DAVID COHEN, Editor           


September 2006


posted 9/27/2006
GREG LINDQUIST on Isca Greenfield-Sanders's Pinelawn Pools at Goff & Rosenthal

Isca Greenfield-Sanders alters found images, faded photographs from the 1960s through digital manipulation and traditional oil painting. Using a technology-savvy restoration process to enliven faded imagery, she makes brightly colored and highly contrasted paintings.

posted 9/27/2006
ELLEN PEARLMAN on Noémie LaFrance's Agora II dance performance at the McCarren Park Pool, Brooklyn
The spectacle became one big happy party and the lines between performer and audience vanished.

posted 9/10/2006
DAVID COHEN on Alexi Worth at DC Moore and Joe Coleman at Jack Tilton
[Worth] manages at once to relate to a contemporary sensibility - recalling the absurdist distortions of Lisa Yuskavage and John Curri and a prevailing fascination with the language of the comic book - and at the same time to be genuinely old masterly.

posted 9/23/2006
TANIA HAMMIDI on Tom of Finland at the Western Project, Culver City
as the artist’s choice to adopt the pseudonym “Tom of Finland” in late 1956 suggests, Touko Laaksonen understood that his work expressed an abandon that was not sanctioned by the homophobic, prudent regimes of his time.  

posted 9/10/2006
NO NO NO MAN : DAVID COHEN on Yes Bruce Nauman at Zwirner & Wirth
Of all the avantgarde artists to emerge in the 1960s, Bruce Nauman is the most deserving of the epithet “counter-cultural.”  Be it high or popular culture you are talking about, Mr. Nauman’s emotionally difficult, intellectually forbidding, visually ungenerous art has a masterful ability to alienate. 

posted 9/2/2006
EROS AND THANATOS: DIANE THODOS on Jim Dine: Some Drawings at the Block Museum of Art, Evanston, IL
Most of these unsettlingly expressive works are fraught with  dark intensity,  giving vent to a range of emotions.  “Anger is part of my medium,” said Dine. “I like to walk alongside of it.” 

posted 9/1/2006
LOOKING FOR THE JUNGLE MAN: JOSEPH PHELAN on Henri Rousseau: Jungles in Paris at the National Gallery of Art
Rousseau may have been inspired by book and newspapers illustrations but he was not constrained by them.  His art was not defined by what he saw but by the pictorial quality of what he dreamed.