Sarah Cowan


Polly Apfelbaum Plays with Pattern

by Sarah Cowan on August 1, 2014

'Polly Apfelbaum: A Handweaver's Pattern Book' at Clifton Benevento

Among the sleek catalogues at the entrance to the Clifton Benevento Gallery sits a tattered hardcover, its paper jacket ripped to reveal the plain binding. This is artist Polly Apfelbaum’s copy of A Handweaver’s Pattern Book.

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Post image for The Yams Collective’s Collage of Black Experience

There was no mention of the Whitney Museum or the Biennial, of Joe Scanlan, Donelle Woolford, or Michelle Grabner on the microphone at alternative arts space Freecandy last Thursday night.

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Post image for Searching for Jay DeFeo (Again)

A show like the one currently up at Mitchell-Innes & Nash, which homes in on Jay DeFeo’s post-“Rose” output until her death in 1989, is still direly important.

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Collaging Art History in the Kitchen

by Sarah Cowan on March 24, 2014

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Suffering from inner ear problems possibly related to the chemicals in the black-and-white photographic process, and urged further by the extinction of Kodak film, Jed Devine has turned to (gasp!) digital, and what’s more, to color. He might as well be working in a different medium altogether.

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Seeing Calder Through His Shadows

by Sarah Cowan on December 17, 2013

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When I was little I went to the Whitney Museum over and over to see “Cirque Calder,” Alexander Calder’s three-dimensional cartoon of performers preening, frozen in mise-en-scène. Walking into Calder Shadows, on view at Venus Over Manhattan, I felt the same childish camaraderie with the artist, only this time it held fear of the bogeyman.

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All the Art That’s Fit to Print

by Sarah Cowan on October 14, 2013

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It’s not clear who scooped whom, but there are two gallery shows now on view in New York that examine the relationship between art and the newspaper.

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Post image for Without Beginning or End: Yves Klein’s Monotone-Silence Symphony

Last Wednesday, the Madison Avenue Presbyterian Church was filled with an unlikely congregation of strangers: from art insiders to the media-savvy lucky enough to snag a ticket to Yves Klein’s Monotone-Silence Symphony.

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The Inner Life of a Museum

by Sarah Cowan on July 25, 2013

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Jem Cohen’s new feature film, Museum Hours, unfolds like a series of postcards from a lonely traveler, fresh with the pressure of on-site writing while calculating that the memory will be received miles and days away. Shooting primarily in Vienna’s Kunsthistorisches Museum, Cohen’s foreign camera seeks the familiar: the stony wrinkles around ancient Roman eyes, a clean white egg inside a still life, a child’s ill-fitting hat in one of Bruegel’s noisy marketplaces. Art, Cohen seems to say, is a refuge for the outsider.

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