Conner, Jill. "Freeze Frame," ArtUS, Issue 22, (Spring 2008)

Borrowing from the techniques and motifs of street culture, however, the works of Wendy White, Jasmine Justice, Joyce Kim, and Carrie Moyer seem marginally more relevant. Moyer's Green Sap (2007) stands out for its warped depiction of concession stand hot dogs, while Kim's The Samurai Lesson (2007) portrays stick figures ambling behind the big stick. These small generic border crossings seem somehow reconciled in White's Block from Smack (2007), which mixes spray paint, acrylic, metal, foam, and an urban sensibility on canvas.

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Olson, Craig. "Freeze Frame," The Brooklyn Rail, (March 2008)

Anchored near the door to the gallery is Wendy White's "Block from Smack" (2007), and edgy punk of a canvas smacked with poisonous pink and burnt-out black. The artist has used a combination of spray and acrylic paint in an anti-compositional way, rejecting the conservative norms of "good" painting for a fast and slack approach. Nothing feels precious here, or arbitrary; it's more of a bleary-eyed elation, strung-out and vibrating. It's the humorous little neon-green foam soccer ball attached to the left edge of the painting that offers the biggest slap. Hit with a blot of black paint, this little orb challenges and invites us to question the validity of its inclusion, all the while remaining unquestionably integral to the soundness of the painting.

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Maine, Stephen. "From Glitter to Grit,"
The New York Sun, (January 24, 2008)

A compact, live-wire show now on view at Thrust Projects, on the Lower East Side, gathers one canvas apiece by eight painters, all women, who have developed a distinct approach to abstraction... Wendy White checks in with "Block from Smack," in which the artist indulges her taste for compositional dissonance and extremes of surface. Based on a glowering chromatic triangulation of pink, green, and black, the painting marshals wispy spray paint, scruffy, diaphanous dry-brush effects, and a discordant impasto flourish. Ms. White is increasingly deft at integrating sculptural add-ons -- in this case, a pint-sized soccer ball -- so they feel crucial to the image.

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Maine, Stephen. "Wendy White at Sixtyseven,"
Art in America, (February 2007)

Slow to admit the viewer, beguilingly sulky, the four paintings and four sculptures in Wendy White's bracing New York solo debut compel attention for several reasons. In the canvases, which measure 5 or 6 feet by nearly 8 feet, the artist works a vein of scruffy, brushy abstraction that conveys skepticism about the viability of its own vocabulary. Her palette includes rumbling, inflected blacks, chalky and electric tints and scarcely anything in between. She augments her acrylics with spray paint but avoids direct references to graffiti or "street art." And behind her congested compositions lies the promise of zooming, unbound space.

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Maine, Stephen. "Addressing Liberty Without Literality,"
The New York Sun, (August 2, 2007)

Wendy White's rollicking, gutsy canvases have for some time relied on a range of blacks as a foil for jittery primary and secondary hues. She incorporates sculptural gestures into her painting; "nevercracked/ roomy" sports a pair of soccer balls suspended in front of the painting's surface by means of steel pipes attached to the gallery walls.

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Hollday, Frank. "Abstraction Reconsidered,"
Gay City News, (July 26, 2007)

In "Late Liberties," 12 artists explore a wider range of painting ideas. Flatness of color and formal rules are explored in Kim Fisher's, Carrie Moyer's, and Michael Zahn's work, and looser methods of paint handling are embraced in the work of Daniel Hesidence, Elizabeth Neel, Dana Frankfort, and Augusto Arbizo. Fisher and Wendy White use combinations of paint application, sculptural elements, and shaped canvas to arrive at their formulas, while pattern or digital generations show up in work by Tauba Auerbach, Raha Raissnia, Alex Kwartler, and Jeff Elrod.

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Wendy White's ''Helvetica Bold'' is its own pedestal. A rectangular wooden box/column supports a paint can holding a pole topped by a soccer ball. It could be a sculpture for an apocalyptic stadium or an ersatz totem pole for one crazy sporting-goods store.

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Wendy White's abstract paintings at Solomon Projects are mean streets incarnate. The large rectangular canvas subliminally suggests "landscape," but the hard colors jumping out against the black ground and the synthetic glow, suggesting neon and streetlights, make it clear we're looking at a landscape of a man-made kind. White attacks the canvas with slashing strokes and graffitilike markings that embody New York toughness and nocturnal energy, the kind that doesn't go softly into the night.

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But most of these artists are more immediately referential toward daily experience. One of the most interesting is sculptor Wendy White, who takes her cues from auto detailing and urban Latino culture. "Bergen at Kensington" is a clump of plaster and Styrofoam cups blackened with ash and mounted on a racing-striped board that is itself on casters. It is in praise of urban trash, caught by a fence or a potted tree, which White sees as a kind of defiance -- "beautiful things happen when people either feel superior or belittled by their surroundings."

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Wendy White's "Spilled in Space" exhibition had the deceiving look of an interrupted "paint by number" project. But in fact the artist carefully orchestrates measured brushstrokes, controlled drips and purposeful omissions of pigment. A love for materials and the objectness of painting is evident in each of the 11 canvases, all from 1999 or 2000, painted in acrylic, gouache and/or tempera.

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