DOCSLIB.ORG

Resume of David Cohen For

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Resume of David Cohen For DAVID COHEN David Cohen is publisher and editor of artcritical.com, the online magazine of art and ideas; Visiting Associate Professor at Pratt Institute; and a freelance writer, curator and educator. From 2001-2010 he was Gallery Director at the New York Studio School and from 2003-2008 he was art critic for the New York Sun. He is the author of several books on art, including Alex Katz Collages (2005), and numerous exhibition catalogue essays and articles in learned journals and the popular press. He has lectured extensively and moderated panel discussions, dialogues, symposia and debates with artists and with fellow critics, including The Craft of Criticism series at the New York Studio School and The Review Panel at the National Academy Museum. Born, London 1963 HIGHER EDUCATION: 1982-85 University of Sussex, England BA Hons (History of Art) Upper Second Class (2.1) 1986-87 Courtauld Institute of Art, University of London MA (History of Art) PUBLICATIONS (BOOKS AND MUSEUM CATALOGUES) • Spaces Between: Time, Duality, and Cinema in the Paintings of Marc Desgrandchamps in Marc Desgrandchamps [exhibition catalogue], Musée d’Art Moderne de al Ville de Paris. Paris. 2011 • Serban Savu (co-author Rozalinda Borcila) (Ostfildern: Hatje Cantz, 2011) • Alex Katz Collages: A Catalogue Raisonné (Colby College Mueum of Art, Waterville, Maine, 2005) • Who’s Afraid of Henry Moore? in Henry Moore: Sculpting the 20th Century (Dallas Museum of Art/Yale University Press, New Haven and London, 2001) • The Rising City: Urban Themes in the Art and Writings of C.R.W.Nevinson in C.R.W.Nevinson: The Twentieth Century (Imperial War Museum, London, 1999) • Freud’s Probity in Lucian Freud: Etchings from the Paine Webber Art Collection (Yale Center for British Art, New Haven, 1999) • Identité nationale et différances: immigrés et émigrés in Un siecle de sculpture anglaise (Galerie Nationale du Jeu de Paume, Paris, 1996) • "Grand, Quirky and Living Forms": Six Painters of the School of London The main essay in From London: Bacon, Freud, Kossoff, Andrews, Auerbach, Kitaj (British Council, London, 1995) • Herbert Read and Psychoanalysis in Malcolm Gee [ed] Art Criticism since 1890: Authors, Texts, Contexts (Manchester University Press, Manchester, 1993) • Henry Moore in the Bagatelle Gardens, Paris (Lund Humphries,, London/Overlook Press, New York, 1993) • Henry Moore's Sculpture in the Open Air: Landscape, Community and Metaphors of Universal Form in Henry Moore in Scotland (Burrell Collection, Glasgow, 1990) JOURNALISM - 1990 to 2000, a contributor of art reviews and feature articles to leading national newspapers in the UK, including the Independent, the Guardian, the Times, and the New Statesman. - 2000 to 2003, contributor of a series of reviews to the New York Times Book Review. - 1988 to 2000, and again from 2011: a regular contributor to Modern Painters magazine from its launch issue. - 1990-1991 books editor, The Art Newspaper, in first year of publication - contributor to Art in America, Sculpture, Art International, the Burlington Magazine, Apollo, RA Magazine, Galleries, Print Quarterly, Art e Dossier, Art Press etc - pioneer of online art criticism, writing for Slate, Artnet, W’burg. - contributor to literary magazines including Jewish Quarterly, London Magazine, Charleston, the New Criterion - 2002-2003 art critic of Slate.com - 2003- 2008 art critic of the New York Sun, responsible for the weekly “Gallery Going” column and frequent interview profiles of contemporary artists, and museum reviews. From 2006, contributing editor - Present: Founder editor and publisher of the online magazine, artcritical.com, which launched in 2001, became a