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Malcolm Cochran at the Cleveland Center for Contemporary Art - Brief Article

In "[re]collection," Malcolm Cochran's midcareer contemplate the 51-year-old Ohio resident displayed seven statuarys and one film, plus photographs and additional documentation of his installations, public works of art and other statuarys spanning the years 1978 to 1999 He claims that his art is a rejoinder to his experiences in life, on the other hand one has to wonder about just what he remembers. undoubtedly not 240 pairs of misshapen Dutch made of wood clogs, their toes elongated and sides bulging from bunions and other deformities (Dutch Journal/Dutch Shoe 1996) Probably not 10 without contents rotating, oversized cast-iron platters (5 feet 6 inches in diameter) lined up across the gallery floor (Buffet of Memory and Anticipation, 1994/1999) Nor, as he newly admitted, did American romantic composer Amy Beach write that ditty he heard, although he built a glass, copse and steel cage containing a melodeon and eight oscillating fans dedicated to this (mis)recollection (Song Without Words [for Amy Beach], 1987)

Cochran's art is a strange if accurate way to hold a diary, a visual recording that gives form to the psychodynamics of mind and memory, evoking a representation of emotional responses. The de-peopl shoe of Dutch Journal/Dutch Shoe give rise to an uneasy fear of deformity and, perhaps consequently extermination. knock of Memory and Anticipation plays upon our expectations and nostalgia. Have we already eaten what life has to tender or is there more to come? carol Without Words (for Amy Beach) summon forths sympathy for the frustration of nation who speak, but no individual hears (or cares) what they say. similar meditations on absence permeate plenteous though not all of Cochran's work. single exception is the fantastic Dutch Journal/Spanish Collar (1996) in which Cochran transformed more than 3000 yards of those cotton roller-towels used in public bathrooms into a 4-foot-high, 15-foot-diameter version of the ruffl collar typical of late-16th-century and early-17th-century Dutch portraiture. Maybe too a great deal of art history could give individual such a nightmare.



Introspective art like greatest in quantity of Cochran's has a difficult task. It in some way needs to seduce the viewer to willfully engage in another person's experiences, emotions and psyche. A kind of transference is place up. Can you see yourself in Cochran? If not, do you care? The personally enigmatic work of art rises or falls upon this test. This reviewer cared more many times than not.

COPYRIGHT 2000 Brant Publications, Inc.

COPYRIGHT 2000 Gale Group



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