Writings by David Cohen

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The Mixologist: Peter Reginato at Heidi Cho


Peter Reginato’s gutsy, boisterous assemblages mate the mediums of sculpture and painting.  It would simply be insufficient to describe the components of his collages in steel as colorful.  Welded sculptural form becomes the unlikely support for what would anyway be a dense, involved composition were it contained within the politely conventional dimensions of a stretched…


Sebastian Smee, Art Critic of the Boston Globe

Pulitzer won by Boston Globe Art Critic Sebastian Smee


Only the third art critic to pick up this prestigious prize.


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“Like Renoir, he doesn’t only paint with his brush”: Raoul Middleman’s Baltimore Babes


Exhibition at Kouros Gallery runs through April 2.


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Sleep Patterns: Laurie Frick in LA


at Edward Cella Art + Architecture through  April 2.


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Stereo Cropdusting: Eve Sonneman at Nohra Haime


Works of the 1970s, on view through March 12


Christian Marclay, The Clock, 2010. Single-channel video, 24 hours, still. Courtesy of Paula Cooper Gallery

“You Can’t Beat The Clock”: Christian Marclay at Paula Cooper


The Clock, a Frankenstein monster of a movie, is on view through February 19.


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You will meet a tall handsome stranger… on the Bowery


Artemisia Gentileschi at Sperone, Westwater’s exhibition of old master Italian Paintings


Marie-Louise von Motesiczky, Mother in Green Dressing Gown, 1975. Oil on canvas, 26 x 22 inches. The Marie-Louise von Motesiczky Charitable Trust, London, Courtesy of Galerie St. Etienne, New York

A Remarkable Posthumous Debut


on view at Galerie St. Etienne through December 30, 2010


Candace Mills posing with a work by Philip Pearlstein

Hell hath no fury like a model spurned: A Pearlstein nude attracts the wrong kind of attention


Too many friends ask for the “naked Candace”


detail of John Chamberlain, Untitled, ca.1960. Painted paper, staples, and mixed media on collage board, 11-1/2 x 11-1/2 inches. Courtesy of Allan Stone Gallery

The Probity of Modernism: Collages by John Chamberlain and Alfred Leslie


Striking commonalities in the early works of two very different artists, at Allan Stone through December 23