DAVID COHEN, Editor           
    ARCHIVES   

 

APRIL 2009



artcritical's exclusive extract from IRVING SANDLER'S new book, Abstract Expressionism and the American Experience: A Reevaluation, plus a review of the book by DAVID CARRIER plus a response from SANDLER to the review

 

DISPATCHES: Report from Key West


Jackson Martin

At Sculpture Key West, the artists had only a few days - working in the heat, wind and rain - to execute their pieces. The drama inherent to such a logistically challenging process is palpable in the final result., CHRISTINA KEE discovered

podcast
THE REVIEW PANEL
April 2009



Peter Saul

Carol Diehl, Blake Gopnik and Alexi Worth join David Cohen to review exhibitions byTacita Dean, Jenny Holzer, Stephen Prina and Peter Saul.

REVIEWS

posted 04/18/2009
JONATHAN GOODMAN on Shahzia Sikander at Sikkema Jenkins

Brilliantly colored, covered with decorative motifs and gestural abstractions, the work suggests a gorgeous manuscript, a place where the politics of place and the pain of indifference no longer exist.


posted 04/18/2009
JOE FYFE on Louise Fishman at Cheim & Read

Fishman had been asking very specific things of her chosen medium: how does one make it relevant to oneself and one’s history? How does one possess it? How do you filter your experiences through it?


posted 04/25/2009
HEARNE PARDEE on Frances Hynes at June Kelly

By relaxing conventional standards of realistic description, Hynes makes her images immediately accessible to the mind and its fluctuations of mood, and enables herself to explore the modernist vision common to the painters that inspire her

 
posted 04/20/2009
STEPHANIE BUHMANN on Glenn Goldberg at Luise Ross

Goldberg navigates directions between abstraction and referential drawing. Most of his imagery is rooted in the organic and yet conglomerates of patterned forms can establish structures that hint at geometric organization.


posted 04/08/2009
JONATHAN GOODMAN on Ellen K. Levy at Michael Steinberg

The complications of scale bring about violent contrasts and juxtapositions, many of which make little evident sense; this is, I think, a metaphor for the anarchy of war, as well as the dishonesty that provided moral cover for those politicians who originally wanted to invade Iraq.


posted 04/13/2009
DAVID COHEN on Linda Francis, Don Voisine, Joan Waltemath, Michael Zahn at Janet Kurnatowski and Jennifer Riley: To Be A Thing In This World at LaViolaBank

In each picture, there is a sense that the overt structure is a kind of plan for the making of the work, while the work is the exposition of that plan. But, at the same time, the work is more than its own plan.


posted 04/08/2009
LINDSAY COMSTOCK on The Water’s Edge: Photographs by William Meyers and Faces of a Village: Photographs of a Universal Principle: Alexander Richter and Jackie Weisberg 

Meyers’ works on film achieve a tonal range that matches, in visual richness, the information preserved in his portraits of a time and place.