Writings by David Cohen

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Jake Berthot at Betty Cuningham Gallery and Lois Dodd at Alexandre Gallery


The waterfalls promise to be impressive and quite the sensation, but they will also reveal Eliasson’s main strength – the skill to turn a generous gesture into a subjective experience, which even in a city of millions can be as personal as it will be communal.


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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.


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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.


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Jasper Johns: Drawings 1997–2007 at Matthew Marks Gallery


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.


Alexander Ross, Untitled, 2014. Oil on canvas, 62 x 54 inches. Courtesy of David Nolan Gallery

Alexander Ross at David Nolan Gallery


His new show opens Thursday, October 30


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Jeff Wall’s Unlovely World


The effect of scale, however, is to demand an attention the unglamorous, prosaic images might not otherwise command, to make moral, political claims for the importance of their subjects — in the senses both of the socially marginalized people and the issues raised.


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Luc Tuymans


In Luc Tuymans, you are never allowed to forget that the source is banal and secondary. Painterliness underscores alienation rather than ameliorating it.


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Juan Usle at Cheim & Read and Silvia Bachli at Peter Freeman, Inc.


Despite different approaches towards scale, texture and color, a common attitude pervades each artist’s style that isolates a cool tension between involvedness and restraint.


William Kentridge, What Will Come, 2007. Courtesy of Marian Goodman Gallery

A Surfeit of Genius: William Kentridge at Marian Goodman Gallery


Seeing Double is packed with elaborations of his trademark idiom: imagery transmogrified


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Alan Saret at the Drawing Center, Richard Pousette-Dart at Knoedler


Physical gesture means the artist’s hand is present yet transcended: there is no question that the arcs or circles are handmade, but an unforced, lyrical all-overness creates a cosmic, suprapersonal sense of order and well-being.