Ronny H. Cohen

  • Jonathan Scoville

    With much poetic sensitivity and considerable painterly flair, Jonathan Scoville is renewing one of the most overworked themes in the history of Modern art. The landscape, in his paintings of the sky and countryside surrounding his home in Cornwall, Connecticut, is given fresh significance as both a metaphoric representation and a symbol of personal consciousness. The products of a unique marriage of two distinct traditions in landscape painting—which can be generically labeled the objective and the subjective impulse, respectively—Scoville’s paintings immediately trigger associations. More

  • Lynn Chadwick

    By offering New York audiences their first major exposure in 15 years to the powerful vision of Lynn Chadwick, this exhibition had the ability to teach us all a valuable lesson on sculpture in general and contemporary sculpture in particular.

    With this selection of 29 works, dating from 1973 to 1985, Chadwick could be seen as more than deserving of his high reputation as one of England’s greatest sculptors. Ranging in size from small maquettes to monumental sculptures, all in bronze, the examples of single figures and of seated or walking couples were breathtaking to be hold. What is so special

  • Ivan Kliun

    This show furthered the exposure of New York audiences to the rigorous, sophisticated sensibility of Ivan Kliun, a leading member of the Russian avant-garde whose work is still relatively unknown here. Born in Kiev in 1870, he belonged chronologically to the generation of Russian Post-Impressionists and Symbolists represented respectively by Alexandre Benois and Victor Borissov-Mussatov, both of whom were also born in that year. Kliun, however, after studying art in Kiev, Moscow, and Warsaw and going through a Symbolist phase, in about 1910 chose to ally himself esthetically with the next,

  • “Multiples By Latin American Artists”

    This show, curated by Fatima Bercht, offered New York audiences their first extended look at contemporary artists’ books, mail art, and other printed matter by Latin Americans. These forms of expression, free from the usual commercial pressures and constraints of the art market, have provided Latin American artists with alternative means of communication with their audiences, according to Bercht. The rise in interest in multiples in the region coincided with the increased availability of industrial printing and reproductive technology that took place in Latin America during the ’60s and ’70s;

  • Roman Opalka

    In stark contrast to those chameleon-like artists who seem to change directions at the first drop of a new trend stands Roman Opalka, whose career is a paradigm of relentless, singleminded, creative pursuit. Since 1965 Opalka, a Pole now living in France, has followed a strictly determined course: his aim is to make paintings and related photo- and audio-documentation based on the progressive listing of numbers. His activities over the last 27 years have been governed by a rigorous, rule-oriented, and repetitive method.

    The paintings, which Opalka calls “details,” are the product of a series of

  • Lydia Masterkova

    This show and its sister, “Russian Women Artists: 1930–1980,” both curated by Margarita Tupitsyn, have introduced to New York audiences a new, exciting group of Russian women artists, including both colleagues of and successors to the talented likes of Alexandra Exter, Lyubov Popova, Olga Rosanova, and Nathalia Goncharova. What links these artists is the desire they share to use art as a serious means of self-expression, as a revelatory key to emotion and self-awareness, but never—and I must repeat never—as the propaganda arm of the official Soviet style and sensibility of Socialist Realism.

  • “Homenaje Los Nacional A Contemporáneos”

    The Mexican avant-garde movement of the ’20s and ’30s known as the “contemporáneos” is a relatively neglected interlude in 20th-century culture, deserving of wider exposure. This exhibition, organized by Carlos Monsiváis, was an attractively designed didactic display that brought to life the aspirations of this small but distinguished group of writers and artists. Fraught with accusations of elitism and radicalism, the controversial history of the movement was detailed through documentary photographs and printed materials as well as books, magazines, paintings, and theater designs. The manifold

  • “Los Picassos De Picasso En Mexico”

    This show looked at Picasso from the exciting perspective of the artist’s personal collection of his own work. Presumably Picasso retained the works for his own enjoyment and use; no doubt many of them held special significance for him, as turning points in different directions, treatments of favorite subjects, or sentimental icons. The majority of the 175 paintings, sculptures, drawings, and prints came from the Musée Picasso in Paris, and were filled out with some additional examples from private collections, including those of the Picasso heirs. The selection, made by William S. Lieberman,

  • Joan Fisher

    What the viewer saw in this showing of Joan Fisher’s recent paintings (part of a group show) were strikingly specific shapes boasting sharply defined, curvilinear silhouettes, contrapuntal linear infrastructures, and lush, light-sensitive surfaces. The works immediately impress as strong and lively arrangements of lines, planes, and colors. What the viewer senses, however, are “loaded landscapes” of the extra-formal, metaphorically charged kind pioneered by Wassily Kandinsky, Americanized by Marsden Hartley, and psychologized by the Surrealists. While different facets of the work of these artists

  • Joseph Hilton

    It is time to take a closer look at Joseph Hilton. Now, when figurative painting is the trend, this Baltimore - and - Washington - based artist provides an engaging alternative to the current neo-Expressionist fare. Throughout the ’70s and since, Hilton has cultivated a personal style that takes inspiration from pre-High Renaissance modes of rendering people and places. Its trademarks include deliberately, clumsily drawn anatomies, pictographic compositions, and abstract, shallow settings. For subjects Hilton rifles through art history and chooses grand mythological and religious themes, which,

  • John Willenbecher

    John Willenbecher continues to intensify the iconic dimension of his vision. This show develops to new expressive heights the insights into the symbiotic relationship between archetypal forms and contents found in the 1981 series “Laureate” (reviewed in Artforum in April 1982).

