Io Palmer 
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reviewed in Textile: The Journal of Cloth and Culture November, 2011
Volume 3, Issue 6
by: Annin Barrett

" Both the braids and the allusion to basketball refer to African American culture, although black identity politics is not the point of the installation. Instead, Palmer’s vision allies with post-black art in that it extends beyond one defined viewpoint, and suggests interpretations that question the viewer’s perceptions."

Artstars reviewed in, December, 2009
Marylhurst University, Marylhurst, OR
by: Stephanie Snyder

" In the artists hands , a plain maids smock is sexed up into a flowing linen gown that opens across the gallery floor in a corona of petal-like teardrops. Palmer references labor and women's work while raising African American identity politics to glamorous new heights of Jugendstil panache."

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Group exhibition, Working History 
reviewed in Textile: The Journal of Cloth and Culture
Volume 7, Issue 1, December, 2009
Cooley Gallery, Reed College, Portland, OR
by: Chas Bowie

" By alluding to the historical desire within segments of the African American population to assimilate European ideals of beauty, Palmer addresses a strain of self-denial that belies a pandemic perception of racial inequality. While hundreds of years of slavery and apartheid-like conditions will certainly have that effect, Janitorial Supplies turns to inner-racial dynamics as well, in which light-skinned African Americans are frequently accused of elitism or superiority tendencies to their darker (i.e. less European) peers. The familiar tools and cart of the janitor, however, returns the problem of inequity to the broader economic realities of American life, where the position of janitor has frequently symbolized the limited financial opportunities available to African Americans. Palmer’s
piece succeeds in its depiction of a complex system of power dynamics, casting a thorough and critical eye over all the involved parties."

Scripps College 65th Ceramic Annual
Curator: Adam Davis
Forward: Farid Azfar

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Catalogue: Women of the Book
Curator: Rick Delaney

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reviewed in, December, 2009
Marylhurst University, Marylhurst, OR
by: Chas Bowie

" Palmer doesn't identify which 11 artists are enshrined in "Artstars," but the artist's inventive use of tactile and intimate materials conjures the work of Do-Ho Suh, Lorna Simpson and Ann Hamilton. Each artist is represented by a white dress on a stand, customized to reflect their individual natures. They loom over their respective props -- a lily pad of hairpins, a cloudscape of bundled comforters -- with the majestic dignity of Greek goddesses."

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Group exhibition Women of the Book 
reviewed in Radar Redux
March, 2011
The Park School, Baltimore, MD
by: Rivky Stern

Dyed and Parted, a hanging watercolor on paper, provides a close up bird’s-eye view of two parallel thick heads of hair, dyed unusual hair colors (green and purple) and parted down the middle. Io Palmer explains that she was attempting to showcase the eccentric personalities of some of her relatives."

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Group exhibition Hair Follies
December, 2009
FOFA Gallery, Concordia University, Montreal, Quebec
by Meredith Carruthers and Susannah Wesley

" Encrusted with hairpins and bobbles, cleaning tools become monuments in Io Palmer’s Artstars: Janitorial Supplies. These works refer directly to the labour involved in the taming of hair
into ornament, while also alluding to social hierarchies of domestic help and janitorial labour. Palmer states, “My work points to the symbiotic relationship between public society and private identity… [It] offers both a thought-space and an open-ended critique meant to propel participants into new forms of imaginative (and literal) space that plays with history, gender, race and expression.”"

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Writings on exhibitions
Catalogue: Parted Leisure/ Labored Ways

Essay: Pam Z. McClusky 
Curator of African and Oceanic Art
Seattle Art Museum
Curator: Daniel M. Forbes, Sheehan Gallery  
Whitman College, Walla Walla, WA

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Conceptual Dance
A collaborative project by Adam Davis and Io Palmer
reviewed in The Kathmandu Post
​May 2014
by: Kurchi Dasgupta

" And so the dance continues, as each artist responds to the other’s journey through a particular material and ‘mirrors’ it with his/her own art piece. As each piece was found, fashioned and placed, the other immediately jumped in with a visual and material response—almost as if each piece triggered moments of self-recognition and mis-recognition in the piece that followed."

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