DAVID COHEN, Editor           


December 2006


posted 12/3/2006
DAVID COHEN on John Currin at Gagosian
As if the artist himself is unsure which is sexier, flesh or porcelain, Tolbrook (2006) offers both. My libido votes for the china, with honorable mention to the lingerie.

posted 12/3/2006
DAVID COHEN on Lisa Yuskavage at David Zwirner and Zwirner & Wirth, David Fertig at James Graham & Sons, Enoc Pérez at Mitchell-Innes & Nash
There are still plenty of fat women, but there is no longer the cruel humor of the saucy postcard; instead, in new narratives of amorous interaction and frolic there are intimations of genuine inner thought, of two independent people in a relationship. 

posted 12/19/2006
MIRIAM BRUMER on Newark Between Us in Newark

Among the 133 works, by mostly Newark and New York artists, the pieces range from the overtly political to the playful and frankly quirky to the raw and edgy. Itís a real mixture, and in the context of a rugged space complete with exposed ceiling beams and chipped pylons (recalling the SoHo galleries of 30 years ago) itís a true visual adventure.

posted 12/3/2006
JOHN GOODRICH on Lucian Freud at Acquavella

As always, his portraits and figure paintings seem at once acidly detached and invasively intimate.

posted 12/14/2006
GREG LINDQUIST on Echo Eggebrecht at Nicole Klagsbrun

Echo Eggebrecht’s narrative is surreal without being illustrative. These vacant landscapes exude a strange, nostalgic yearning. 

posted 12/3/2006
  Meredith Monk's Impermanence at BAM

Impermanence at first glance seemed like an amalgam of techniques, a sensorial overload conveying an ineffable idea. But like the morning after pill, the next day fragments of Monk’s haunting imagery came back to me again and again, boring into my head like a worm hole.

posted 12/3/2006
ERIC GELBER on Willard Boepple at Lori Bookstein

Their cold formalism is undermined by their intimate scale. They intensify the act of looking and reward the viewer who tries to understand their complexity and the ways they divide and synthesize framed or embedded spaces which are aloof from the world around them.

posted 12/3/2006
DAVID OLIVANT on Eleanor Wood at Don Soker, San Francisco

The fragility and apparent age of these images tempers their insistent sense of order, order that we sense rests on implicit but radical contradictions. 

posted 12/2/2006
JOHN GOODRICH on Susan Shatter at DFN, Stuart Shils at Davis & Langdale

Even her largest watercolors have the fluidity and breadth of first-hand responses. Orange and burnt sienna washes become a dramatic projection of rock in the foreground; its sides drop hundreds of feet to a rocky plain captured in darker washes of ultramarine, cerulean and crimson. Scarlet ranges of hills and green and pink valleys draw the eye, point by point, to the horizon of this inhospitable world awash with color.

posted 12/1/2006
DAVID COHEN on Fiona Rae at PaceWildenstein, Callum Innes at Sean Kelly

Once you resign yourself to the logic of postmodernism in which cacophony is just a complex way of describing harmony, and entropy is a sophisticated spin on order, then you are in the right mindset to sink your gaze into Fiona Rae.  You are at the mercy of what Dave Hickey, in his catalogue essay, terms “benign hysteria.”

posted 12/1/2006
SUZANNE DE VEGH on Aaron Yassin at the Kaufman Arcade

A digital era Piranesi, Yassin's sense of aesthetics speaks to the inestimable volume and unsentimental nature of the information age

posted 12/4/2006
MIRIAM BRUMER on Wosene Worke Kosrof at Skoto

A dancing brush, a glisteningly fresh palette, a vital and varied linear vocabulary beckon  us into a painted world which combines the pleasure of picture-making with  a multiplicity of personal  symbols.

posted 12/3/2006
JENNIFER RILEY on Pat Lipsky at Elizabeth Harris, Kim Uchiyama at Janet Kurnatowksi, Barry Goldberg at Howard Scott

The symmetrically deployed colors allow for a myriad of associations such as landscapes viewed through a colonnade, renaissance facades, geometric patterns, ornamental motifs and blocky figures.

posted 12/1/2006
ERIC GELBER on James Rielly at Ramis Barquet, Keith Mayerson at Derek Eller

Keith Mayerson paints pictures of pop-culture narrative and icons, but he is not interested in deconstructing our worship of celebrity. His work is about the painful and euphoric process of losing oneself in someone else.