DAVID COHEN, Editor           



posted 8/29/2008
NORA GRIFFIN on Mike Nemire at Janet Kurnatowski

Nemire’s paintings carry the same obscure emotional charge as video color test bands, glowing stripes of pure color that signal a pause before the start of the video’s narrative.  The paintings are all variations on that “before” moment, endowing it with resonance as the primary subject.

posted 8/10/2008
JOE FYFE on Emily Kame Kngwarreye at National Art Center, Tokyo

Emily (as she is called) moved from making batik to painting with acrylic polymer on canvas at the age of 78 and in the next eight years produced around three thousand paintings. Their impact, both as an emotionally communicative experience and in terms of a painting intelligence, is staggering. 

posted 7/31/2008
JONATHAN GOODMAN on Xiong Wenyu at Three Shadows, Beijing

As an environmental activist, Xiong has created a process-oriented art whose dimensions are quite literally heavenly as well as humanist.

posted 8/11/2008
NORA GRIFFIN on Tensegrity at Klaus von Nichtssagend

The overriding mood in the gallery is inexplicably hopeful, perhaps a subliminal effect of the Buckminster Fuller term, “Tensegrity,” given to the exhibition. Fuller’s theory of tensegrity, the harmonious synergy and tension of parts within an integral structure

posted 7/20/2008
DAVID COHEN on Cy Twombly at Tate Modern, London

The magnificent retrospective of veteran American artist Cy Twombly at London’s Tate Modern is a bracing reminder that, before all else, painting is smearing and drawing is scribble. In his handling, informality can border on the infantile in its extremes of slightness and scatter.