Articles and Reviews

The Village Voice, "Documenting the New Towers of Old Hell's Kitchen", by Katherine Knowles, April 2, 2018

Art Dependence Magazine, "The Monolith: An Interview", by Jennifer Sauer, January 10, 2018

Colossal, "The Monolith: Artist Gwyneth Leech Turns the Destructive Force of a New Building Into a Source of Inspiration", by Christopher Jobson, November 29, 2017

The Norwalk Hour, "Spanning three generations, a family's art on view in separate Norwalk galleries" , by Francis Carr, April 23, 2015

American Craft Magazine,"Drink Up", by Sarah Buttenweiser, April/May 2014

Azure Magazine, "Grind", by David Dick-Agnew, November/December 2013

Telegraph Magazine,"Gwyneth Leech: the Art of Paper Cups", by Sophie de Rosée , September 6, 2013

The Sunday Star Ledger, "Over and Over", by Dan Bischoff, March 10, 2013

Boston Magazine "Cambridge Anthropologie Hosts Live Art Exhibition with Gwyneth Leech", by Olga Khvan, November 22, 2013

New York Times "An Art Exhibit That's Good to the Last Drop", by David Dunlap, February 14, 2012

Pennsylvania Gazette, "Cup O'Doodles", by Molly Petrilla, July/August 2011

Hand Eye Magazine, "Full Brew and View", by Sarah Buttenweiser, August 2010

Additional press page for Gwyneth Leech Cup Exhibitions:
Articles, Reviews and Blogs 2011/2014

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The Spur, "New York Artist Paints Perfect Families and More", by Ben Erickson, January 31, 2007

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The Marshall Independent, "Family Impact", by Cindy Votruba , January 30, 2007

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The journal of the Lincoln Heights Literary Society, "Don't Talk About Religion or Politics", by Don Newton, January 30, 2006

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Art New England, "Gwyneth Leech: the Way of the Cross", by Lois Goglia, October/November 2005

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New York Times, Dance Review: Suffering and Rebirth", by Jack Anderson, March 17, 2000

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Pennsylvania Gazette, "Visions and Videos of a New Scotland", by Susan Lonkevich, June/July 1998

Selected Website Listings
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Two Coats of Paint, "On Procrastinating: Gwyneth Leech", by Sharon Butler, May 6, 2015

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Time Out London, "A year in coffee cups, an electric ‘concept car’ and an endless flight of stairs: London Design Festival kicks off this weekend", by Katie Forster, September 14, 2013

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Psychology Today "Do What You Love, Money Follows: The Coffee Cup Artist", by Susan Biali, December 9, 2011

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Penn State Altoona News, "Imprints on a Landscape: The Mining Project", by Noel Feely, May 1, 2006

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Episcopal Life, "Contemporary Icons", by Henry James, March 2006

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Faith and Form, "A New Journey: the Stations of the Cross for Our Time”, by Gwyneth Leech, March 2006

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From the Floor, The Church and Contemporary Art, by Todd Gibson, October 20, 2006

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Off Off Off Art, “Passing it Down”, by Jeffery Cyphers Wright, July 2005

DANCE REVIEW; Suffering And Rebirth Dramatized By Flamenco

By JACK ANDERSON
March 17, 2000
New York Times

Flamenco, Butoh, African, tap and modern dance were skillfully combined with speech and acting in Shigeko Suga's ''Shiku Hakku: The Eight Sufferings,'' which Indalo Artists presented on Sunday afternoon at the Club at La MaMa.

The production examined forms of human woe, and the action was both allegorical and grittily realistic. Dramatic vignettes were juxtaposed with danced outbursts, most of them derived from flamenco. Given the work's grimness, the relentless flamenco stampings and clappings came to symbolize inescapable doom. Some dramatic scenes concerned lonely individuals. In others, groups taunted outsiders.

A particularly effective sketch featured Alan Spaulding as a fellow who tried to do a jaunty tap dance while talking about his life. Yet as he mentioned his problems, other dancers burdened him with objects and his tapping grew heavy.

Throughout the production, Gwyneth Leech drew portraits of the cast in India ink on sheets attached to the space's walls. But near the conclusion, she depicted mothers and babies. Kumi Kuwahata danced a solo in which she seemed to be giving birth and people in shining robes approached her joyfully. The moment suggested that despite the world's miseries, new life can offer new hope.

The cast included Minouche Waring, Atsuko Kino, Mami Nakae, Bergin Michaels and Ms. Suga. Ms. Nakae, Ms. Kino and Mr. Spaulding created some of the dances. There was additional choreography by Maria Alba, Mieko Sieto, Elena Andujar and Masahiro Kunii. And Yukio Tsuji was a guest artist in an original percussion score by Yoshitaka Shimada.

The production continues through Sunday in the intimate cafe at La MaMa, the theatrical complex at 74 East Fourth Street, East Village.

New York Times, Dance Review: Suffering and Rebirth", by Jack Anderson, March 17, 2000