DAVID COHEN, Editor           
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January 2009

posted 1/28/2009
DAVID COHEN on Stanley William Hayter at Francis M. Naumann

Naumann has had the courage and good taste to break the medium barrier between Hayter’s experiments in printmaking, drawing and painting by presenting his work chronologically, regardless of – and mixing up – medium and support.

The resulting hang is very refreshing, and vindicating, to those afficionados sick to the hind teeth of Hayter being dismissed as a “technical wizard” in the etching studio, and therefore not, by extension, a “real” artist outside of it.


posted 1/26/2008
STEPHEN MAINE on R.H. Quaytman at Miguel Abreu

Quaytman works in a mode of painting/silkscreen hybrid, an at once middle-brow and mass-produced liminal form that is ideologically adrift between the elite and the unique in a way that recalls Warhol. The show quietly crackles with ideas about production; perception and legibility; the nature of the "image;" and the play between painterly and photographic values


posted 1/27/2008
JONATHAN GOODMAN on Matt Mullican at the Drawing Center

When Mullican asserts in writing that the “preoccupation with materials and processes seems to clutter up the phenomenon of what interests me,” he is making it clear to us that no individual person or thing can contain the entirety of that which engages him. Thus the artist reworks appearances as a means of describing the gestalt that both energizes and evades his hand.

book reviews

DEBORAH GARWOOD on Proust/Warhol by David Carrier

PIRI HALASZ on The Art Critic by Peter Plagens

DAVID CARRIER on Old Masters, New World by Cynthia Saltzman

JONATHAN GOODMAN on New China New Art by Richard Vine

DAVID COHEN on Jean Prouvé published by Galerie Patrick Seguin/Sonnabend Gallery

JOE FYFE on Beyond Sacred: Recent painting from Australia’s remote Aboriginal Communities

NEW YEAR'S QUIZ
DO YOU KNOW YOUR ART HOUNDS?

This poster for a 1976 exhibition of the Skowhegan School featuring Dog at Duck Trap by Alex Katz portrays Sunny, the Katz family dog who also sports the cover of Robert Rosenblum's classic art historical study, The Dog in Art: From Rococo to Postmodernism, a copy of which awaits the first reader to tally our sampling of artworld hounds and their two-legged companions. click Sunny to play