Brian K. Mahoney, Mataphysical Containers: The Art of Carole Kunstadt, March 1, 2019, Chronogram. "And while printed matter is primarily used to convey meaning through words, words are usually obscured in the work of the Hurley-based artist. Kunstadt's work is a kind of post-word world. It's the reimagining of the pages that creates their magic. In Kunstadt's hands, books are broken down and transformed, phoenix-like, into new shapes that encompass the original meaning of the words while transcending them. The repurposed forms reveal a previously undisclosed essence within the books. They also create new stories out of the antique objects, unlocking the physical potential latent in the pages. "

Lynn Woods, Carole Kunstat pays tribute to firebrands Margaret Fuller and Hannah More in her WAAM exhibition, December 6, 2018, Hudson Valley 1, Almanac Weekly -"Viewed collectively from a distance, the black, upright triangular shapes of the irons have a spectral quality, as if they were the shades of the unknown women – many of them doubtless domestic servants – who once labored over them. In contrast, the collaged flat surfaces, the underside of the iron functioning as the “canvas,” is literally the most visible and readable part of each piece, as if the conceptual were concrete; object and meaning are inverted, time turned inside-out as solid artifact is subjugated to the areas of text and sensuous assertions of the soft, fragile materials. History lies in the shadows as the materials sourced from that history are deconstructed and recomposed in a Modernist format."

Lynn Woods, "Fire In The Belly" at Burnette Gallery in Woodstock, Hudson Valley 1, Almanac Weekly, October 11, 2018. "The show, curated by artists Carole Kunstadt and Laura Gurton, each of whom have contributed a piece, includes work by some of the region’s most distinguished artists: Portia Munson, Susan Spencer Crowe, Coldspring-based Orly Cogan, Judy Sigunick and Sky Kim, to mention a few, all of whom have shown outside the area. The work is visually stunning, technically accomplished and conceptually evocative. Many of the pieces pack a powerful emotional punch as well."

 Nancy Egol Nikkal, ArtsWestchester Triennial Exhibition 2018, An exhibition review and interview with Carole Kunstadt, Art of Collage, June 18, 2018,

Ernest Disney-Britton, Inspire Me! Artist of the Month, Carole P. Kunstadt - March 2018, Alpha Omega Arts, March 1, 2018 " A long held thought that influences my works on/of paper is: Evidence in the tactile provides contrast of the ethereal.  How do I as an artist present the spiritual and unutterable concepts while in this physical plane."

Megan Klim, Review: On A Different Page, November 12, 2017 - "Quietly tucked behind glass, are Carole Kunstadt’s poetic paper constructions.  Meticulously crafted, Kunstadt breathes such an airiness into the sliced paged work- it almost seems necessary to encase them or they would flutter away.  Her ethereal work speaks to preciousness with touches of gold and plumed paper.  The books are splayed out before us revealing themselves not only by their text but through their tactile nature."

John Shorb, Portfolio: Carole P. Kunstadt, ARTS, November 15, 2017, Vol. 29, No. 1, pp. 8 - 17,  Journal of the Society for the Arts in Religious and Theological Studies. "Carole P. Kunstadt creates exquisite, tactile works, most often from religious materials such as the Bible and related texts. Kunstadt says her background informs her art practice.... Kunstadt's careful way with materials demonstrates the respect and awe of the life of theses objects and books."

Susan Dunne, Book Art at Hill-Stead, Hartford Courant, July 11, 2017, "In the Hill-Stead's library, 3,000 books owned by Riddle have sat in their shelves for about a century. But the center of the library rooms have been turned into a temporary gallery to exhibit works by - appropriately - artists who work with books. It is the first time contemporary art has been shown at the historic museum."

Michael Walsh, Exhibit Brings Contemporary Art into a Historic Setting, July 12, 2017. "..the fascinating thing about working with this space is that the space becomes part of the exhibit in a way that the blank wall does not," Kunstadt said. "There's an integration between these walls of volumes of rare books playing with the contemporary piece in front of it. There's another dialogue and dynamic that energizes both."

Paul Smart, Abstract Evocative at WAAM, Woodstock Times/Art, pg. 19, April 13, 2017, " And one collage master working with antique papers to capture something ulimately au courant and utterly contemporary.....There's a sweet sense of ruptured detail, and yearning, that somehow emerges from Kunstadt's weavings of musical scores and devotional texts."

Claire Lambe. Spring Awakening, Roll Magazine, April 7, 2017, "Abstract Evocative curated by Norm Magnusson. Magnusson, also an artist, has selected ten Hudson Valley artists for this show, which features abstract works that move towards an evocation of the physical world and, he says, have the power to help us see the world around us through a different lens."