    The majority of the works on view consisted of mixed-media relief paintings. Named after the persons and places of, Greek mythology—Apollo, Zeus, and Olympus are examples—each boasts surfaces painted to simulate marble, and one or more gold-leafed objects symbolic of the subject. In Apollo, a vertically disposed diptych,

  • Miriam Schapiro

    Miriam Schapiro continues to do what she probably does best—pattern painting. The works here reveal a strikingly sharp and specific vision, able to exploit the dynamic potential of the shape on which the artist has recently focused—the rectangle—with skill and sensitivity. Though best known for shaped paintings (numerous past examples are based on various house and fan configurations), Schapiro manages to play some exciting visual games with the rectangle. Not only do her compositions bring out the elegant order and regularity associated with its framing function, but they make it enclose and

  • “Collages and Reliefs 1910–1945”

    “Collages and Reliefs 1910–1945” was a knockout of a museum-quality show jointly sponsored by this New York gallery and Annely Juda Fine Art in London. With works by such Dada and Constructivist artists as Jean Arp, Raoul Hausmann, Kurt Schwitters, László Moholy-Nagy, Alexandra Exter, and Liubov Popova, as well as Picasso, the exhibition captures the visionary conviction and intellectuality that drove the artist pioneers of early-20th-century Modernism to esthetic heights rarely matched today.

    Picasso’s and Braque’s injection of collage into their Cubist paintings of 1912 opened the eyes of many

  • Jonathan Santlofer

    Jonathan Santlofer produces some of the most aggressive paintings around. At the source of the strong impact made by each of the single panels and diptychs here is the supercharged relationship between the shaped edges and the illusionistic planar images. Surging sensations of colored space in movement and depth characterize these curvy, lushly painted pictorial forms.

    The paintings range in size from Breaking, 1982, which measures 21 1/4 by 20 inches, to the large diptychs like Duet II, 1982, which measures 82 by 79 inches. In the larger works the expansive qualities inherent in Santlofer’s

  • Helen Oji

    Helen Oji is fully involved in the current trend toward personalized visualizations, whether of formal issues like colored space or representational issues like the human figure. She first came to the general attention of the New York art world in 1980; the recent works develop the structural and thematic potential inherent in the examples from that period in intriguing ways.

    Space Shuttle, 1982, strongly recalls work such as Flight, 1980, but the newer piece is the bolder creation. Oji continues to use her mixed-media combination of acrylic: rhoplex, and glitter, and the unique shape—the

  • “Citysite Sculpture”

    Tne Citysite Sculpture project in the center of Toronto’s St. Lawrence Market area consists of one large-scale work each by the Canadian artist Melvin Charney and the American sculptors Robert Stackhouse and Nancy Holt. Funded by the Canadian federal, provincial, and municipal governments and aided by corporate donations of materials and manpower, the project was coordinated by Visual Arts Ontario, the largest artists’ association in Canada, which not only serves as a resource center for members but during its eight-year existence has become a progressive force for public-art education through


    ELIZABETH MURRAY IS ONE OF the few authentic pictorial pathfinders working today. Since the mid ’70s she has charted a strikingly personal and influential course through the Modernist-sanctioned yet supercharged concept of painting as colored space. Stressing eccentric geometries, deeply saturated hues, and constructively dynamic compositions, her vision has illuminated for many other artists, particularly those of the emerging generation, a way of making abstract paintings that simultaneously probe and reveal the physical and psychical dimensions of “colored space,” in a sharply individuated

  • Louisa Chase

    Louisa Chase’s recent paintings and drawings deal in the visual politics of seeing and feeling. In romantic picture-making of Chase’s type success is clearly a matter of image—what is important is the power of the image to persuade as sentiment and provoke as emotion, rather than any question of technique or color. At issue here, then, are not only the contents but the compositions.

    Landscape is the major theme in this group of works, although in canvases such as Storm, 1981, certain motifs (a floating hand, for example) recall the artist’s involvement with figurative subjects in the “Lives of

  • D. Jack Solomon

    D. Jack Solomon continues to center his droll pictorial fantasies around animals. Where the jungle and the zoo were the major themes in his last show, in 1980, cats now provide the main motif. In fact, the artist says the starting point for these pieces was the idea of a “cat coming in from the side.” This idea is rendered with inventive formal variations in these ambiguous narrative drawings and constructions.

    Certain devices in the drawings, with their frames within the frame, decorated margins, and plays on spatial and volumetric illusionism, display an interest in traditional Persian miniatures,

  • Joe Zucker

    Since 1969 Joe Zucker has made pictures on an eclectic array of subjects drawn from art, nature, history, literature, life, and, of course, the imagination. His sources have ranged from Byzantine mosaics through boxing to life on the Bowery. What is more notable about the pictures, however, is the medium: layered arrangements of different-sized, -shaped, and -colored acrylic-soaked and rhoplex-stained cotton balls. The development of Zucker’s cotton-ball technique into a manipulatable tool of pictorial expression was evident in this one-person retrospective, which surveyed his career from 1969