"The Sharp Edge of Emptiness" Meg Daly, Calera Culture Review, September 2, 2013. "Arnold employs abstraction brilliantly. If we didn’t have clues provided by titles, the paintings could be purely symbols or arrangements of color and line in space. ... What I find arresting about this series is how sensual the works are. Removal: Darkness (WV coal) could be a landscape of cascading waterfalls as seen in moonlight, but is instead an impression of a coal mine."

"Jean Arnold: 1994-2009"  This 120-page volume is a comprehensive overview of Jean Arnold's artwork from 1994 – 2009, chronicling several distinct phases in her evolution. An essay by Heather Ferrell, former director of the Salt Lake Art Center, examines Arnold's development, influences, and the historical antecedents for her work.

"Ones to Watch" Western Art & Architecture, Winter/Spring 2009:   "Jean Arnold’s ability to stare at the constantly moving world as if unblinking permeates her work. Her canvases breathe with motion. Her colors, like windows without casings, form without structure, mirror the fleeting visuals of our hurried lives."

"Life in the Slow Lane: Jean Arnold, Peak Oil and the Modern Flaneur" (scroll down) essay by Sheryl Gillian, 15 Bytes, April 2008. From the essay:  "Salt Lake artist Jean Arnold is also an example of a modern day flaneur. For over ten years, she has sketched while riding on buses, trains, or in cars. Arnold says she likes to capture different urban elements in flux -- vehicles, signs, road markings, trees, buildings, etc. -- and "remove" them from their original context and into her sketchbook where they coexist in new relationships...As Arnold has wandered the urban American landscape of the 21st century, she has become acutely aware of how modern city dwellers depend on cheap petroleum to maintain their ways of life.

"What Gets Filtered Out by Speed" (scroll down) essay and review of Phillips Gallery exhibit, by Van Lewis, 15 Bytes, June 2006. From the essay: "I have rarely seen a bunch of paintings that so strongly demands engagement and that deals so plainly in the following simultaneities: sensual and cerebral, abstract and figural, planar and spatial, journalistic and subjective. My enjoyment of these paintings is multilayered: they are forthcoming enough that I feel a simple pleasure in their colors, shapes, and sense of space, but they are difficult enough that I feel compelled to make sense of them, to put my mind to them."

"Urban Organica" + Gallery, Denver, CO, April 13 - May 19, 2006.  Ivar Zeile, gallery director, says this about Arnold's work: "...a signature style based on tradition, spontaneity, memory, and technique. The paintings in "Urban Organica" are full of depth, skill and a connection to the environment that is thoroughly engaging." 

"The Art of Riding Buses" blog page and interview with Len Edgerly, chair of Western State Arts Federation and member of the Denver Commission of Cultural Affairs, April 14, 2006 at Plus Gallery - posted on his blog, "Mile High Chronicles." From Edgerly's comments: "It's the most invigorating view of mass transit since Duke Ellington took the 'A' Train." Scroll down to hear the interview.