“Painting for me does not consist in something I have seen, but something I am. There is no ‘subject matter’. My heads are perhaps landscapes and my landscapes are heads. They are interior thoughts that exist in my heart and mind and not in my eyes.”

“…it is as if the artist had abandoned his figures to the world of shadows in order to harness his art to a new world of color and light […] If this is what an absence from the New York scene can do for a mature and thoughtful artist, it might be something worth thinking about as a regular program.”

“Glasco absorbed important lessons from Pollock: that painting is about tension between lines, forms, colors, values and rhythms and that controlling that tension on the plane of the painting or drawing is the work of the artist”

“He’s very critical. If he changes his mind about a painting that he has made, he will destroy it. Being responsible for what you let exist in the world is key to being an artist. The result of Joe’s integrity and dilemma, his type of exhaustion and devotion, his passion, his work is an inspiration to me.”

“Glasco applies a Pollock-like density of gesture to Matisse’s interlock of cutting and color, resulting in a dense, almost neurotic surface. Glasco’s horror vacui continues to govern his collage paintings, but now he avoids any narrative connotations, leaving us with only the intensity of feeling conveyed by his gestures.”

“In looking at Glasco’s own present work one can readily feel the impact of Pollock in terms of an allover, and in a sense “gestural,” approach to art-making. It is less that Glasco’s work looks like Pollock’s than that it seems to have analyzed, and come to grips with Pollock’s way of pressing the limits of his materials. ”