DAVID COHEN, Editor           
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October 2007

posted 10/5/2007
DAVID COHEN on Julie Heffernan at P.P.O.W.

In less ecologically conscious ages than our own, the excess of hunting and gathering would unambiguously signal the blessings of plenty, whereas here, the juxtaposition of life and death, and the equations of wealth and beauty, war and peace are made to feel ominous. Like the virtuosity with which they are made, the paintings seem to be guilty pleasures, shameless though the woman at the heart of it all appears to be.


posted 10/31/2007
GREG LINDQUIST on Anna Hostvedt at Tibor de Nagy

Hostvedt lingers in interstitial sites as few other people do. In order to fully experience her paintings, one must give them that same attention.


posted 10/31/2007
MORGAN TAYLOR on Philip Geiger at Tibor de Nagy

Intuitive and discreetly sensual they are, depicting a tastefully domestic world of spare interiors and attractive people. The intensity is achieved by pearly light revealed through rich, spontaneously painterly surfaces.


posted 10/31/2007
FAY KU on Gordon Moore at Betty Cuningham

The use of latex is especially telling; while the material references the industrial, it creates skin suggestive of a living thing. And here the idea begins to surface that perhaps Moore wants to create something more than a painting of beautiful neutrals.


posted 10/31/2007
DAVID COHEN on Drawing Connections at the Morgan Library & Museum

Inviting artists to showcase themselves in the company of past treasures is an inventive way both to probe the museum’s inventory and signal ways to add to it. But if the aim is to demonstrate continuity, the markedly different look and purpose of the contemporaries and the old masters suggests as much rupture as renewal within drawing.


posted 10/31/2007
JOE FYFE on Soviet Modern Architecture: Photographs by Richard Pare at the Museum of Modern Art

Workers Clubs, such as the Zuev Club with its cylindrical stairway, were devoted to collective activity and were often built near factories. Residential dwellings such as the Narkomfin Communal House, partially inspired by Le Corbusier, had private living units that were integrated throughout larger spaces that were meant to facilitate the social engineering programs that reconstructed daily life. Soviet society was to be reorganized around factories, such as Eric Mendelsohn’s ship-like Red Banner Textile Factory, heralding an industrialized future in a workers utopia.