DAVID COHEN, Editor           
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APRIL 2008

posted 4/16//2008
DAVID COHEN on Thomas Nozkowski at PaceWildenstein

Even an astute connoisseur would be hard pressed to locate specific Nozkowskian tropes. There are some recurring motifs, but internal scale, texture, and mood present themselves in different coordinates. This is the more remarkable because Mr. Nozkowski’s modus operandi is so prescribed in terms of scale, medium, taste, and authentic touch.


posted 4/11//2008
DAVID COHEN on James Siena at PaceWildenstein

The experience in this richly diverse exhibition is not of transition so much as consolidation: the new works, whether big loopy abstractions in fat confident brushstrokes or weirdo figuration, seem legitimate outgrowths of the precious, tight, miniaturist Siena of old.


posted 4/11//2008
BECKY BROWN on Franz West at Gagosian

Paßstück are like toys, and the people handling them like overgrown children.  West replaces violence on bodies with bodies at play, but playing is unnatural and uncomfortable for modern adults: this is an art gallery, not a sandbox, and Paßstück can be awkward, even hostile, to the human form. 


posted 4/9//2008
KAREN BOOKATZ on "Recycled" exhibitions of Andy Warhol and Dan Flavin

To revisit older exhibitions and try and gage their aftershocks years later is a worthy exercise, speaking to social/political change as well as the progression of artistic styles. 



posted 4/9//2008
STEPHANIE BUHMANN on Color Chart at the Museum of Modern Art

Color in general, as well as the emotional and highly individual effects it has on us, is mysterious and personal, no matter how neutrally it is applied. Though the way color was derived in many of the artworks on display was either scientific or arbitrary, the works nevertheless reach the audience on an emotional level that lies beyond anyone’s control.


posted 4/7//2008
GREG LINDQUIST on Marcel Dzama at David Zwirner

Marcel Dzama's drawings evoke the ethos of an adult dreamscape while recalling a style of childrenís picture book.


posted 4/9//2008
DAVID COHEN on Jasper Johns's Drawings at Matthew Marks

Regardless of the medium he works in, Johns's busy, agile yet weirdly reticent hand presents an oxymoronic mix of attributes, being at once tentative and emphatic


posted 4/7//2008
CATHY NAN QUINLAN on Poussin and Nature at the Met

After spending time with the nymphs, and then trying to figure out what constitutes a Poussin drawing, one emerges into the later phase of the paintings and finds oneself wondering, “Is this all the same painter?”