Featured in the October 2021 issue of The Woven Tale Press magazine, including Cone's piece, Diffuse, on the cover
Featured in the August 2019 issue of American Art Collector - view full article
Featured in the October 2018 issue of American Art Collector - view full article
Featured in the October 2015 issue of American Art Collector - view full article
"Cone's female subjects merge seamlessly with the color planes that form their abstract backgrounds. Integrating these women into their surroundings, Cone produces a compelling synthesis of the representational and the purely decorative." — view full article
Fine Art Connoisseur
June 2015
Featured on PBS: February 2015 - view video
Featured "Art Studio" in the December 2014/January 2015 issue of Santa Fean Magazine
"Cone's figures are clothed in anonymity. They are playing a role.... Cone's paintings set the stage for our own imagining." — view full article
American Art Collector
Oct. 2014
Interviewed in the September 2014 issue of L'Artiste Magazine - view full article
"Earlier this year, one of [Cone's] paintings was chosen for the cover of the German edition of Haruki Murakami's novel South of the Border, West of the Sun. Murakami writes in the book, 'Sometimes when I look at you, I feel I'm gazing at a distant star. It's dazzling, but the light is from tens of thousands of years ago. Maybe the star doesn't even exist any more. Yet sometimes that light seems more real to me than anything.' Cone's paintings have that same immediacy and distance." — view full article
American Art Collector
Oct. 2013
Featured in the October 2013 issue of The Artist's Magazine - view full article
Featured in the July 2012 issue of Architectural Digest magazine
Featured in the June 2012 “Interview Issue” of Poets and Artists magazine - view full article
Featured in the June 2012 issue of Professional Artist magazine - view full article
"Cone's paintings are as confident as her career. Her works feature placidly aloof women — often resembling the artist herself as she frequently acts as her own model — and use decisive lines and colors to describe her subjects within a minimal and undefined space. She balances the human figure with a delicate geometry, and though the artist's compositions are minimal they are also emotionally rich." — view full article
THE Magazine
May 2011
Featured in the October/November 2010 issue of New American Paintings (Vol. 90)
Featured in the August 2010 issue of Poets and Artists magazine, with a photo of Cone's studio on the cover. — view full article
Featured in the June 2010 issue of American Art Collector - "Orchestrating the figure". — view full article
“Santa Fe–based artist Erin Cone continues to push her work, and it shows. Cone consciously explores new approaches to form, composition, and palette, and her current solo exhibition shows the painter refining and developing… Here we see a dedicated, talented painter steadily developing into an artist.”
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Cherie Louise Turner
June 2010
"The way in which these images are presented seems to capture candid, spontaneous moments, and suggests that there is nothing we can wonder about them that Cone has not thought of herself. In that way, her work is both playful and deceptively complex."
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Michael Abatemarco
Featured on the cover of Art Ltd. magazine's Sept/Oct 2009 Fall Preview issue.
"Cone has a rare ability to create ghostly paintings modeled after imperfect photographs. She elucidates the ambiguity of human nature not through verbal explanation or photographic documentation, but through the stroke of a brush."
Amy Kuhre
Santa Fe Reporter
Cone's solo show named one of Austin's Top 10 art events of 2008:

"'Erin Cone: New Paintings' (Wally Workman Gallery) Wow. Cone wouldn't have to explore the brighter possibilities of framing and graphic balance the way she does; she could simply paint a face, the same face, or the same pair of hands over and over, and we'd be happy to see the results. But she does explore the possibilities, charting new territories of juxtaposition and symmetry among her distilled figurative subjects, and our eyes and minds are ever grateful."
Wayne Alan Brenner
Austin Chronicle
"Standing in Hespe Gallery surrounded by Erin Cone's paintings, I'm put in mind of the theatre. Her figures are smooth-skinned and distant, with lithe ropy limbs, angled as if deliberately holding poses. Cone has a deft hand with light and shadow, expertly capturing the crisp crease of a shirt sleeve or the hollow at the base of the neck. I feel as if I'm standing on the sidelines of a stage, covertly watching an actor explore a character. "
Jennifer Jeffrey
Featured in the September 2008 issue of Southwest Art magazine, as an "emerging artist success story", with Cone's painting, Evasion, on the cover. — view full article
"Portraits of women, rendered as planes of color and overlapping shadows yet instantly recognizable as women, as particular women, often in some simple yet stunning equation of balance with abstract shapes: a cube here, a rectangle there: an anchor, a catalyst. This is divine precision, each painting a revelation of composition and rendering. Everywhere, in the artist's meticulous acrylics, representations of humanity pared to its graphic essentials and framed within an austere matrix of shade and symmetry."
Wayne Alan Brenner
Austin Chronicle
"This is a sort of homecoming, as the (brilliant, nonpareil) Cone began her career at the Workman gallery in 2001 - soon after she graduated from UT. The show's not recommended for everyone, only for those who can appreciate the combination of stunning portraiture with the very pinnacle of visual design. Personally, we're transfixed by the beauty represented here."
Austin Chronicle
Featured in the January 2008 issue of Art Calendar magazine, including an in-depth profile of Cone's career and Cone's piece, Backward, on the cover. — view full article
"Cone captivates viewers with strong lines and rich colors that fuel a sort of hyperrealism that is nonetheless decidedly painterly. Flat, abstract geometry frames and isolates her figures, acting as a dramatic counterpoint and alluring background - and adding visual and conceptual depth to her compositions."
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Anne Crump Ray
Marin Magazine
Oct. 2006
Featured in the October issue of American Art Collector magazine, including a review of Cone's October, 2006 show at Hespe Gallery and Cone's piece, Undone, on the cover. — view full article
"Cone's art is something you never want to miss – unless you're an idiot with no visual taste at all."
Austin Chronicle
Featured in the Art & Antiques 2005-2006 Insider's Guide
Featured in the November 2005 issue of Southwest Art Magazine - "Face Time: Artists' Self-Portraits". — view full article
"If there's a wedge to settle in somewhere between graphic design and fine art, between creepiness and high style, between effusive and minimal, Erin Cone fits nicely. Her sparse and unexpected portraiture and figurative work noodles the edge of physics, with clever interplay between three dimensional subjects and the flat picture plane."
Zane Fischer
Santa Fe Reporter
Featured in Santa Fean magazine's June 2005 Special Art Issue as one of Santa Fe's "Five Artists to Watch - Catch Them on the Verge of Making it Big"