fully-fledged magazine with multiple contributors in 2003, and restructured with a design overhaul in 2010. A complete bibliography can be consulted at http://www.artcritical.com/DavidCohen/BIBLIOGRAPHYOFDAVIDCOHEN.2012. pdf Writings at artcritical.com are indexed at http://artcritical.com/author/david/ CURATORIAL EXPERIENCE From July 2001 to November 2010, David Cohen served as Gallery Director at the New York Studio School of Drawing, Painting and Sculpture, New York where he was responsible for organizing over forty exhibitions; projects there included: - 2001: Académie Matisse: Henri Matisse and his Nordic & American Pupils, an international survey of students at the Académie Matisse, 1908-12, the first organized in the United States; - 2002: exhibitions of William Tucker and Ruth Miller, and survey of contemporary use of watercolor, co-curated with Susan Shatter; - 2003: drawing retrospective of Thomas Nozkowski, and group exhibition, “American Cutout”; - 2004: exhibitions of Lois Dodd, Alain Kirili, Rackstraw Downes; - 2005: exhibitions of Martha Diamond, Mernet Larsen, George Nick; - 2006: exhibitions of Milton Resnick, Frank Galuszka, Sandra Fisher, Frances Barth; - 2007: produced digital exhibition with music historian Olivia Mattis about Morton Feldman, Edgard Varese and their artist friends; exhibitions of Melissa Meyer, Merlin James, Eric Holzman, and Françoise Gilot. - 2008: exhibitions of Ariane Lopez-Huici, Peter de Francia, Norman Turner, Jilaine Jones and Nick Miller - 2009: exhibitions of Pat Steir, Carl Plansky, John Newman and Jack Bush - 2010: exhibitions of Lino Mannocci, Dorothea Rockburne, Rebecca Smith and Liliane Tomasko. independent curatorial projects: - 2000: Between Gesture and Glyph, David Brody and Drew Lowenstein, at Makor Cultural Center, New York - 2002: The Tipping Point, a group show of 18 New York artists at Locks Gallery, Philadelphia - 2005: The Collages of Alex Katz, Colby College Museum of Art, Waterville, Maine - 2011: The Fitting Room, three person exhibition of David Brody, Mernet Larsen and Nicole Wittenberg at Vogt Gallery, New York - 2012: co-curator of an exhibition of drawings by Leo Steinberg (forthcoming) LECTURER AND PANELIST David Cohen has lectured at institutions around the world, including: - London: Tate Gallery, Imperial War Museum, Royal Academy of Arts, Courtauld Institute of Art - New York: Metropolitan Museum of Art, City University of New York Graduate Center, New York Studio School, National Academy of Design, Parsons School of Art and Design, Pratt Institute, Queens College, School of Visual Arts, State University of New York at Albany - California: San Francisco Studio School, University of California at Davis - Connecticut: Yale Center for British Art, New Haven - Florida: University of South Florida, Tampa - Ohio: Cleveland Institute of Art, University of Ohio at Akron - Illinois: Knox College, Galesburg - Pennsylvania: University of Pennsylvania, University of the Arts, Haverford College, Pennsylvania Academy of Fine Arts - Washington DC: The Phillips Collection - Copenhagen: Gammel Stand Galerie - Jerusalem: Jerusalem Studio School The Craft of Criticism In 1999 Cohen instigated a series at the New York Studio School of public dialogues with leading American art writers, all of which he hosted. His more than two dozen guests included Peter Schjeldahl (New Yorker), Roberta Smith (New York Times), Hilton Kramer (New York Observer), Jed Perl (New Republic), Peter Plagens (Newsweek), Katy Siegel (Art Forum), Mark Stevens (New York Magazine), independents Dave Hickey, Michael Brenson, Barry Schwabsky, Karen Wilkin, and Robert Storr, and art historians Linda Nochlin, Rosalind Krauss, Donald Kuspit, Klauss Kertess, Robert Rosenblum, Svetlana Alpers, and Michael Fried; and David