Leslie Cozzi

  • picks May 31, 2018

    Pierrette Bloch

    Pierrette Bloch’s limited palette and gestures are as appealing as they are intransigent. The pieces on display here, dating from the early 1970s through 2014, highlight the late artist’s deep respect for paper and her lasting refusal to waste even the smallest of scraps. Among the most emphatic and arresting works on display is a group of minute drawings on long, thin strips of paper—part of an untitled series from 2009. Some are barely an inch tall, marked with innumerable strokes of ink, ink wash, and pastel. Her compositions belie any simplicity one might associate with line drawing. The

  • picks April 23, 2018

    Matthew Lutz-Kinoy and Ola Vasiljeva

    This gallery has a track record of hosting installations that toe the line between art in its more conceptual guises and cutting-edge design. The current exhibition, “Song and Love,” by Matthew Lutz-Kinoy and Ola Vasiljeva, is no exception. Biomorphic objets d’art, armoire-size constructions, and even an embroidered stool are interspersed throughout the top-floor apartments of a converted family palazzo dripping with decaying Novecento grandeur. Skillfully installed on the walls, ceilings, and ornate terrazzo floors of the interconnected chambers are two complementary bodies of work that explore

  • picks November 22, 2017

    “È solo un inizio. 1968”

    Nestled within a synchronistic and refreshing reinstallation of the permanent collection of Rome’s Galleria Nazionale (spearheaded by the museum’s director Cristiana Collu), the current exhibition “È solo un inizio. 1968” (It’s Just a Beginning. 1968) would even be worth visiting for no reason other than its surroundings. However, the real strength of curator Ester Coen’s meditation on a moment of broad social and artistic upheaval is the degree to which it allows physical realities to function as metaphors for political ones. Thus, as the double entendre of Mario Merz’s 1968 Sit-In reminds us,

  • picks November 20, 2017

    “L’art du pastel de Degas à Redon”

    This sumptuous exhibition of pastel works from the museum’s collection offers up a virtuosic and refreshing display of the fragile medium’s myriad strengths, which have been valued since the eighteenth century. In the late nineteenth century, pastel crayons presented new avenues for technical and formal experimentation, as pastellistes, painters, and printmakers harnessed their friable yet velvety texture to capture nuance and ephemeral effects, creating drawings that rivaled and sometimes even surpassed oil painting in their scale and impact. Paradoxically, it is the luminosity imparted by this

  • picks December 16, 2011


    IAIN BAXTER& capitalized and added an ampersand to his name in 2005, in order, according to the press materials for this show, “to underscore his belief that art is about connectivity, contingency, and collaboration with a viewer.” This is something of an understatement. The work of BAXTER&, who formed the N. E. Thing Company in the mid-1960s as a sort of Conceptual art licensing group, was predicated on the increasingly corporate nature of both the art world and daily life. The proclamation “art is all over,” which simultaneously heralded the mass proliferation of the art world and the dissolution