DAVID COHEN, Editor           


November 2007

posted November 2007
DAVID COHEN on R.B. Kitaj, the Zarathustra of Contemporary Art

R.B. Kitaj’s work broke a modernist taboo - before it became fashionable to do so - by being unabashedly literary. Hilton Kramer once complained that his paintings were “littered with ideas.” But as referential as he could be, Kitaj was always a consummately visual artist.

posted November 2007
ROBIN HILL in conversation with Theodora Varnay-Jones about her work

I am trying, simply, to be where I am. I try to give full attention to my surroundings. I want to sink into things and I think I do have the ability to see the wonderful in the ordinary. The details of things are most interesting to me and these details do stay with me, such as the glare that comes from the sun reflecting off of the water, or the way grass moves in the wind. I’m constantly looking. My eyes are the physical instruments for my work.

posted 11/11/2007
HEAR THE REVIEW PANEL at the National Academy Museum, October 12, 2007

Nancy Princenthal, Gregory Volk and John Zinsser join David Cohen to review Rudolf Stingel at the Whitney, Raymond Pettibone at David Zwirner, Julie Heffernan at PPOW, Georgina Starr at Tracy Williams and Ingrid Calame at James Cohan

posted 11/9/2007
GREG LINDQUIST on Ryan McGinness at Pace Prints Chelsea

Laser-cut skateboards, flocked wallpaper, buttons pinned on raw canvas, gold leaf on paper, painted aluminum sculpture and fluorescent-metallic spray paint are all interwoven with his signature silkscreen technique.

posted 11/9/2007
LARA TAUBMAN Studio Visit with Jill Moser

Though sparse, these paintings do not emanate a clean surface themselves. The blue-black lines float amidst a hazy residue that is integral to the construction of the final work, changes made without pristinely drafted conclusions. Her paintings reveal the edges of her decisions, actions and thoughts while creating.

posted 11/9/2007
FIELD KALLOP on Painted with Words: Van Gogh's letters to Bernard at the Morgan

It becomes apparent that van Gogh considered the exchange of ideas with other artists a crucial part of creative development. In a letter from June 7th, 1888, he declares that, “More and more it seems to me that the paintings that ought to be made, the paintings that are necessary, indispensable for painting today to be fully itself…exceed the power of an isolated individual, and will therefore probably be created by groups of men combining to carry out a shared idea.”

posted 11/9/2007
DAVID COHEN on Anthony Caro at Mitchell-Innes & Nash

These hefty yet open-form, emphatic yet enigmatic assemblages of prefabricated, found, and adapted components show a youthful, spry, curiosity-filled artist at the top of his game.

posted 11/4/2007
JOE FYFE on Shirley Kaneda at Danese

Her praxis, based on a social reading of the feminine, is remarkably similar to Emily Dickinsonís: imaginative freedom within extreme restraint