Carrier and Michael Kimmelman (New York Times). The Review Panel In 2004 David Cohen instigated the Review Panel, a series at the National Academy, New York where each month three other critics are led by him in a live review of four contemporary art exhibitions. Guests have so far included Svetlana Alpers* (asterisk denotes mutliple appearances in the series), Dore Ashton, Colleen Asper, R.C. Baker, Bill Berkson, Robert Berlind, Carly Berwick*, Michael Brenson*, David Brody, Becky Brown, Stephanie Buhmann, Phong Bui, Johanna Burton, Leslie Camhi, David Carrier*, Michèle Cone, Arthur Danto,* Ben Davis, Carol Diehl, David Ebony, Lance Esplund,* Charlie Finch, Ana Finel Honigman, Joe Fyfe*, James Gardner,* Deborah Garwood,* Bridget Goodbody,* John Goodrich, Blake Gopnik, Nora Griffin, David Grosz, Eleanor Heartney, Faye Hirsch, Ken Johnson*, James Kalm, Vincent Katz, Carol Kino, Daniel Kunitz, Michele Kuo, Donald Kuspit, David Levi-Strauss, Kim Levin, Greg Linquist, Joshua Mack, Stephen Maine,* Robert C. Morgan, Maureen Mullarkey, Mario Naves*, Linda Nochlin*, Peter Plagens,* Barbara Pollack, Nancy Princenthal,* Joao Ribas*, Jennifer Riley, Walter Robinson, Ben LaRocco, Raphael Rubinstein, Jerry Saltz, Irving Sandler, Elizabeth Schambelan, Barry Schwabsky*, Martha Schwendener,* Andrea Scott,* Katy Siegel,* Roberta Smith,* Deborah Solomon, Elena Sorokina, Mark Stevens*, Nick Stillman, Robert Storr,* Sarah Valdez, Christian Viveros Faune, Gregory Volk,* Joan Waltemath*, Lilly Wei,* Stephen Westfall, Karen Wilkin,* Alexi Worth,* Linda Yablonsky,* John Yau*, John Zinsser*. Symposia David Cohen has organized and moderated several symposia, including: - 1998: A one day meeting on Alex Katz at the Royal College of Art, London, where speakers included Robert Storr, David Sylvester, Kevin Power, Merlin James and Beat Streuli; - 1998: A panel on Alex Katz at the New York Studio School with Chuck Close, Rackstraw Downes, David Salle and Ena Swansea, 1998; - 2000: a “Ruskiniad” to mark the centenary of the death of John Ruskin at the National Arts Club, New York, where participants
Load more

Recommended publications
  • Donors 2016–17
    Donors 2016–17 1 Trustees of The Museum of Modern Art In Memorium Glenn Dubin Honorary Trustees David Rockefeller (1915–2017) John Elkann Lin Arison Laurence Fink Mrs. Jan Cowles Jerry I. Speyer Glenn Fuhrman Lewis B. Cullman Chairman Kathleen Fuld H.R.H. Duke Franz of Bavaria Howard Gardner Maurice R. Greenberg Leon D. Black Mimi Haas Wynton Marsalis Co-Chairman Marlene Hess Richard E. Oldenburg‡ Ronnie Heyman Lord Rogers of Riverside Marie-Josée Kravis AC Hudgins Ted Sann President Jill Kraus Yoshio Taniguchi Marie-Josée Kravis Eugene V. Thaw Sid R. Bass Ronald S. Lauder Mimi Haas Michael Lynne Marlene Hess Khalil Gibran Muhammad Ex-Officio Maja Oeri Philip S. Niarchos Glenn D. Lowry Richard E. Salomon James G. Niven Director Vice Chairmen Peter Norton Daniel S. Och Agnes Gund Glenn D. Lowry Maja Oeri Chairman of the Board of Director Michael S. Ovitz MoMA PS1 Ronald O. Perelman Richard E. Salomon David Rockefeller, Jr. Sharon Percy Rockefeller Treasurer Sharon Percy Rockefeller President of the International Richard E. Salomon Council James Gara Marcus Samuelsson Assistant Treasurer Anna Deavere Smith Thomas R. Osborne and Ann Schaffer Jerry I. Speyer Co-Chairmen of Patty Lipshutz Ricardo Steinbruch The Contemporary Arts Council Secretary Jon Stryker Daniel Sundheim Bill de Blasio Ronald S. Lauder Tony Tamer Mayor of the City of New York Honorary Chairman Alice M. Tisch Gary Winnick Gabrielle Fialkoff Robert B. Menschel Mayor’s Designee Chairman Emeritus Life Trustees Wallis Annenberg Melissa Mark-Viverito Agnes Gund Sid R. Bass Speaker of the Council of President Emerita Eli Broad the City of New York Douglas S.
