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Exhibited:
Gimpel Fils, Bernard Cohen: Paintings, December 1958, no.5, illustrated in the catalogue
Cohen’s rejection of representation was austere, for with it he rejected colour, and went as far as he could to exclude both composition and (abstract) image. For about eighteen months, his aim was to produce pictures that were entirely empty in these senses but which should be very positive as projections of action and concrete as marks. These paintings were restricted to blacks, whites and greys; muscular and vigorous, they evoke limited space through an irregular lattice structure, and read like more congested and episodic cousins to de Kooning’s paintings of the same period
-Richard Morphet, Bernard Cohen, Arts Council exhibition, Introduction, p.6 |
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