DAVID COHEN, Editor           
    ARCHIVES   

 

JUNE 2008

posted 6/27/2008
DAVID CARRIER on Dara Friedman at Gavin Brown

Like the Impressionists, Friedman transfigures the contemporary world. What more could we ask of any artist?


posted 6/12/2008
DAVID COHEN on Catherine Murphy at Knoedler & Company

The motifs of her seven paintings and four drawings are diverse to the point of perversity, suggesting the kind of mind drawn less to things than problems. What is consistent across these images is the sense of a fanatical empiricist picking quarrels with the perceived world.


posted 6/28/2008
ERIC GELBER on David Kinast at Winkleman

Vacillation between equilibrium, a consistently busy surface that can be read as a singular gestalt, and the disequilibrium caused by the dark and sometimes opaque asymmetrical highlights that disrupt these linear networks, creates unpredictable rhythms within the iterations of abstract shapes.


posted 6/27/2008
DAVID COHEN on Dawn Mellor at Team

Dawn Mellor's handling of paint is often at its most subtle and tender when her politicizing is at its most blatant and brutal.


posted 6/23/2008
DAVID BRODY on Jess at Tibor de Nagy

This is Jess in a nutshell: sincere literalism colliding with arch semiotics and giving off rare alchemical heat.


posted 6/15/2008
PIRI HALASZ on Jilaine Jones at the New York Studio School

Wonder World is built of hard steel rods, bars and sheet steel that interact with somewhat more malleable slabs and blocks of concrete and rock board. The whole is tough, hard, aggressive and muscular—yet also slender, graceful, sensitive and wise.


posted 6/15/2008
DAVID COHEN on Milton Resnick at Cheim & Read

There is a weird sense of a form searing its way through the canvas, from left to right, an accumulation of atomic energy boiling up the space it penetrates, making it a Monet for the nuclear age. It almost becomes tempting to read the image in cartoon-like graphic terms, or like a Futurist depiction of movement


posted 6/15/2008
CATHY NAN QUINLAN on Christopher Wool at Luhring Augustine

They are made by spray painting black loopy lines that drip along the bottom edge. The lines are then partly rubbed off with a cloth soaked in paint thinner. As can be noted from the direction of the drips, the canvas is then turned upside down or sideways and the process is repeated, but not too many times; the painting is kept fresh and spontaneous.


posted 6/15/2008
SANDRA SIDER on (un)common threads at Michael Rosenfeld

A show by fourteen artists in fiber and fabric spanning more than half a century


posted 6/1/2008
PIRI HALASZ on Kenneth Noland at Leslie Feely

The forms in Noland’s paintings are usually dismissed as mere devices to enable him to explore color, but the lines and shapes of these paintings have a basis in the natural world as well. They add to the feelings of harmony and serenity that these paintings project, while titles like "Via Light" and "Via Shimmer" suggest Roman roads and air mail stickers, thus ideas of travel and motion and speed.


posted 6/4/2008
JONATHAN GOODMAN on Eduardo Santiere at Haim Chanin

Much of the imagery seems star-struck; viewers have the feeling that they are looking at a kind of intimate astronomy, in which planets and galaxies move about as they build centers of energy. Scratches on the paper add the slightest sense of relief, giving the picture its hard-to-recognize yet palpable sense of depth.


posted 6/6/2008
MORGAN TAYLOR on Nicolas Carone at Washburn

The author celebrates the audacious, austere, muscular canvases by the 90 year old veteran of Abstract Expressionism


posted June 2008
DAVID COHEN on Walton Ford at Paul Kasmin and Neo Rauch at David Zwirner

Neo Rauch is a prodigious talent. His canvases are lush with painterly dexterity, compelling characterization, and compositional intrigue. But, as with Walton Ford’s animal portraits, there is more about these costume dramas that transports viewers back to the amalgamated past they never knew — the very definition of nostalgia — than truly puts them in touch with a sense of being here and now.


posted June 2008
DAVID COHEN on Delia Brown at D'Amelio Terras and Hilary Harkness at Mary Boone

Hilary Harkness shares with Sade not just the pathology to which the Marquis lent his name but also an essential element of style — endless variation, at once exhilerating and enervating, upon an obsessive theme.


posted 6/1/2008
JOHN GOODRICH on Peter Heinemann at Gallery Schlesinger

Heinemann’s intensity, always apparent in his incisive, schematized shapes and hues, now describe with awkward purposefulness the trappings of rustic life: still lifes of dry good scales, vases, and lawn ornaments, and outdoor scenes populated by bird feeders and flower gardens – and, most notably, by the cats which by turns resemble inert, furry spheres or rocketing pillows with lethal teeth. 


posted 6/1/2008
STEPHANIE BUHMANN on Olafur Eliasson at PS1 and the East River

The waterfalls promise to be impressive and quite the sensation, but they will also reveal Eliasson’s main strength – the skill to turn a generous gesture into a subjective experience, which even in a city of millions can be as personal as it will be communal.