Linda Marston-Reid, Woodstock Byrdcliffe Guild sustains legacy of the arts, Poughkeepsie Journal, January 9, 2017 "Carole P. Kunstadt’s “Interlude” series are small artworks that have a large presence. Utilizing an old music manuscript found in a thrift store, Kunstadt cut and wove the papers followed by repetitively knotting linen threads into the fragmented surface of musical notations and lyrics, resulting in a meditative artwork. Viewers of these artworks could consider these small framed pieces also serve as sacred objects."

Anise Stevens, Paper's Pliability Pulsates in "Brand 44 Works on Paper", October 8, 2016, AEQAI:

WAAM Exclusive Interviews, In The Spotlight With Carole P. Kunstadt, July 1, 2016, Woodstock Artists Association and Museum, Woodstock, NY, WAAM is pleased to present our exclusive interview with artist Carole P. Kunstadt, a Hudson Valley multi-media artist inspired by material, process, history and memory.

Susan Hodara, Art Exhibitions in Peekskill, Art In Plain English, March 25, 2016, New York Times, "Each of the more than 70 works in “Word” incorporates text: isolated letters, bold words, enigmatic phrases, provocative sentences or fragments of stories. They are painted, printed or photographed; projected, beaded or sewn. They are etched into bronze, scribbled onto plywood, outlined with nails." WORD 2016, Hudson Valley Center for Contemporary Art, Peekskill, NY

WORD at Hudson Valley Center for Contemporary Art, Arts Summary, A Visual Journal, July 24, 2016, Photographs by Corrado Serra,

Sarah Tanguy, Between The Covers: Altered Books in Contemporary Art, Everhart Museum, Scranton, PA, 2016 - "An exploration of the world within informs the vision of Carole P. Kunstadt......Kunstadt’s series, Sacred Poems, is based on copies of the 1844 and 1849 Parish Psalmodies, books originally used for both communal and private prayer. Interfacing with their repeated cadence, numbering system and laudatory function, Kunstadt invents her own performative ritual. After slicing the religious codices into strips, she weaves, knots and sews them with fine tissue and gold leaf gold into organic forms that chart the passage of time and lend new textural possibility. Akin to medieval illuminations, the series endows mundane acts with the potential of transcendence, and posits an alternate path to the sacred."

Nicole Fleck, curatorial assistant, Everhart Museum, talks with Erika Funke, on ArtScene, the local NPR station arts program about the exhibit Between The Covers. "Carole Kunstadt who did the Psalms, that were used for private prayer......put gilding on them and gave another level to the works and more importance to them too, brought your attention into them. And there is an ancient tradition of illuminations and monks. She's making it for our time. Yes, those are from the mid 19th century....." May 12, 2106 archived recording:

a.m. weaver, And The Word Is.....the Gershman Y,, April 17, 2015, "Influenced by her grandfather, Carole P. Kunstadt takes the book of Kings and the Five Books of Moses and meticulously constructs manuscripts that do not open. The words are carefully locked within precious containers of gold leaf and thread and Gampi tissue. Fragile and compelling, these books beg to be handled; yet their fragility precludes this possibility. Books that do not open may be frustrating for the viewer; however, it is the construction itself that serves as a visual clue to the power of the text and subject matter."

Smart Art/Paul Smart, Woodstock Times, Kunstadt's Ancient texts, April 9, 2015. "Carole one of those ageless mediums, and subject matters, that's also endlessly contemporary given the many means by which it can be manipulated. She transforms ancient texts, in book form or transmuted by her own hand and imagination, into something visually beautiful yet also reflective of what the literary pieces were originally intended for. Given that she tends to focus on religious works of various stripes, there's a spiritual depth to what Kunstadt does. But also playfulness." (Two person exhibition curated by Lenny Kislin, Oriole9, Woodstock, NY)

"Paper, almost universally, is held in reverence as a vessel and vehicle for truth......And yet books can be revised, new information can come to light and realities can be altered through the fogged and scratched lens of time. The sculptural work of Carole Kunstadt, whose last name is rooted in the German word for art, alters books into visual compositions that reorder these predetermined realities and lure responses beyond the cerebral.
In “Sacred Poem LXIII,” created with gampi tissue, thread and paper, fringed text is mounted in a box, the edges of the paper bent in various directions like the ends of Astro Turf, and the resulting grid of printed text creates an open field for free interpretation and reading of a previously rigidly-ordered book." Columbia Daily Tribune, Paper in Particular unites the true and the mysterious, Amy Wilder, March 22, 2015.

Six Photographers Present Unique Series, January 19, 2015, PDN PHOTO OF THE DAY, “One: Unique Photographs” at Klompching Gallery in Brooklyn’s DUMBO neighborhood showcases work from six unique artists: Robert Calafiore, Matthew-Robert Hughes, Max Kellenberger, Carole P. Kunstadt, Diane Meyer and Ken Rosenthal.

