“Julie Karabenick‘s paintings mine the infinte richness of a single rectilinear form. There is  nothing meditative about the work—indeed, Karabenick consciously subverts the symmetry of her geometric endeavor—but each composition holds itself in easy equipoise.”

—Joanne Mattera, online catalogue essay for “Luxe, Calme, et Volupté,” Marsha Wood Gallery, 2007

 

“Don’t miss the group exhibition ‘ORDER(ed)’ at the Gallery Siano, on view until June 17. It will open your eyes to all the possible ways geometric forms relate to the entire spectrum of emotions encountered in life … I left the gallery convinced this is what every exhibition should encompass.”

—Anne Fabbri review of ”ORDER(ed)” curated by Julie Karabenick, Art Matters, June, 2006

 

“I suppose this could be the anti-entropy show: The artist as warrior against the forces of inertia.”

—Roberta Fallon, catalogue essay for “ORDER(ed),” Gallery Siano, Philadelphia, 2006 

 

“Karabenick is an accomplished abstract artist whose work explores the communicative power of basic geometric forms. For the show at Gallery Siano, she has gathered seventeen artists from the US and Canada (including five from Philadelphia) who share her interest in and commitment to the modernist tradition of geometric abstraction. This elegant and focused survey gives the viewer an opportunity to appreciate the richness and diversity of geometric abstraction today.”

—Krystyna Warchol review of “ORDER(ed),” Key to Philadelphia, May 1-14, 2006

 

“A psychologist by training, Karabenick is intrigued by the long history of abstract pattern in art making and its continuing hold on the human mind, perhaps reflecting something basic to our mental make-up. The show in Philadelphia is her second exhibit of this sort of work.”

—Libby Rosof review of ”ORDER(ed),” fallon and rosof artblog, May 17, 2006

 

“Julie Karabenick makes incredible paintings that hum with color and contrast, in a sea of geometric forms. For the past six years, she has been working on her “Compositions” series. In these paintings, balance and harmony coexist amongst tension, activity, and unevenness.”

—Kyle Norris, “Julie Karabenick’s Geometric Abstractions,” Current Magazine, April, 2006

 

“Julie Karabenick … takes the constructivist grid and explodes it …Through a system of carefully calculated color interactions, a kind of optical chain reaction, Karabenick’s pixellated pointillism gives a new spin to dynamic equilibrium.“

—Lilly Wei, “Geometry Reloaded,” NY Arts Magazine, May/June, 2005

 

“There is a wonderfully wide range of sensibilities in these paintings … Artists, Karabenick proves, are still drawn to the richness of its syntax, a syntax that seems inexhaustible.”

—Lilly Wei, “Geometry Reloaded,” NY Arts Magazine, May/June, 2005, review of “Engaging the Structural” exhibition curated by Julie Karabenick

 

“Julie Karabenick’s is a careful, unsentimental mind in the midst of self-clarification. In each set of her explorations, one finds emotional depth, unity, and a complex internal conversation between subtly-wrought colors and shapes.“

—Vivek Narayanan, ”Julie Karabenick’s Systematic Freedoms,” NY Arts Magazine, January/February 2004

 

“In crafting these deceptively complicated artworks through a stylish aesthetic that demands  exactness and heart, Karabenick’s work gives us color and form shorn of superfluous adornment. Such a refinement is as rare as it is accomplished.“

—John Carlos Cantu, ”Intensity Meets Warm Colors in Precise, Vital Compositions,”The Ann Arbor News, June 16, 2002