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showcase your art to thousands
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| Charles Cohen | |
1968, New York. |
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| About the Artist | |
Charles Cohen (New York, USA) Currently represented by Bonni Benrubi Gallery in New York, Genovese/Sullivan in Boston, Imago Galleries in Palm Desert, and LUMAS in Berlin, Charles Cohen participated in the Core Fellowship program at the Museum of Fine Arts, Houston after earning his MFA in photography at the Rhode Island School of Design. In addition to traditional photography Cohen uses video, digital imaging and sculpture to explore various aspects of a central theme—the presence of absence. Cohen often finds or applies abstraction to mundane subjects provoking the viewer to complete the meaning of a piece. As in his "Buff" series, a silhouette (foreground) contrasting with its background has become a signature style. Cohen’s work has been exhibited in New York, Paris, Boston, Houston, San Francisco, Portland, Lisbon and Berlin. It can be seen in two recently released books: "Digital Art" by Christiane Paul published by Thames & Hudson, and "CURVE: The Female Nude Now" by Dailey, Meghan et al, published by Rizzoli, as well as two forthcoming books, “100 New York Photographers” by Cynthia Dantzic, and “Art/Porn: A History of Seeing and Touching” by Kelly Dennis. |
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| Click to enlarge images (if larger image has been loaded) |
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analogtime02
2003 |
','Image'))
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| Ed 10 plus 2 AP's. Price does not include frame. |
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analogtime03
2006 |
','Image'))
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| Ed 10 plus 2AP's. Price does not include frame |
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analogtime01
2003 |
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| Most wouldn’t admit that it’s because it requires more work, but I can. I also hate being deceived by an imprecise instrument. But my “highest” reason is because the shapes of the digital numbers morphing and conversing like a self-sustaining language are beautiful. This is real pleasure. Why should I attempt to appreciate anything else let alone deny what comes naturally? Despite the indication of any weakness on my part, I love Digital, I love her.
Why run away from our weaknesses anyway? Why is it so bad to give in to the tendencies of the heart even if they are not advisable? If she is what makes me tick how bad can she really be for me? Certainly not because she is something I desire.
Ed 10 plus 2APs. Price does not include frame. |
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Untitled from "The Secret Light of Trees"
2007 |
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| On your next midnight stroll, be enlightened by the tangy spectrum of unnatural, neon-tungsten glows. Don't recalibrate. Look up! As you see the flora fluoresce, know that you are no different than the trees beneath the light. The guard between "nature" and "culture", between "out there" and "in here" not only ceases to exist but also reveals itself as an expired artifact—the boring metaphor of perceiver and perceived. We have the light to thank always. On one hand, electron theatrics, as real as they are merely abuzz, dictate reality—we are dependent on the light. And on the other, we are incapable of owning up to our own authority over perception. In either case, the dynamic between perceiver and perceived is only a narrative introduction that easily surrenders to poetic union. Illuminated, we have a path and a secret: we are no different from the trees. The secret light of trees is our secret too. That’s the secret itself. In this overlap of nature and culture, while a duality is exposed, a true singularity is revealed—a virtuous conflation, of "subject" and "object". Choose to perceive in this way, allow the dialectic of perception to progress, adhere to permanence only as much as you embrace flux and contradiction. The rest is easy.
Edition 10 plus 2 AP |
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Untitled from "The Secret Light of Trees"
2007 |
','Image'))
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| This work is from an ongoing theme of the conflation of Nature and Human Nature. Ed 10 plus 2AP's. Price includes face-mounting to plexi with hanging bracket. |
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pic_071 from the series
2000 |
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| In the case of Buff, a void replaces what is expected. Because the intended function of pornography is simple and explicit, to entertain the voyeur, it is thus easily manipulated. As well, while pornography suggests participation that we can thus observe the phenomenon of stimulation in a more heighten fashion. This is the process of abstraction.
While in most cases the pictures are still clearly erotic, one finds oneself appreciating the image in ways not common to pornography. This is an effect of abstraction. The color palette, the interaction of light and shadow, negative space, and references to art history contribute to an unexpected beauty. Several dualities become apparent and are changed: the background and the subject (foreground), the refined and the crude, the private and the public, the perceiver and the perceived, and the present and the absent, among others. The relationships between these themes find a dynamic equilibrium dependent on the viewer.
It is the spirit that the participant lends to a piece that makes it more than the sum of its parts. If one chooses to react to Buff the way one would to pornography, perhaps one might welcome the opportunity for insight into one’s own relationship to the images. Abstraction alters a conditioned response just enough to draw attention to the preconceptions that we bring to the act of observation as well as the process of abstraction itself.
Abstraction does not only occur when we cannot identify elements of a piece. To the contrary, when any given program, image, or object is reduced to its separate components, and one is removed or emphasized over another, the interruption that ensues is the wedge that allows us to find intellectual pleasure and beauty where we do not expect it.
Ed 20, 1 exhibition print NFS. Price includes face-mounting to plexi with hanging bracket. |
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pic21 from the series
2001 |
)
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| Ed 20, 1 exhibition print NFS. Price includes face-mounting to plexi with hanging bracket. |
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Untitled from "The Secret Light of Trees"
2008 |
','Image'))
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| This work is part of an ongoing theme of the conflation of Nature and Human Nature. Ed 10 plus 2AP's. Price includes face-mounting to plexi with hanging bracket. |
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Untitled from "The Secret Light of Trees"
2009 |
)
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| This work is part of an ongoing theme of the conflation of Nature and Human Nature. Ed 10 plus 2AP's. Price includes face-mounting to plexi with hanging bracket. |
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Untitled from "The Secret Light of Trees"
2009 |
)
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| This work is part of an ongoing theme of the conflation of Nature and Human Nature. Ed 10 plus 2AP's. Price includes face-mounting to plexi with hanging bracket. |
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Untitled from "The Secret Light of Trees"
2009 |
)
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| This work is part of an ongoing theme of the conflation of Nature and Human Nature. Ed 10 plus 2AP's. Price includes face-mounting to plexi with hanging bracket. |
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| Education and biography | |
| download a complete biography from: http://www.promulgator.com/bio.pdf |
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| Future shows | |
| Centro Cultural Recoleta, Buenos Aires The Jerusalem Artist's House, Israel |
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| Website: www.promulgator.com | |
| IF YOU ARE INTERESTED IN CONTACTING THIS ARTIST, CLICK HERE | |
CLICK HERE TO SEND THIS PROFILE TO YOUR FRIENDS |
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