Excerpts from Press and Catalog Essays:

“When looking at the series “Calender Notations” one realizes that Barbara Drucker is probably as close to a pure conceptual object and image maker as anyone currently working in Southern California. Like her colleague John M. Miller, what makes her work compelling is the rigor she applies to her choice of forms and materials, and the integration of object, image and content. Conceptual art making requires a systematic reduction down to essence. In “Material Evidence: Wall of Hair” conceptual content is clearly expressed but not at the expense of the preservation of poetry and magic. In the hand of an artist as confident and competent as Drucker there is clearly no visual sacrifice. Through the process of conceptual reduction an actual liberation of transformative potential and psychological insight is revealed.”

 Fred Hoffman, “gleaning / California Dream,” catalog essay, 2002

 

Strong women: The way that ordinary workers occupy - or, more to the point, don't occupy - an opulent space is the general topic behind Sheila Pinkel's photographs of museum guards who appear like specters in the fine art setting (at San Diego Mesa College, San Diego)...Valerie Bechtol has long employed assemblage techniques to provide a contemporary interpretation of tribal spirituality from a feminist sensibility. Her inventive use of materials and elegant touch makes her best work exceptionally compelling, though she is also prone to embrace the rhetoric in her work too literally (at Studio 343, San Pedro)...In "Material Concerns", Barbara Drucker, Maddy Le Mel, Ann Page, Carrie Ungerman present lyrical abstractions by a group of strong and seasoned artists whose visions are individually sharp and distinct. A good mix (at the University of Judaism, West Los Angeles)."

Artscene Website:  Previews, February 2002

 

“These wildly diverse works are among 100 vital, eclectic pieces in “The Chai Show”...The artists range from historical figures ...to gifted contemporary artists such as Barbara Drucker and...” 

Ruth Weisburg, Jewish Journal, January 31, 2003

 

Barbara Drucker’s work is a visual exploration of the complex identities of women, vacillating between self-reflection and reductive mass media icons. Process, in the most comprehensive sense of the term, is central to her work. The heterogeneity of forms and materials she employs heightens the wide range of issues her art addresses. In her new work Drucker returns to painting. But there is neither a sense of nostalgia, nor a traditional pattern. Rather, the witty dialogue between graphics and oil on canvas reveals a new level of sophistication. The drastic contrast and the implied and yet, non-existent, narrative that begs for a follow-up, are defiantly rejecting the superficiality of outer appearances. The clever ambiguity of shapes demonstrates how meanings can be hidden and re-interpreted. The leisure of discovery and the time it takes are crucial to understanding and integrating this new project.” 

Dr. Irina Costache, “Shouts, Whispers and Cheers,” catalog essay, 2003.