Frith Street Gallery

• Craigie Horsfield and Tapestry ~ Carol Armstrong

  Published in Artforum, October 2008

• Slow Time ~ Nacy Princenthal

  Published in Art in America, May 2007

  ‘Since the images in the exhibition are both psychologically resonant on fully independent terms and, for the most part, gorgeous in the extreme, this insistence on their entanglement with words is, at first, perplexing. Looking seems all that’s called for, a swoon the proper response. But it is precisely the work’s exceeding richness in scale, glamour and emotion that suggests that Horsfield’s very generosity as an image-crafter is a conceptual strategy.’

  http://findarticles.com/p/articles/mi_m1248/is_5_95/ai_n25439031/

• Intimate Relations ~ Sebastian Smee

  Published in The Australian, April 7 2007

  CALM, beautiful and intimate, the photographs of Craigie Horsfield also pulse with a kind of heartache. Their intense beauty is overt and covert; dissonant forces play surreptitiously beneath their seductive surfaces.

  http://www.theaustralian.news.com.au/story/0,25197,21497395-16947,00.html

• La Fundacion SCH Estrena Sede Artistica con una Apuesta por el Video y la Fotografia ~ Antonio Lucas

  Published in El Mundo, February 8 2007

  http://www.elmundo.es/papel/2007/02/08/cultura/2082537.html

• La Fotografia reupera al individuo en la masa ~ Javier Rodiguez Marcos

  Published in El Pais, February 6 2007

  http://www.elpais.com/articulo/cultura/fotografia/recupera/individuo/masa/elpepicul/20070206elpepicul_3/Tes/

• Under the Carpet ~ Anna Sansom

  Published in DAMN, Dec/Jan 2007

• The Dilation of Attention ~ Carol Armstrong

  Published in Artforum, January 2004

  The dilation practiced in Horsfield’s large black-and-white work is a magnification of the reduced minutiae of the photograph until they pass through the looking glass and take on the breadth of the shadowy wall, the support surface on which pictures, including photographs, are suspended in time. And this dilation is an extension and maximization of the equivalence between the surfaces of silver-coated paper and animal hide, fabric fiber, skin grain, not to mention the viscosity of the human gaze, to the point that the transparency of the photograph gives way, not to a single, reductive opacity, but to an expansive meeting between materialities.

  http://findarticles.com/p/articles/mi_m0268/is_5_42/ai_112735004/pg_1

• Craigie Horsfield: Irresponsible Drawings ~ Roy Exley

  Published in Camera Austria International, 2003

• Exhibition Reviews

  Published in Bvrlington magazine, June 2000

• People and Places ~ Adrian Searle

  Published in Frieze, October 1996

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