"If you want to say you knew them when, you need to catch them now. Keep an eye on these five hot Santa Fe artists who are turning the heads of collectors and curators alike"
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Gussie Fauntleroy
Santa Fean
June 2005
"Though she mostly paints self-portraits or portraits of people close to her-- the figures remain tantalizingly unspecific...her paintings are endless yet enigmatic mirrors of the human condition."
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Jeanne Claire Van Ryzin
Austin-American Statesman
"Erin Cone is one of the best portraitists in the whole damned world."
Robert Faires
Austin Chronicle
"Erin Cone is cool. Her current show up at Wally Workman reveals another step forward in her artistic evolution. Known for her highly stylized, photographically influenced self-portraits, Cone paints contemplative compositions, that remove the figure from a natural context and at the same time seem to pinpoint personal proclivities, or ideas about the self, although in an ambiguous way. Here she employs modernist singular cubes of color (one per painting) that at times break up, highlight or even integrate the human form. (Again, they are portraits of the artist, and in this series, she is always dressed in black.). Cone is interested in shifting perspectives, uncertain interpretations and how each person can "approach" her paintings. Viewers should carefully consider Cone's paintings and discover their own "approach" to these strangely simple yet sensually charged images."
In The Galleries - Austin
April 2005
Featured in the April 2005 issue of Art & Antiques magazine
"Erin Cone presents a continuation of the visual-glitch realism that has earned her accolades in the past. Cone's paintings are a perfect flaw in the system."
Zane Fischer
Santa Fe Reporter
"Through the intense juxtaposition of positive and negative space, the Erin Cone exhibit offers a rare mixture of minimalism and figural ambiguity. The luminous, sleek images, blended with uncomplicated detail, validate the artist's stated goal of presenting 'simplified compositions and enigmatic emotion.' Cone’s simplicity leads to ambiguity. The facial expressions themselves embody the entrancing, mysterious elements in which the viewer can only speculate."
J. Jimenez
Austin-American Statesman
Featured in Southwest Art Magazine's Sept. 2003 "21 Under 31" - as one of the top emerging artists under thirty-one years of age.
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"Erin Cone's portraits are hauntingly beautiful."
Erina Duganne
Austin Chronicle
"Erin Cone's paintings are sleek, stripped-down, lean works of art with no fat, no gristle, no bullshit to mask the pure artistry, design, and craftsmanship. These are brave, bold, and brilliant paintings. Authentic art -- you can't fake real talent. Cone's work is masterful in its subtlety and majestic in its mastery. Witness something wonderful."
Double Dare Press
"Artist Takes A Smooth Approach To Portraits"

"Erin Cone has developed a distinct visual language. The former Austinite, now based in Santa Fe, N.M., concentrates on oblique portraits and smaller studies, using herself, her husband and friends as subjects. As revealed in a solo show at Wally Workman Gallery, her aim is not psychological insight, but rather variations on a formal theme.

Detached, moody, but saturated with feeling, Cone's acrylic images begin with slightly shaded backgrounds sundered with strong directional lighting. Sometimes, she stages movement or dramatic gestures of surprise or withdrawal, but usually her subjects remain poised, reduced to lines, shadows and iterated yet lovely shapes… The overall effect is singular, hypnotic and unforgettable."
Michael Barnes
Austin American-Statesman
"The human face, reduced to planes of color… distilled to a more basic arrangement of hues and surfaces, the better to evoke the attitudes and emotions of that face's interior… Cone's portraits stand alone - each human moment, precisely rendered, to its own canvas. Each moment, expertly captured… only hinting at the stories leading up to and away from it's framed representation"
Wayne Alan Brenner
Austin Chronicle
"Cone's figures are isolated and stark, with a modular perfection that echoes the Pop movement of the 1960's."
Alana Keres
"Strong, solitary figures in abstract space mark the expressive yet enigmatic paintings of Erin Cone."
Austin American-Statesman
"Cone's Paintings Offer Essential Forms, Bold Compositions"

"Erin Cone smoothes out the human figure to its essential forms in her highly stylized acrylic portraits while imbuing her figures with touches of almost superrealist detail. She then places her contemporary subjects in largely abstract settings or even monochromatic planes of color devoid of detail… In all, there's a sense of potent moments frozen in time, but not fully revealed."
Jeanne Claire Van Ryzin
Austin American-Statesman