DAVID COHEN, Editor           


October 2009

DAVID CARRIER on Peter Halley's Early Paintings at Mary Boone




posted 10/27/2009
PIRI HALASZ on Dan Christensen at Spanierman Modern

Facture is neither painterly nor hard-edged geometric, but in between–straight edges that nonetheless exude life.

posted 10/24/2009
KAREN GOVER on Rebecca Warren at Matthew Marks

She seems to be simultaneously poking fun at tradition and at the same time leveling a serious challenge against it, all the while acknowledging that she cannot simply reject her artistic heritage.

posted 10/8/2009
REUBEN M. BARON AND JOAN BOYKOFF BARON on Jack Tworkov at the UBS Art Gallery

Seldom has a better synthesis been achieved among raw power, exquisite color, and the organizing effects of line.

posted 10/8/2009
DAVID BRODY on Elliott Green at D'Amelio Terras

Green’s current paintings supplant his earlier “limited animation” mock-mayhem with the saturated glazes and rendered anatomies of a Golden Age chipmunk fable

posted 10/8/2009
JONATHAN GOODMAN on Ted Kurahara at Walter Randel

If we are hesitant to use a term so absolute as “the absolute,” we can, even so, acknowledge the extreme philosophical drive in Kurahara’s esthetic

posted 10/7/2009
STEPHANIE BUHMANN on Mark Bradford and Kara Walker at Sikkema Jenkins

To Walker and Bradford alike, density of visual information is an aesthetic choice that mirrors the mutliple layers of reality and complexity retrieved from subject matter

posted 10/4/2009
BRUCE HODGES on The Blue Rider in Performance at the Miller Theatre, Columbia

"Black has an inner sound of nothingness bereft of all possibilities…"
— Vasily Kandinsky, On the Spiritual in Art (1910)

posted 10/4/2009
JONATHAN GOODMAN on A.R. Penck at Michael Werner

Saving the imagery from what we might call barbarous chaos is Penck’s highly skilled orientation and spacing of the visual components of an individual work.

The Roofer's Son: Watteau at the Met by JOE FYFE

I don't know how one can love Watteau without somehow making him one's contemporary.

ISABELLE DERVAUX on the late Hyman Bloom

Bloom had inherited a blend of mysticism and harsh realism, reminiscent of Isaac Bashevis Singer