    [Show full text]
  • Sean Scully, 1945 —
    Sean Scully, 1945 — Sean Scully (b. 1945, Dublin, Ireland) is an American-Irish artist who is internationally recognised for his distinctive abstract compositions that interrogate the properties of light, colour and form. Scully studied painting at Croydon College of Art, London and Newcastle University, UK, where he began to work in abstraction. During a trip to Morocco in 1969, Scully was strongly influenced by the local textiles and rich colours of the region, which he translated into the broad horizontal stripes and deep earth tones that characterise his mature style. Scully’s travels throughout Morocco and Mexico would also prompt his decision to move from Minimalism to a more emotional and humanistic form of abstraction. Following fellowships in 1972 and 1975 at Harvard University, Scully’s paintings became increasingly monumental and sculptural, consisting of interconnected three-dimensional panels that anticipated his later sculpture practice. In 1984 he began to develop the Wall of Light series, replacing the precise stripes of his early paintings with solid blocks of colour, built with increasingly loose and feathered brushstrokes into vertical and horizontal ‘bricks’ that suggest a wall of stone. Subtle differences in colour in the paintings indicate the location in which they were created, the changing seasons and the artist’s own emotions. This series formed the subject of a major touring exhibition at The Metropolitan Museum of Art, New York in 2007. In 1984 Scully achieved international breakthrough through his inclusion in the major group exhibition An International Survey of Recent Painting and Sculpture at the Museum of Modern Art, New York.
    [Show full text]
  • June 2020 June 2020 June 2020 June 2020
    JUNE 2020 JUNE 2020 JUNE 2020 JUNE 2020 field notes art books Normality is Death by Jacob Blumenfeld 6 Greta Rainbow on Joel Sternfeld’s American Prospects 88 Where Is She? by Soledad Álvarez Velasco 7 Kate Silzer on Excerpts from the1971 Journal of Prison in the Virus Time by Keith “Malik” Washington 10 Rosemary Mayer 88 Higher Education and the Remaking of the Working Class Megan N. Liberty on Dayanita Singh’s by Gary Roth 11 Zakir Hussain Maquette 89 The pandemics of interpretation by John W. W. Zeiser 15 Jennie Waldow on The Outwardness of Art: Selected Writings of Adrian Stokes 90 Propaganda and Mutual Aid in the time of COVID-19 by Andreas Petrossiants 17 Class Power on Zero-Hours by Jarrod Shanahan 19 books Weston Cutter on Emily Nemens’s The Cactus League art and Luke Geddes’s Heart of Junk 91 John Domini on Joyelle McSweeney’s Toxicon and Arachne ART IN CONVERSATION and Rachel Eliza Griffiths’s Seeing the Body: Poems 92 LYLE ASHTON HARRIS with McKenzie Wark 22 Yvonne C. Garrett on Camille A. Collins’s ART IN CONVERSATION The Exene Chronicles 93 LAUREN BON with Phong H. Bui 28 Yvonne C. Garrett on Kathy Valentine’s All I Ever Wanted 93 ART IN CONVERSATION JOHN ELDERFIELD with Terry Winters 36 IN CONVERSATION Jason Schneiderman with Tony Leuzzi 94 ART IN CONVERSATION MINJUNG KIM with Helen Lee 46 Joseph Peschel on Lily Tuck’s Heathcliff Redux: A Novella and Stories 96 june 2020 THE MUSEUM DIRECTORS PENNY ARCADE with Nick Bennett 52 IN CONVERSATION Ben Tanzer with Five Debut Authors 97 IN CONVERSATION Nick Flynn with Elizabeth Trundle 100 critics page IN CONVERSATION Clifford Thompson with David Winner 102 TOM MCGLYNN The Mirror Displaced: Artists Writing on Art 58 music David Rhodes: An Artist Writing 60 IN CONVERSATION Keith Rowe with Todd B.
    [Show full text]
  • Ziyang Wu Where Did Macy Go?