"The resulting pieces, which feature pages from the Bible cut, shaped and bound to either look like or give an echo of books themselves, thrum with a contained religiosity. This is achieved both through the construction and through the arrangement of the shapes, most notably in the assemblage that immediately calls to mind the foundation for the Temple Mount. It is hard not to immediately hearken to the binding of Isaac looking at one piece, to the taharah ceremony for burying the dead in white linen in another." Greg Salisbury, February 4, 2015, Gershman Y Exhibit Explores Brave New Word, Jewish Exponent.

Sacred Poems and other works by Carole P. Kunstadt,
........Kunstadt’s works reference the material of books, deconstructing paper and text, and using it in metaphorical ways. Her devotion to books is inspired by the ability of the written word to take  the reader to other places through stories, poems, and prayers. Kunstadt’s process reveals how language can become visual through re-interpretation.

Lil Copan, Five Books of Moses by Carole P. Kunstadt, On Art,
Christian Century, October 20, 201. The viewer engages anew with the Hebrew Bible through Carole P. Kunstadt’s manuscript blocks. “The text and illustrations remain hidden with no access to the actual contents of the book,” notes Kunstadt. “The simple physical presence of these varying shapes emphasizes their literal, historical, and spiritual impact. The imprint on our consciousness, not the actual details of the stories, is therefore emphasized.”

Susan Dunne, September 22, 2014, Hartford Courant, Artists Create Works from Cut Paper at Joseloff Gallery, "It takes a true artist to create jaw-dropping art from cut up paper."

Gillian Partington, Adam Smyth, Book Destruction from the Medieval to the Contemporary (New Directions in Book History) Google eBook) September 12, 2014. "The neat and elaborate sewing involved in, say, Carole Kunstadt's work, together with her delicate weavings, makes the point about the semantic connections between text and textile, between matter and material"..........

Tahlib, Sunday, September 21, 2014 Alpha Omega Arts NEWS OF THE WEEK, "God gave Moses the Torah, the first five books of the Hebrew Bible, which are notes written to his people as reminders of their special relationship. Each year in the days prior to Rosh Hashanah, tens of thousands of prayer notes to God are removed from the cracks and crevices of the Western Wall in Jerusalem to make room for more in the new year. Throughout human history, when it is important, we write it down, and beginning on Wednesday evening, the Jewish people read their notes from God neatly bound-up and ordered as they celebrate the Jewish New Year. That is why "Five Books of Moses/Old Testament Series" by Carole P. Kunstadt is my NEWS OF WEEK."

Tahlib, Wednesday, September 3, 2014, Alpha Omega Arts, INSPIRE ME! Carole P. Kunstadt, A & O Artist of the Month for September 2014. Art News on the Religious Imagination. It is unlike anything we've featured before as "Artist of the Month" and reflects a trend we are witnessing in seeing "books as objects of art" with reading as optional. In Carole's instance, however, we recommend a bit of prayerful reading and viewing, as you experience this:

Bill Batson, May 17, 204, Local Arts Index: Carole P. Kunstadt, For over a century, our region has been home to extraordinary artists. Local Arts Index highlights the work of individuals who continue our community’s rich creative legacy. Meet Carole P. Kunstadt:

Paola Pulchino, TECA, Focus on the Artist's Book, Carole P. Kunstadt and Sharon A. Sharp, Patron Editore, Bologna, Italy, September 4, 2013, ......"the cycles of works of Sacred Poems (produced between 2006  and 2011) and the Old Testament (all dated 2009) - are certainly the finest for construction, conceptual design and communicative power; they approach with cultural vehemence the theme of the sacred and of the word, reverting the invisible to its prime nature of unutterable."

Collecting Photographs, Finding Affordable Gems, Saturday, October 5, 2013.
"Over the past four years, I have attended the show, and purchased the wonderful unique postcards made by Carole P. Kunstadt. My "Kunstadt" collection is expanding at the rate of one per year. I treasure these little gems."

Marla Sweitzer, Small Worlds on View: Magnitude 7 at Manifest Gallery, AEQAI, June 21, 2013 "Carole P. Kunstadt's woven photogravure postcards.......A relic in their own right, the postcards have been reconstructed into gridded puzzles, cut into strips, the rows slightly shifted to create a slightly distorted image – though on the whole, still recognizable."

Lucinda Breeding, ... "a marvel of craftmanship, In Sacred Poem XVIII, the feather-like pieces of tissue and text form an organic, book shaped mass emerging from the center of the page". Material Objects, 'Hard & Soft' selections bind craftmanship with innovation, Denton Record Chronicle, Feb. 21, 2013.

