Sunday, September 21, 2025

Opening Season: Abstraction and Landscape Part III: Cora Cohen at Greene Naftali

Small Space, 2012, oil on linen, 29 x 32 inches
The first painting in this knockout decade survey Cora Cohen: A Decade: 2012-22 at Greene Naftali.

She must have used a marble dust or water absorbent gesso, because the surface was so matte the blue shape looked collaged...the paint completely fused with the surface. Gorgeous.

A large painting relating to another (black) painting not in this post, but on the gallery website. There are overlaps in these vertical strokes to Louise Fishman, but with time such similarities decrease into the unique treatments of each artist. By this time Cohen was working very thinly with paint, sometimes also watercolor.

Terrain Vague, 2022, Flashe and watercolor on linen, 40 x 58 inches
Was this named after Mira Schor's brilliant essay Figure/Ground in her groundbreaking book Wet (1997).

Detail - hold on, will finish this post in a few hours!






 

Opening Season: Abstraction and Landscape Part II: Friedel Dzubas at Lincoln Glenn


Juicy, boisterous paint from Friedel Dzubas in The Slow Unfolding: Friedel Dzubas' Final Abstractions, through November 8th at Lincoln Glenn. Link here: https://www.lincolnglenn.com/exhibitions/38-the-slow-unfolding-friedel-dzubas-final-abstractions/works/


Some details of the prior painting--beautiful opaques and transparents together

Also hardened chips of paint among the exciting brushed areas. 

Amidst the maelstrom one uncovers vapor...

Two beauties as well as pulp paper works (that are painted on).
The exhibition covers a decade, similar to Cora Cohen's survey at Greene Naftali, here, 1980-1989.

I believe this is 1983, similar to his early studio-mate Frankenthaler--each harvesting a language for abstraction.

 

Opening Season: Abstraction and Landscape Part I: Cynthia Lin at Satchel Projects

StoneRoots 5770 InvBluGr, 2025, 60 x 48 inches, in Cynthia Lin's solo exhibition Strange Twin at Satchel Projects. For accurate color and press release visit https://www.satchelprojects.com/cynthia-lin

StoneRoots 5770 InvBluGr is a photographed landscape turned vertically. The upturned shoreline mirrors human bodies and the reflections cultural and political shifts. Lin, the Taiwanese-born daughter of scientists and a long-time New York resident, experiences dual cultures, familiar to anyone who instinctively recognizes the displacements of translation. The work also mirrors climate change, the instability of which increasingly turns us sideways.

BoulderStoneRoot5777 PinkAquaShimmer, 2025, 54 x 50 inches
The paint is equally doubled in its implications. Acrylic has been swapped for oil. Yet the soft repetitive strokes melding charcoal or acrylic in Lin's earlier work here stacks small, linear brushstrokes into dense networks of texture. The color is attended to in simultaneous contrasts that vibrate the eye, while shapes evolve as solid and volumetric as bodies.

Overturned5717 InvPinkIceBlue, 2025, oil on panel, 20 x 24 inches
A landsdcape that says it's overturned, translated from the many photos Lin takes of her experiences kayaking. Here, a wing-like form flays open, overturning Soutine's carcass of beef! The image feels important, containing the overlay of solid and ephemeral in repose, landscape as body, shell, or shroud.

StoneRoots5770 InvTurqBl, 2024, oil on canvas, 60 x 48 inches
Channeling Ingre's Monsieur Bertin, the branches become gnarled hands reaching out from the painting as the head literally splits in two. Andrea mentioned Gustave Klimt instantly conjuring the patterns of Dagobert Peche for me, as if their patterns inflated as forms tumbling from the body. 

BoneBranch5007, 2024, acrylic on canvas, 18 x 11 inches
The presiding spirit of the exhibition, the first in this sequence of paintings, presenting a flatter body that Lin returns to in her most recent work. The bucolic scene of a river and wood, re-envisioned as a ganglia of internal organs, represents both the ease with which experience is digitized and the way in which those processes yield new images that amplify our world in ways we don't even know.