    Ziyang Wu Where Did Macy Go? Where Wu Ziyang ZIYANG WU: WHERE DID MACY GO? PRESS RELEASE: SINGAPORE ARTWEEK - 21 JANUARY – 21 FEBRUARY 2021 WWW.HATCHARTPROJECT.COM 7 Yong Siak Street, Singapore 168644 PRESS RELEASE Exhibition Title: Where Did Macy Go? ‘Where Did Macy Go?’ Venue: 7 Yong Siak Street, 168644 Exhibition: 21 January - 21 February, 2021 How will we remember the coronavirus pandemic? How will history books record this pandemic? What will Opening Event: 23 January (Saturday) 10am - 8pm be documented and recorded as part of this unprecedented time of cataclysm? Press Preview: 21 January - 3:30pm (Hatch Art Project) The pandemic has radically changed the world. It has had a momentous, widespread impact on every aspect of our life, from the way we work, learn, make everyday living, to macro-level phenomena – on the global MEDIA RELEASE: FOR IMMEDIATE RELEASE economy, social security, and individual human rights. The world has undergone a massive upheaval where our existence has been threatened, and what we had considered to be significant and taken-for-granted has been challenged. Our imagination of the future can no longer be immune from our experiences during the pandemic. It may be the right time for us to re-think of art in light of the pandemic, and contemplate over its value in society. However, rather than asking an outdated question of whether art is an ‘essential’, we can raise more fruitful questions about how the pandemic has impacted upon art, and more importantly, what role art has played – and will play – in the post-pandemic world that is to arrive.
    [Show full text]
  • Applying Gender Studies and Material Culture Studies to “Fine Art,” Decorative Art, and Craft
    BLURRING THE BOUNDRIES: APPLYING GENDER STUDIES AND MATERIAL CULTURE STUDIES TO “FINE ART,” DECORATIVE ART, AND CRAFT By Lisa A. Schaup A MASTER’S PROJECT Presented to the Arts and Administration Program And the Graduate School of the University of Oregon In partial fulfillment of the requirements For the degree of Master of Arts Summer 2005 ii BLURRING THE BOUNDRIES: APPLYING GENDER STUDIES AND MATERIAL CULTURE STUDIES TO “FINE ART,” DECORATIVE ART, AND CRAFT By Lisa A. Schaup A MASTER’S PROJECT Presented to the Arts and Administration Program And the Graduate School of the University of Oregon In partial fulfillment of the requirements For the degree of Master of Arts Summer 2005 iii Copyright. 2005. Lisa Schaup. All Rights Reserved. iv Research Advisor ________________________________________Date____________ Dr. Douglas Blandy, Professor and Associate Dean of the School of Architecture and Allied Arts v ACKNOWLEDGEMENTS My first thanks go to my mother, father, brother and my son for so many things that I cannot put them into words here, their love, and for supporting me through this journey of transformation from artist to scholar. Thanks to, Professor Janice Rutherford, for encouraging me to research the feminist perspective regarding this subject and for being my advisor for a good portion of this project. I thank Professor Douglas Blandy for providing groundwork in advocating for material cultural studies in art education and for providing me the chance to finish this project with his supervision. I thank Professor Patricia Dewey for making research methodology “accessible.” I especially appreciate all of the support from the Arts and Administration Program at all levels, particularly from Professor Gaylene Carpenter.
    [Show full text]
  • 2007 Annual Conference Program Sessions
    MURRAY HILL SUITE, 2ND FLOOR, HILTON NEW YORK ARTsllHce is a conference within the conference, tailored to the needs and interests of practicing artists but open to all conference attendees. It includes a session space, set theater~style. and a lounge for video programming and other events, All ARTspace sessions are included in the chronological listing of Sessions. All ARTspace events are held in the Murray Hill Suite, 2nd floor, Hilton New York, unless otherwise noted. R 14 7:30 AM-9:00 AM Morning coffee, tea, and juice. 9:00 AM-5 :00 AM Video programming: Parsons, New Schoo! of Design: Selections 2005 9:30 AM-12:00 PM Artists' Chairs: Elizabeth Conner; Caitlin Strokosch, Alliance of Artists Communities An artist and three residency-program staff give an overview of available residencies, with an emphasis on new opportunities and international residencies. Metropolitan New York residencies will also be highlighted. 12:30-2:00 PM Out of the Frame: and Chair: Amy V. Grimm Working from the Perimeter Willie Ray Parish, University of Texas, EI Paso Between Collage and CIJaos Hana Hillerova, University of Texas, Austin Hillbilly Happiness: The Barnstormers' Pilgrimage Down SOUtfl David J. Brown, Southeastern Center for Contemporary Art From tile Big Picture to tile Small Object Kate Bonansinga, University of Texas, EI Paso Beautiful Losers Christian Strike, Atelier Nair, Iconoclast Editions ARTspace CAA NYC 2007 25 2:30-5:00 PM 12:00 PM-5:00 PM Visual Power: An Exhibition of Native American Video programming: Diane lander Mason, All Dressed in White Work: Artists/Schol"rs; A the US of Stete A,t Emerging Definitions of Mardage, 2006 alld Cnltllre I'nJlH'3!1lS Chairs: Duane Slick, Rhode Island School of Design; Phoebe Farris, Purdue University 12:30 PM-2:00 PM CAA SERVICES TO ARTISTS COMMITTEE Fostering Diversity of American Cultural Diplomacy Abroad Does the Art World Iiave a Political Bias? Evangeline J.