Alumna Creates Sacred ArtJanet Bruner, HAS Ink a pixel-based newsletter from the board of trustees of hartford art school, inc., November/December 2012,

eXposure Sacred Poem LXXV, Surface Design Journal Fall 2012, Volume 37, No. 1,

"Paper, with its mashed and intertwined fibrous DNA, holds court in book-based art by Carole P. Kunstadt. Her ongoing “Sacred Poem” series de- and re- constructs the 1844 and 1849 editions of the sacred text “Parish Psalmody.” Kunstadt fringes, stitches, knots and even gilds papers from the antique paper tomes to make beautiful art objects layered with meaning." Meredith Cutler - Art In Fiber, artscope, New England's Culture Magazine, May/June 2012:

Jane Durrell - Textuality at Manifest Creative Research Gallery and Drawing Center:

PBS's OffBook Short documentary series, Book Art, "explores some of the different ways physical books can be used as an artist's medium.... In the final part, "Transforming the Sacred." book artist Carole Kunstadt explains why her work – which sometimes involves stitching, weaving, and shredding the paper of books – is her way of honoring the book's form. By sewing the text, she sought to "take away the impulse to read the text for what it was." Because "the book itself was containing an experience,"  her work reflects the way that the written word can "captivate us and take us to another place."  Huffington Post

Carole P. Kunstadt – Transforming Text (The Textile Study Group Blog)

Dorothé Swinkels - Textiel Plus, December 2010, focusing on language and sign in fiber, features Sacred Poem XLV (read the whole article, PDF, 1 page)

Carole P. Kunstadt -

artist crush – carole p. kunstadt (

David Revere McFadden - “A sense of intimacy and loss pervades the work; fragments of memory and belief are brought together to create a hybrid form that negates the sequential nature of reading, replacing it with suggestive echoes of inner states of praise, worship, and prayer.” Slash: Paper Under The Knife, Museum of Arts & Design, 5 Continents Editions, 2009.

Sarah Blumberg - Gallery Crawl, November 4, 2009 (read the whole article) "In addition to the obsessive quality evident in the creation of these pieces, there are also the fascinations with family, history and place. ... Carole P. Kunstadt’s Sacred Poem XVI, XXVII, and LII, in which pages from an 1844 Parish Psalmody are variously cut, threaded, covered in gold-leaf, and sewn together to create gorgeous new texts..."

Karen Rosenberg - The New York Times, October 20, 2009 (read the whole article) “In the catalog Mr. McFadden relates contemporary paper cutting to Japanese katagami stencils, Mexican paper picado and the medieval practice of excising illuminations from manuscripts. (This last reference is especially relevant to the creatively altered books in "Slash", which include an encyclopedia, an 1844 parish psalmody and a white-supremacist tome.)”

How a Field Trip Inspired My Next Art Purchase (from Wall Spin: The Zatista Blog)

From the catalogue of the 5th International Book and Paper Arts Triennial (from Edizioni)

Carole P. Kunstadt (from indigoalison: an Artist's Particular Eye)

Familiar Objects Acquire New Meanings in the Collages of Carole P. Kunstadt Ed McCormack - Gallery & Studio, February/March 2008. (read the whole article, PDF, 1 page)

Text and Context at Gallery 705, Pocono Record, February 29, 2008 "...a group exhibit features Carole P. Kunstadt's sensitive and subtle combinations of painting, collage and sewing. Kunstadt believes that in spite of the impermanence of life, we all want to  leave our mark."

Arts & Literature Laboratory Opening Saturday, Connecticut Art Scene, May 10, 2007  "Works selected for this exhibition are provocative and tactile in composition and concept, and evoke a palimpset-like layering of ideas and imagery. ... Highlights of the exhibition include: Carole P. Kunstadt uses a Parish Psalmody dated 1844 in here Sacred Poem Series to evoke an ecumenical or poetic offering while suggesting the power of a sacred spiritual repository. The use of stitching emphasizes the repetition of the lines of the diminutive scale of the printed text. The discoloration and fragility of the paper allude to the passage of time, as well as the age and history of the reconstructed book pages."

Tom Patterson - Artists Take Text to New Heights in A Strong, Intriguing Jurored Show At The Sawtooth Building, Words, Letters, Numbers, Winston-Salem Journal, November 15, 1998  "Of the collages that make up a significant portion of the exhibit, some hark back to the pioneering experiments of several European artists early in the 20th century. For example, Carole Kunstadt's Plein Tarif and Beijing are compact pieces that juxtapose fragments of postage stamps, advertising logos, plant materials and other small objects in a manner that recalls collages made by Braque and Picasso."



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