2007

“…Hunter’s work is certainly more prey than predator… Hunter’s narrative can be perceived as less about the liberation of a caged beast and more about the overwhelming uncertainty that exists in human drama…
These works are very much about light in both its presence and the lack thereof…"

--Evan J. Garza. “For Art's Sake: Allison Hunter,” 002 Magazine, September, issue 105, vol. 9, 2007, p. 22. Read the full article

“... ‘When I looked at it all together I thought, bleak, dark, depressing, but also mysterious,’ [Alison Devine] Nordstrom said. ‘There is a mysteriousness and ambiguity that these photographs express.’ …

--Kathleen Wereszynski Murray, “Exhibit Illuminates Fresh Ideas,” Poughkeepsie Journal, June 7, 2007.
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“… ‘From a collector's point of view, there is something immediately enchanting about Hunter's animals.’ Mark Horn, co-owner of Solution salon, was among the first in Houston to purchase some of her work. ‘The animals have a definite human-like quality,’ he says appreciatively. ‘There's a sense of loneliness and isolation that we can all identify with, but at the same time there is this incredible sweetness.’ ...”

--Wesley Gunter, “The Loop Art: Animal Instincts,” HOUSTON Modern Luxury, March, 2007, p. 78.
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“…the images reflect a progression toward emancipating creatures from the worldly environment. Sheep and deer inhabit pinkish-gray realms that resemble threatening desert sandscapes, and yet the animals' tameness and passivity feel amplified, more so than if they were depicted in a natural setting. ... In Untitled 7, a miniature horse proudly sports its red saddle (unencumbered by screaming children, maybe?) below a starless void. The effect is a kind of Usher Syndrome -- a condition in which the deaf develop an encroaching blindness -- of nature and logic, except in Hunter's world circumstances aren't in disorder. On the contrary, the animals seem right at home in their non-universe. ...”

--Kelly Klaasmeyer and Troy Schulze. “Allison Hunter: New Animals,” Artbeat, Houston Press, April 12-18, vol 19, no. 15, 2007, p. 47. Read the full review

2004

“…Hunter is not a documentary photographer, she is a postmodern artist deconstructing the landscape by using photography and theory as tools.

But to me, it is sufficient to understand and appreciate Hunter’s contribution as a neo-Romantic, thrilled at the strange and elemental beauty of the industrial landscape as an experience—one from which compellingly formal, textural and atmospheric images can be made, in the older tradition of earlier modernists like Sheeler and Hopper.”

--David Brickman, “Judging the Juried,” Metroland, Jan. 22-28, vol. 27, no. 4, 2004, p. 23.
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2003

--David Brickman, “Focus on Diversity“, Metroland, May 8-14, vol. 26, no. 19, 2003, p. 35.
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“…The animals in Allison Hunter’s striking Zoo Animals series, photographed at the Catskill Game Farm, are spot-lit in enveloping blackness, giving them a vulnerable, isolated quality. ...”

--Rebecca Shepard, “2003 Mohawk Hudson Regional,” Metroland, Aug. 7-13, 2003, vol. 26, no. 32,
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2000

“By placing the components in this way, Hunter initiates a critique of any naturalized or abstract concept of space… . … One experiences … a kind of face to face encounter that is, at the same time, anything but face to face, at once familiar and opaque… . In other words, the gaze of the Citizen looks back, and what that gaze says is less the point than the fact that it exists at all. …”

--Cary Wolfe,. "Allison Hunter's ‘Signmakers,’" electronic book review (ebr), vol. no. 11, 2000.
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