Writings by David Cohen

Karen Yasinsky at Mireille Mosler, Alex McQuilkin at Marvelli, Isaac Julien at Metro Pictures


Where Yasinsky accesses early girlhood through dolls and dinky illustration technique, McQuilkin seems dedicated to a perpetual state of teenage angst. The specific identification of both with early cinema relates to a broader trend in feminist-influenced art.


Anthony Caro at Mitchell-Innes & Nash


These hefty yet open-form, emphatic yet enigmatic assemblages of prefabricated, found, and adapted components show a youthful, spry, curiosity-filled artist at the top of his game.


R.B. Kitaj


R.B. Kitaj’s work broke a modernist taboo – before it became fashionable to do so – by being unabashedly literary. Hilton Kramer once complained that his paintings were “littered with ideas.” But as referential as he could be, Kitaj was always a consummately visual artist.


Lynda Benglis, Quartered Meteor, 1969. Lead, 57-1/2 x 65-1/2 x 64-1/2 inches, edition 1/3. Courtesy Cheim & Read Gallery

Lynda Benglis and Louise Bourgeois: Circa 1970, at Cheim & Read


Louise Bourgeois and Lynda Benglis are both inveterate explorers of sculpture’s soggy underbelly. They are doyennes of a dark sexuality and of the nebulous space between the personal and the universal.


Neo Rauch: para at The Metropolitan Museum of Art


Neo is perfectly forenamed for an artist in whom, to paraphrase architectural theorist Charles Jencks, the wasms have become an ism. Rauch’s paintings, fusing elements of romanticism and realism from the last two centuries, resist the idea that anachronism and rejuvenation might be at odds with one another.


Venice Biennale 2007


LA BIENNALE DI VENEZIA 52nd International Exhibition of Art A version of this article first appeared in the New York Sun, June 11, 2007 under the title “Pax American in the Serene Republic” The Venice Biennale has been the Olympics of the visual arts since its inception in 1895. In odd years countries choose their artist…


The Realist World: Alfred Leslie, Sylvia Sleigh, Philip Pearlstein


THE RADICAL THEATER OF ALFRED LESLIE Ameringer Yohe until April 21 (20 West 57th Street, between 5th and 6th Avenues, 212 445 0051) SYLVIA SLEIGH I-20 until May 10 (557 West 23rd Street between 10th and 11th Avenues, 212 645 1100) PHILIP PEARLSTEIN Betty Cuningham until April 28 (541 West 25 Street, between 10 and…


Robert Mangold at PaceWildenstein, Mark Grotjahn at Anton Kern, Joe Fyfe at James Graham & Sons


ROBERT MANGOLD: COLUMN STRUCTURE PAINTINGS PaceWildenstein until March 10 (545 W22nd Street between 10 and 11 Avenues, 212 989 4263) MARK GROTJAHN; BLUE PAINTINTS LIGHT TO DARK ONE THROUGH TEN Anton Kern until February 28 (532 W20th Street between 10 and 11 Avenues, 212 367 9663) JOE FYFE James Graham until March 10 (1014 Madison…


Larry Poons at Danese


until March 17 535 West 24th Street 6th Floor, between Tenth and Eleventh Avenues, 212 223 2227 A version of this article first appeared in the New York Sun, March 15, 2007 The oeuvre of Larry Poons represents a case of painterly bipolarity.  It is hard to think of an artist who veers towards such extremes…


Eve Aschheim at Lori Bookstein Fine Art and Paul Pagk at Moti Hasson Gallery


Something about abstract painting attracts dogmatic criticism. Figurative painting is understood to belong to millenia-long traditions in which so much is possible that a degree of pluralism is inevitable. And yet, despite abstract painting’s rich 100-year history, with roots deep into visual culture beyond that brisk century, its champions still fall for the habit of…