Colette, 2010 (Installation of wall fragments from Living Environment, 1978)
"Colette is the most imitated artist of our time , first Lady Gaga in the windows of Barneys and now Tilda Swinton at the MOMA."
(Anton Perich.1814 Magazine-2013. "Notes on Baroque Living"-the multiple personalities of Colette Lumiere.)
"Colette fascinates us not only because she is a pioneer of being a living art piece- Before Cindy Sherman, Madonna or Lady Gaga ever interrogated the constructed nature of identity she made a name "Colettesizing " her world- but also because she is a true New York eccentric who never veers from her wild and unique vision..."
(Peter Davis for Vs magazine, September 2012)
"...until the seventies artists only painted the landscape... Colette instead of painting the landscape created the landscape and became part of it...
What we have in Colette is the depiction of the female body, the gaze of the female body...that historically only men have done...suddenly done by a woman artist...who seizes her own body....She really is a source, she used her person, her body and the use of persona historically long before Cindy Sherman, for ex... If we look from Jeff Koons to Madonna for ex...we see that she is a very important artist and has not received the recognition she deserves..." (excerpts by Peter Selz speaking on Colette's historical contribution; Colette the Artist, Documentary by Paul Tschinkel, 1993)
"She has taken the arena of assemblage and taken it to public spaces - from museums to galleries to the streets, shop windows, discos, restaurants...if you could think of it Colette has probably done it." (excerpt by Alanna Heiss, Colette the Artist, Documentary by Paul Tschinkel, 1993)
"...the geisha of feminism...(that is prior to "lipstick feminism".)" (excerpt by Bill Arning, Colette the Artist, Documentary by Paul Tschinkel, 1993)
"Colette is a young artist who has already made a serious contribution to two significant areas of contemporary art: the creation of a total environment; and the use of the artist's own body as an instrument of expression. In her work, these two areas, while they may be analyzed separately, are in fact integrated...an achievement worth noting in itself." (Sarah Faunce, Brooklyn Museum, 1976)