Almost Black and White, Tamar Zinn Blog, October, 2017
[Witmer’s] paintings are an invitation to wonder, rather than a directive of what to think or see. Full Review –>

Douglas Witmer’s Simplicity, Two Coats of Paint, March 2017.
Witmer’s group of ten softly geometric, gesso and acrylic paintings on canvas are reminiscent in atmosphere and texture of [Agnes] Martin’s darker works, made in the mid-2000s, in which rough washes of greys and tempered blacks soaked into her large square canvases…Witmer’s spare collection of non-images questioningly explore paint’s potential… Full Review –>

Linear Function
In The Galleries–Line and Function Intersect, The Washington Post, April 2015.
[Witmer’s] five pictures attain a sort of perfection — if not of line or function, then simply of Witmer’s method. Full Review –>

Mark Wethli and Douglas Witmer at ICON Contemporary Art, Art New England, June 2014.
Witmer’s sensual paintings reflect an imaging project that secures a clear emotional weight. Full Review –>

School Papers - 2006-14
Interview on Valerie Brennan’s “Studio Critical,” February 2013.
I want to stay as long as possible in the moment of feeling myself seeing. I feel best about my work when I feel myself wanting to keep looking at it for the feeling I get when I see it.
Full Interview –>

I Found A Reason at Cornell Fine Arts Museum, Rollins College, Winter Park FL
A Way To Be In The World, Cornell Fine Arts Museum exhibition essay, August 2011.
An image or object depicts or represents, even if only itself. But beyond images and objects, art making is a process of inquiry and a way of living in the world. Full Essay –>

School Papers - 2012-2
Pulp Fictions, Orlando Weekly, August 2011.
The aggregation of tiny variations develops like a meditation; the repeated interaction of color and paper slowly builds a body of knowledge, much as a child learns to write by repeating the same motions over and over. Full review –>

Interview on Brent Hallard’s “Visual Discrepancies,” December 2008.
I want the relationships to be elusive. I want the present moment of seeing it to be charged with the possibility of some kind of change in the next present moment of seeing it. I hope for that to activate the sense that you feel yourself seeing. I like to think of those moments as clear, pure, innocent, and solitary. And if you can get to them, then you have, in a way, started an experiential engine for yourself, and your thoughts can begin to move in uniquely personal directions. Full Interview –>

A Vigilant Turn from Complacency, Brick Weekly, January 2007.
Douglas Witmer incorporates the very opposition of decoration vs. thought, or recitation vs. discovery, into his paintings, and makes it a part of our experience. Full Review –>

Christ Carrying the Cross
In Conversation with Chris Ashley, December 2005.
I work under the assumption that within simplest dualities there are infinite and complicated possibilities. I try to treat every piece as an individual, and I like the challenge of working out the decisions directly on the pieces. Full Interview –>