• Making Good: An Inspirational Guide to Being an Artist Craftsman”, Jacklyn Scott, Kristin Müller, Tommy Simpson, Foreword by Stuart Kestenbaum, Schiffer Publications, pg189, 2017.
  • Studio Craft as Career: A Guide to Achieving Excellence in Art-making”, Paul J. Stankard, Schiffer   Publications, pg194, 2017.


  • “413: Pioneering Western Massachusetts”, Fuller Craft Museum, Brockton, MA, 2016.
  • “Patriotic Passions & Mara Superior”, Galerie Magazine, Fall Issue 2016.


  • “500 Teapots”, Lawton, Jim. Asheville: Lark Crafts, 2013.


  • “WOMENARTISTS@NEWBRITAINMUSEUM”, Buckberrough, Sherry and Noble, Nancy. Hanover and  London: University Press of New England, 2011.
  • “The Birding Life”, Laurence, Carol Sheehan and Precourt, Kathryn. New York, NY: Clarkson Potter Publishers, 2011.


  • “The Political Imagination of Mara Superior: An Interview with the Artist”, Hubbs, Joanna. Ceramic Art & Perception Magazine, June 2010.
  • “Politics and Intuition”, Buttenweiser, Sarah. Hand/Eye, 2010.
  • “Superior Décor”, Buttonweiser, Sarah. Preview Magazine, December 2010.


  • “American Craft”, image of “Bushwacked”, April-May 2009.


  • “Wedded Bliss, the Marriage of Art and Ceremony”, Peabody Essex Museum, Salem, MA, 2008.


  • “Art into The Fire”, Hornblow, Deborah, Hartford, CT: Hartford Courant, 2006.
  • “Mara Superior: A Retrospective”, exhibition catalogue, New Britain Museum of American Art, New Britain, CT, 2006.


  • “House and Garden”, Martin, Molly. Nantucket, The Dane Gallery, 2004.
  • “500 Figures in Clay: Ceramic Artists Celebrate the Human Form”, Gunter, Veronika Alice.  Asheville: Lark Crafts, 2004.


  • “Souvenirs D’Italia”, Lauria, Jo. American Craft Magazine, August – September 2003.
  • “Great Pots, Contemporary Ceramics from Function to Fantasy”, Dietz, Ulysses Grant. The Newark Museum, Guild Publishing.
  • “21st Century Ceramics, United States and Canada”, Hunt, Bill. Westerville, OH: American Ceramic Society, 2003.


  • “Mara Superior”, Ceramics Monthly, Vol. 50 Issue 8, p14, Oct 2002.


  • “American Craft, Commissions”, Literati Clock, February/March 2001.


  • “The Craft and Art of Clay”, Peterson, Susan. Overlook press/Viking, 3rd Edition, 2000.
  • “Color and Fire: Defining Moments in Studio Ceramics, 1950 – 2000”, Lauria, Jo. New York, NY: Rizzoli International Publications, 2000.
  • “Teapots Transformed: Exploration of an Object”, Ferrin, Leslie.; Madison, WI: GUILD Publishing, 2000.
  • “Telling Stories in Porcelain”, Whitcomb, Claire. Victoria Magazine, vol. 14 # 4, April 2000.


  • “The Clinton Collection”, Berry, Heidi. Washington Home, April 27, 1995.
  • “Contemporary Crafts Find a Home in the White House”, Patton, Phil, p. 52. Smithsonian, June 1995.
  • “The White House Collection of American Crafts”, Monroe, Michael. New York, NY: Harry N. Abrams, Inc., 1995.


  • “Hand and Home, The Homes of American Craftsmen”, Simpson, Tommy. Boston, MA: Bulfinch Press/Little Brown & Co., 1994.
  • “Porcelain with a Past,” Bostonia, Spring, p.85, 1994.
  • “Crafts at the White House,” American Craft, June/July 1994.


Published in 2006 by New Britain Museum of American Art, New Britain, CT

• Forward by Douglas Hyland, Director, New Britain Museum of American Art.
• Essay by Bruce W. Pepich, Executive Director and Curator of Collection, Racine Art Museum, Racine, WI

32-page, full-color exhibition catalog

413: Pioneering Western Massachussetts, Fuller Craft Museum

Click here to view online catalog from the exhibition 413: Pioneering Western Massachusetts. The catalog was produced by the Fuller Craft Museum who hosted the show in 2016.

“Mara Superior’s pieces are vessels of memory, powerful forms filled with remembrance of things past. They are commemorative icons expressing a hieratic spiritual quality that calls for ceremonial placement in the environment. The content of the drawings is contemplative and complex, the use of words gives clues to the paradox being explored…. Superior’s work is firmly grounded in the ceramic tradition; the ancient Greeks, too, decorated their ceremonial pots with narrative drawings. The fascinating physical beauty of glazed porcelain, with its copper-red blushes and floating cobalt blues, is of central value. They could not exist with the same impact in any other material. They are about ceramic art. The quality and content of the painting conjures memories of illuminated manuscripts and small botanical studies. There is a very personal and idiosyncratic quality in Superior’s work that co-exists with great strength and dignity. A unique freshness emerges from the artist’s almost cloistered, confident, personal vision.”

— Angela Fina, American Ceramics Magazine Review, 2015