Cooke, Rachel  (2016), 'The Grand Tour: Rose English/Peter Blake; Simon Starling', review. The Observer, March 27.

Crichton-Miller, Emma  (2016), 'The Grand Tour: Culture by the crateload', review of The Grand Tour including Rose English at The Harley Gallery. Financial Times, March 18.

Durrant, Nancy (2016), 'Meet the ancestors - and their loot', review The Portland Collection and Rose English at The Harley Gallery. The Times, March 11.

Shaw-Miller, Lindsey (2016), Exhibition Diary, The World of Interiors, June 2016.

Timmins, Becky (2016), 'Uncanny Feminism: Rose English at The Harley Gallery', review. XXY Magazine, April 3.

Le Brun, Lily (2016), 'Live performance back to life: Rose English, Camden Arts Centre' review of 'A Premonition of the Act'. Financial Times, January 3.

Cumming, Laura (2015), 'Rose English: The unsung queen of British performance art', review of 'A Premonition of the Act' at Camden Arts Centre. The Observer, December 20.

Ellingsworth, John (2015), 'Lost in Music', for Camden Arts Centre file note published on the occasion of 'Rose English: A Premonition of the Act'.

Brett, Guy (2014), Abstract Vaudeville: The Work of Rose English. Edited by Martha Fleming and Doro Globus, with scripts by Rose English and interviews by Anne-Louise Rentell. Ridinghouse, London.

Handberg, Kristian (2014), ‘Vellykket præsentation af engelsk performance-legende til hest’, review of ‘The Eros of Understanding’ at Kunsthall Charlottenborg. Kunsten Journal, November 7.

Hillersborg, Anna Sofia (2014), ‘Piskeslag og Hesteparykker’, review of ‘The Eros of Understanding’ at Kunsthall Charlottenborg. Magasinet Kunst, October 14.

Gade, Rune (2014), ‘Kunstcircus’, review of ‘The Eros of Understanding’ at Kunsthall Charlottenborg. Information Politiken, 26 September.

Kroger, Mathias (2014), ‘Med pisken i hånden’, review of ‘The Eros of Understanding’ at Kunsthall Charlottenborg.Kunstkritikk, September 26.

Jordahn, Sebastian (2014), ‘Reconsidering the Big Show’, interview with Rose English, Kopenhagen Art Institute Magasin, September 22.

Brovall, Sandra (2014), ‘Dronningemoderen af performance er tilbage’, feature interview with Rose English. Politiken, September 21.

Albrethsen, Pernille (2014), ‘Autumn Sonata – Denmark’, preview ‘The Eros of Understanding’ at Kunsthall Charlottenborg. Kunstkritikk, September 17.

Battista, Kathy (2011), 'Performing Feminism', feature article including Rose English and Sally Potter's performance 'Berlin', 1976. Art Monthly, No 343.

Brett, Guy, (2010), The 'RE' Factor, pp 25 – 31 and Ramsay Burt, Revisiting Plato's Chair: writing and embodying collective memory pp 68 – 77 chapters in NOTES on a Return, Art Editions North.

Yadong Hao, Sophia (2009), on Rose English's 'Flagrant Wisdom', Between the Margins of Wisdom, National Glass Centre, Sunderland.

Briginshaw, Valerie A and Ramsay Burt (2009), on Rose English’s ‘Alas Alack! - The Representation of the Ballerina’, Writing Dancing Together, Palgrave Macmillan pp 3 – 24.

Shaked, Nizan (2007), ‘F is for Finally’ on Rose English’s work in WACK! Art and the Feminist Revolution, X-TRA Contemporary Art Quarterly, Vol. 9 No. 4.

Butler, Cornelia (2007), WACK! Art and the Feminist Revolution. Museum of Contemporary Art, Los Angeles, pages 28, 32 - 33 and 233. 

Morgan, Stuart (2006), Rose English's 'The Beloved' in Inclinations - further writings and interviews by Stuart Morgan, Ian Hunt (ed), frieze, London, pp 203 - 204.

Claid, Emilyn (2006), Yes? No! Maybe ..., Routledge, London. pp 37, 54, 60 - 1.

Irvine, Susan (2006), 'Ornamental Happiness', review Rose English’s  ‘Ornamental Happiness’ at Liverpool Biennial. Sunday Telegraph, September 17.

Palmer, Judith (2006), 'Ornamental Happiness & Walking Tours: Judith Palmer on Rose English's 'Ornamental Happiness', Real Time, Australia, issue 76.

Christiansen, Rupert (2006), ‘The doyenne of strangeness returns with another baffling, beautiful tableau’, feature article, The Daily Telegraph, September 11.

Gorman, Sarah (2000), ‘Archive Fever - Memory as Challenge to Finitude in the Work of Rose English and Insomniac Productions’, Performance Research  5: 3, pp 90-99.

Macdonald, Claire (2000),  'Writing Outside the Mainstream', Cambridge Companion to Modern British Women Playwrights, Elaine Aston and Janelle Reinelt (eds), Cambridge University Press, pp. 235 - 240.

Searle, Adrian (1999), ‘Gifted’, article about Paul Hamlyn Foundation Award winners, incl. Rose English. The Guardian Weekend Magazine, October 2.

Harris, Geraldine (1999), Staging Femininities: performance and performativity, references to Rose English passim.  Manchester University Press.

Goldberg, Roselee, (1998), Performance: Live Art Since 1960,  Rose English and Sally Potter’s ‘Berlin’ , Thames & Hudson, London, pp 23, 130, 136, (1976)

Brett, Guy (1998), in Schimmel (ed), Out of Actions: performance and the object, Thames & Hudson, London.