    [Show full text]
  • Media Release
    NEW YORK CITY, August 18, 2010: The New York Studio School will present an exhibition in September that acknowledges Gallery Director David Cohen as he stands down after nine years in this position. He organized his first show at the School as a guest curator in 2000 (Leonard McComb) and was on staff from June 2001. Cohen, who is also editor of artcritical magazine, says he intends to devote himself fully to writing and publishing. Type to enter text Ellsworth Kelly, Four Blacks and White, Upper Manhattan, 1957. Collage, 3-1/2 x 5-1/2 inches. Courtesy Ellsworth Kelly. Included in American Cutout (2003) The exhibition’s title, Decameron, alludes to Giovanni Boccaccio’s masterwork of the same title, and for two reasons. The show celebrates a full decade of curatorial engagement, and thus, as it were, has ten chapters. And as in Boccaccio’s tales, there is a striking range of genre, mood, and character among the artists it brings together. Cohen was responsible for fifty exhibitions during his time at the School. These were shows he initiated, traveling shows he modified as receiving curator, and shows that others organized with his support. Guest curators with whom Cohen worked included Charles Cajori, Vincent Katz, Nathan Kernan, Olivia Mattis, Mor Pipman, Jennifer Sachs Samet, Susan Shatter, Louise Tolliver Deutschman, and, on two occasions, Karen Wilkin. The roster of exhibitions attests to a breadth of taste and a consistency of seriousness Cohen shares his employers. Among these exhibitions are some that attracted considerable press attention, including Thomas Nozkowski Drawings (2003); Lois Dodd: Nudes in the Landscape (2003); Rackstraw Downes: Drawing as part of the process (2004); Merlin James: Painting to Painting (2007); and John Newman - Instruments of Argument: Recent Sculpture (2009).
    [Show full text]
  • Download Resume
    Eve Aschheim RESUME EDUCATION MFA The University of California, Davis, 1987 BA The University of California, Berkeley, 1983 SOLO EXHIBITIONS 2018 Lines Without Outlines, Barbara Walters Gallery, Sarah Lawrence College, Bronxville, NY “T” Space Paintings (with David Goerk), Silas Von Morisse Gallery, Bushwick, NY 2017 Lines Without Outlines, T-Space, Rhinebeck, NY* 2016 Eve Aschheim Drawings and Photograms, Lori Bookstein Fine Art, NY 2015 Eve Aschheim and Hanns Schimansky, Galerie Inga Kondeyne, Berlin 2014 Eve Aschheim, Lori Bookstein Fine Art, NY 2013 Eve Aschheim, Recent Work (with Ying Li) New York Studio School, NY 2012 Eve Aschheim, Paintings, Lori Bookstein Fine Art, NY 2011 Eve Aschheim, Some Walls, Oakland, CA 2010 Eve Aschheim - Paintings and Drawings, Galleri Magnus Aklundh, Malmo, Sweden 2009 Eve Aschheim, Bannister Gallery, Rhode Island College, Providence, RI Eve Aschheim, Galerie Inga Kondeyne, Berlin 2008 Eve Aschheim: Falk Visiting Artist Weatherspoon Art Museum, Greensboro, North Carolina 2007 Eve Aschheim: New Drawings 2005-2006 Lori Bookstein Fine Art, New York* Eve Aschheim, New Drawings Schick Art Gallery, Skidmore College, Saratoga Springs, NY 2006 Lori Bookstein Fine Art, Project Room, New York 2004 Larry Becker Contemporary Art, Philadelphia, PA Eve Aschheim – Guy Corriero, Patrick Verelst Gallery, Antwerp, Belgium 2003 Eve Aschheim Recent Work University Gallery, University of Massachusetts, Amherst * 2001 Eve Aschheim-Kasimir Malevich, drawings Galerie Rainer Borgemeister, Berlin, Germany 1999 Galerie Rainer
