Page 47 - Studio International - February 1965

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great potential and in the flags, targets and nume,als
he has created a body of work that is comparable with
much of the best produced in the U.S.A. in recent years.
Looking at these canvases has its own visually
pleasant result. More in contrast cannot be said for the
objects either cast, coated in metal or presented as
themselves, stark or painted. These, by isolation, com­
mand attention but their communication is negative;
faced with their undiluted factualism and gaining noth­
ing we are left-alone. There are, after all, simpler ways
of inducing this condition. In The Critic sees, of glass
and Sculpmetal with plaster core, the artist's comment
is full of meaning and, if unsubtle, is certainly witty.
Bernard Cohen exhibiting his drawings from 1961 to
1964 at the Kasmin Gallery shows a consistently in­
ventive strain up to the most recent. It is easy to make a
comparison with the sinuous effects of Art Nouveau,
but we have to remember that much of what has
happened in world art since that popular movement of
the 1900s is known to the artist and is indeed evident
in some drawings that in abstract pattern are reminiscent
of Kandinsky compositions before 1920. In the latest
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