Writings by David Cohen

William Steiger, Gondola Wheel II, 2008. Oil on linen, 60 x 48 inches

William Steiger at Margaret Thatcher Projects

William Steiger at Margaret Thatcher Projects

Katia Santibanez, Between the Waves, 2008. Acrylic on wood, 24 x 24 inches. Courtesy Danese

Katia Santibañez at Danese

Katia Santibañez at Danese

Willard Boepple, Burnley, 2008. Poplar, 29 x 60 x 21 inches

Willard Boepple at Lori Bookstein Fine Art

Willard Boepple at Lori Bookstein Fine Art

Patricia Treib, Icons, 2008. Oil on canvas, 66 x 50 inches, courtesy John Connelly Presents

Patricia Treib at John Connelly Presents

Patricia Treib at John Connelly Presents


Rirkrit Tiravanija: Demonstration Drawings at the Drawing Center

There is a limited range of drawing styles, which tends to be competent enough but generally stilted, illustrative, and a bit nerdish. One wonders whether the difference in treatment that does come across is purely a matter of the individual draftsman’s hand or whether different speeds of movement in the scenes depicted — orderly placid drudging through dreary East European streets versus violent clashes with riot-geared police in some steamy tropical town — account for these differences.


Diana Al-Hadid: Reverse Collider at Perry Rubenstein Gallery

Al-Hadid has been hooked on towers for several years now, involved in what can be taken as a reverse Watts Towers syndrome — instead of transforming found, non-art materials to create an aspirational edifice, she deploys considerable artistry to depict with a literalist intensity state of the art, fabricated structures in a frozen instant of failure.


Robert Bordo: it’s always raining at Alexander and Bonin

His new exhibition, Three Point Turn, is on view through April 27


John Ashbery: Collages at Tibor de Nagy Gallery, Mario Naves: Postcards from Florida at Elizabeth Harris Gallery and Trevor Winkfield at Tibor de Nagy Gallery

Is there something intrinsic to the appeal of collage to writers — to moving bits of paper around in startling, revelatory juxtapositions? The coincidence of two shows of collages by writers of markedly different ilk – a sometime poet laureate and a member of the third estate – begs the question.


Philip Pearlstein: Then and Now at Betty Cuningham Gallery

As his new show continues at the same venue, a topical pick from 2008


Phoebe Washburn: Locating Propriety in the Inappropriate

Because it is a zany exploration of progress and decay, this is a work that, by its very nature, will unfold and only fully realize itself with the passage of time