    [Show full text]
  • 1 David Cohen's Writings on Art, Lectures And
    DAVID COHEN’S WRITINGS ON ART, LECTURES AND EXHIBITIONS last updated June 2012 Books and Essays Books Henry Moore in the Bagatelle Gardens, Paris, photographs by Michel Muller with an essay by David Cohen (London: Lund Humphries, and New York: Overlook Press, 1993) an overview of Moore's work stressing the importance of landscape to his aesthetic; the book records an important outdoor exhibition staged the previous year in Paris Jock McFadyen: A Book about a Painter (London: Lund Humphries, 2001) By David Cohen, with contributions from Lewis Biggs, Humphrey Ocean, Bob and Roberta Smith, Hugo Williams, Tom Lubbock, Ian Dury, Mary Rose Beaumont, Duncan Macmillan, Jeffery Camp, and Will Self David Cohen Alex Katz Collages: A catalogue raisonné (Waterville, Maine: Colby College Mueum of Art, 2005) Published in conjunction with an exhibition at Colby College Museum of Art June 26 – September 18, 2005 Serban Savu (co-author Rozalinda Borcila) (Ostfildern: Hatje Cantz, 2011) Contributions to books and encyclopaedias “Francis Bacon”, “Jacob Epstein”, “Barbara Hepworth”, “Aristide Maillol”, “Ben Nicholson” and “Graham Sutherland” in International Dictionary of Artists and works by the above in International Dictionary of Art twin volumes edited by James Vinson (London: St. James's Press, 1990). "Herbert Read and Psychoanalysis" in Art Criticism since 1890: Authors, Texts, Contexts, edited by Malcolm Gee (Manchester: Manchester University Press, 1993) considers Read’s early interest in variety of psychoanalytic schools and their bearings on problems of literary criticism, proceeding to his growing interest in C.G.Jung and particular reference to Henry Moore The Annual Register: A Record of World Events 1994 edited by Alan J.
    [Show full text]
  • Art and Book Reviews
    David Carrier Website: http://www.davidcarrierartwriter.com Email: [email protected] Book Reviews G. Dickie, Art and the Aesthetic, J. of Philosophy, LXII,22 (l975):823-5. G. Sircello, A New Theory of Beauty, J. of Philosophy, LXXIV,6 (l977):372-5. L. Bersani, A Future for Astyanax, Philosophy and Literature, l.3 (l977):363-4. M. Warnock, Imagination, J. of Philosophy, LXXV,1 (l978):40-4. L. Rothschild, Forms and Their Meaning in Western Art, J. of Aesthetics and Art Criticism, LXXVI,3 (l978):378-9. R. Krauss, Passages in Modern Sculpture, J. of Aesthetics and Art Criticism, XXXVI,4 (l978):510-12. "Meyer Schapiro Festschrift" (Social Research, 45,l), J. of Aesthetics and Art Criticism, LXVII,l (l979):40-l. A. Stokes, The Critical Writings, J. of Aesthetics and Art Criticism, XXXVII,2 (1979):243-5. T. Rugh and E. Silva, eds., History as a Tool in Critical Interpretation, J. of Aesthetics and Art Criticism, XXXVII,l (l979):86-7. O. Paz, Marcel Duchamp and L.Steefel, The Position of Duchamp's "Glass" in the Development of His Art, J. of Aesthetics and Art Criticism, XXXVII,1 (l979):104-5. S. Donadio, Nietzsche, Henry James, and the Artist's Will, Philosophy and Literature, 3,2 (l979):240-l. E. Gombrich, The Sense of Order, J. of Philosophy, LXXVII,3 (l980):179-81. The Writings of Robert Smithson, J. of Aesthetics and Art Criticism, XXXVIII,3 (l980):330-l. M. Walters, The Nude Male, Signs, 6,2 (l980):326-7. J. Foster, The Critics of Abstract Expressionism, J.
