she leans, is cut off just above the wrist by the bottom edge of the wrist in the kind of brutal cropping inherent to snapshots. Her foreshortened body fills almost the entire height and width of this painting, as if she is boxed in -- although, on this sunny day, she exudes glee. Like her 19th-century forebears seated or reclining on cloths spread on the ground, she may hardly be as innocent as she seems.
Game Day shows three girls in close-up, arranged bust-length one behind the other, flashing perfect smiles at the camera, with snippets of a sports-loving crowd behind them. As in almost all the other paintings and drawings, here too we are presented with affluent, all-American, good-looking Caucasian girls at leisure, seemingly without a trouble in their world, doing what their class does best. The title of this exhibition is, after all, "Right Clique." They know what they are supposed to like, what they are supposed to wear and whom they are supposed to hang out with. Henderson does not pass judgment. Her glib work is perfectly attuned to this culture of youth."