Levy, Deborah (1998), ‘The Eros of Rose: The Work of Rose English’, Nicky Childs and Jeni Walwin (eds) A Split Second of Paradise: Live Art, Installation and Performance,  Rivers Oram, London and New York, pp 41-53.

Deeney, John (1998), Writing Live: an investigation into the relationship between writing and live art, New Playwrights Trust.

Rich, B. Ruby (1998), Chick Flicks: Theories and Memories of the Feminist Film Movement, including the making of 'The Gold Diggers', Duke University Press, pp 220 -226.

MacRitchie, Lynn (1996), ‘Rose English: A Perilous Profession’, Performance Research  1: 3, pp 58-70.

Burt, Ramsay (1995), The Male Dancer: Bodies, Spectacle and Sexualities, Rose English’s 1980 article ‘Alas Alack! - The Representation of the Ballerina’, Routledge.

Mitchell, Emily (1992), ‘Postcards from the edge’ feature article on Serious Fun Festival at Lincoln Center, New York including Rose English’s ‘My Mathematics’, Time Magazine, USA, August 24, pp 48-49.

Hewison, Robert (1992), ‘Beware of free radicals’, review of Rose English’s ‘My Mathematics’, The Sunday Times, August 9.

Rutherford, Malcolm (1992), review of Rose English’s ‘My Mathematics', Financial Times.

Bayley, Clare (1992), review of Rose English’s ‘My Mathematics’, The Guardian,  August 8.

Arditti, Michael (1992), ‘Riding with the Valkyrie’, review of Rose English’s ‘My Mathematics’, The Evening Standard, August 6.

Millard, Rosie (1992), ‘Best Seat in the House’ interview with Rose English, The Independent, July 29th.

Brett, Guy (1992), ‘The Limits of Imperviousness’ including Rose English’s work, Third Text 18, Spring.

Hewison, Robert (1991), review of Rose English’s ‘The Double Wedding’, Sunday Times, July 14.

Eyres, Harry (1991), review of Rose English’s ‘The Double Wedding’, The Times, July 8.

Caplan, Betty (1991), review of Rose English’s ‘The Double Wedding’, The Guardian,  July 9.

Hall, James (1991), review of Rose English’s ‘The Double Wedding’, The Independent,  July 8.

Coveney, Michael (1991), review of Rose English’s ‘The Double Wedding’, The Observer, July 7.

Levy, Deborah (1991), ‘ Surreal Encounters: Deborah Levy discovers some alternatives to the well-behaved costume drama’, New Statesman, June 22.

Bockris, Victor (1990), ‘English Rose, Rose English’ interview in Elle, USA, June, p 128.

Brett, Guy  (1989), ‘The English Climate’, feature article on Rose English’s work, Artscribe International, pp 60-62.

Goldberg, Roselee (1988), Performance Art: from Futurism to the Present, Thames and Hudson, London.

Coveney, Michael (1988), review of Rose English’s ‘Walks on Water’, Financial Times,  November.

Edwardes, Jane (1988), feature article and interview with Rose English and ‘Walks on Water’, Time Out, November 9-16.

Frame, Allen (1988), article and interview with Rose English re. ‘Moses’, Bomb Magazine, New York, Winter.

Banks, Morwena and Amanda Swift (1987), excerpt from Rose English's ’Thee Thy Thou Thine’,The Jokes on Us: Women in Comedy from Music Hall to the Present Day,  London, Pandora, pp 93-97.

Coveney, Michael (1987), review of Rose English’s ‘Moses’, Financial Times, March 6, p 27.

Morgan, Stuart (1987), ‘The Decline of the Knitted Sock', including Rose English’s ‘The Beloved’, Vogue, UK, January, pp 116-117.

Brett, Guy (1985), on Rose English’s ‘The Beloved’ in Perfo 3 - Performance, Muziek, Installaties. De Lantaren, Rotterdam.

Coveney, Michael (1985), review of Rose English’s ‘The Beloved’, Financial Times, Saturday June 22.

MacRitchie, Lynn (1984), ‘Art on Film/Film on Art: Rose English and Sally Potter are the first performance artists to break into film’, Performance Magazine no 31, Sept -Oct., pp 28-29.

Briers, David (1984), review of Rose English’s ‘Plato’s Chair’ at Bracknell Festival of Performance, Performance Magazine 31, Aug/Sept.

Fleming, Martha (1984), ‘The Repertoire of Rose English: Vampish Tiaras and Mickey Mouse Ears’, FUSE Magazine, Vol. VII No 5, Feb., Canada, pp 224 - 226.

Whitfield, Tony (1981), ‘LA/London Lab’, review of Rose English’s ‘Adventure or Revenge’, FUSE Magazine, Canada, Nov/Dec., Vol. V, number 8 & 9, Canada, p 265.

Schuldt (1981), review of Rose English’s ‘Adventure or Revenge’ at ‘Franklin Furnace’s LA/London Lab’, Artforum, USA, vol 19 no 10, Summer, pp 95-96.

English, Rose and Sally Potter (1979), ‘Berlin: A performance in four venues by Rose English and Sally Potter’, Centrefold, vol 3 no 4, April/May, Canada, pp 173 - 175.

Nuttall, Jeff (1979), cover photo Rose English’s ‘Pegasus’, Performance Art Memoirs,  Vol. 1, John Calder/ riverrun, London and New York.

MacRitchie, Lynn (1977) review of Rose English, Sally Potter & Jacky Lansley’s ‘Mounting’, New Dance, Summer.

Chaimowicz, Marc (1976), ‘Women and Performance in the UK’, Studio International,  July-Aug. vol 192: 982, pp 33-35.