    [Show full text]
  • Lennon, Weinberg, Inc
    LENNON, WEINBERG, INC. 514 West 25th Street, New York, NY 10001 Tel. 212 941 0012 Fax. 212 929 3265 [email protected] www.lennonweinberg.com Harriet Korman Born: 1947 Resides and works in New York City EDUCATION 1969 Queens College, CUNY, B.A. 1968 Skowhegan School of Painting and Sculpture, Summer, Full Scholarship SOLO EXHIBITIONS 2015 Munich, Germany, Häusler Contemporary München, Harriet Korman >>Developing Format<<, March 19 – May 23. 2014 New York, Lennon, Weinberg, Inc., Line or Edge, Line or Color: New Paintings and Drawings, September 18 – November 1. 2012 New York, Lennon, Weinberg, Inc., New Paintings, March 1 – April 14. 2008 Los Angeles, Jancar Gallery, Harriet Korman, May 10 – May 31. 2008 New York, Lennon, Weinberg, Inc. New Paintings, January 31 – March 8. 2004 New York, Lennon, Weinberg, Inc. Harriet Korman: Line or Shape, Curved or Straight. April 16 – May 28. 2002 Los Angeles, Daniel Weinberg Gallery, Harriet Korman: Paintings and Drawings from the Early 1970’s, January 5 - February 9. 2001 New York, Lennon, Weinberg, Inc. Harriet Korman. February 15-March 17. 1996 New York, Lennon, Weinberg, Inc. Harriet Korman. October 17-November 17. 1994 New York, Lennon, Weinberg, Inc. Harriet Korman. September 10-October 8. 1992 New York, Lennon, Weinberg, Inc. Harriet Korman: New Paintings. November 19- December. 1990 New York, Sorkin Gallery. February 13-March 10. 1987 New York, Willard Gallery. January. 1983 New York, Willard Gallery. November 20-December 22. 1980 New York, Willard Gallery. January 5-30. 1978 San Francisco, Daniel Weinberg Gallery. October 24-November. 1977 Bochum, Germany, Gallery M. February (two-person show with Frank Stella).
    [Show full text]
  • Artcritical October 6, 2011 GAGOSIAN GALLERY Artcritical the Online Magazine of Art and Ideas
    artcritical October 6, 2011 GAGOSIAN GALLERY artcritical the online magazine of art and ideas Thursday, October 6th, 2011 Dutchmen’s Successor: Jenny Saville at Gagosian by David Cohen Jenny Saville: Continuum at Gagosian Gallery September 15 to October 22, 2011 980 Madison Avenue New York City, 212-744-2313 This and cover: Installation shot of the exhibition under review, © Jenny Saville. Courtesy Gagosian Gallery. Photography by Robert McKeever Jenny Saville’s “Continuum,” her first show in New York since 2003, will delight her many fans with a bold new theme (her art newly energized by the experience of motherhood) and an invigorated interest in drawing. Those fans sure do include people in high places. Word has it, for instance, that John Elderfield entered the collectors’ evening of his MoMA de Kooning exhibit with Jenny on his arm, as if to say: the belle of the ball is the Dutchman’s successor. Elderfield is author of the catalog essay for Bob Dylan’s show of paintings, sandwiched by Saville’s, on Gagosian’s Fourth Floor. (A drawing in herPentimenti series acknowledges de Kooning in its title, alongside Velazquez and Picasso.) Simon Schama is another devotee. Writing in the Financial Times of September 24, his opening salvo diminishes Lucian Freud in comparison with Saville and insists that her only peers in the depiction of babies are Leonardo da Vinci and Rembrandt. Now, a confession: I’m beginning to have a Dr. Frankenstein moment. Years ago, a cub reporter on the Times of London, I was sent around Britain to investigate the state of art education.
    [Show full text]