DAVID COHEN, Editor           
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AUGUST 2006

posted 8/31/2006
SCULPTURE AND METAPHORS OF PREHISTORY:
DAVID COHEN on Michael Heizer at PaceWildenstein and on William Tucker at Ward Pound Ridge Reservation
“Vishnu” is a torso with a heroically expanded diaphragm and belly. We sense the concentration of muscle around the upper back and fragment of thigh. Sighted on a misty, dark day this fulsome, masculine presence evokes Edward Steichen’s classic nocturnal photograph of Rodin’s Balzac.
A fascination with prehistory links Mr. Heizer’s Stonehenge-like “City” to these sculptural objects, though his architectural forms are fastidiously hard-edged in comparison with the flint-facetted tools. But for all his insistence on freeing himself from European precedents, to explore instead an American sense of wide open space and anti-individual scale, Mr. Heizer’s prehistoric sensibility has a long modernist precedent with deep roots in European culture.

posted 8/24/2006
THE REST IS SILENCE: DAVID CARRIER on James Lee Byars at Mary Boone, Perry Rubenstein and Michael Werner
Judd’s very American art, in which everything can be revealed, because ultimately nothing remains to be concealed, expresses the worldview of a secular materialist society. Byars comes as it were from another place.

posted 8/24/2006
PUBLIC ART, SUMMER 2006: DAVID COHEN on Nancy Rubins at Lincoln Center, Helen Brough in DUMBO, E.V. Day at Lever House
...part of the charm of this distinctive yet unobtrusive work [by Helen Brough] is that it expands the space, filling it with a generalized major-key mood, rather than imposing specific meaning or asking to be looked at in sculptural terms. It works best subliminally and on the move.