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Cotter was a freelance writer for the New York Times from 1992 to 1997 before being hired as a full-time art critic in 1998. [1] Specifically hired for his expertise in Asian art, [4] he is credited with exposing contemporary Indian and Chinese art to a Western audience.
— Holland Cotter (The New York Times) [3] The New Yorker presented a short response for the exhibition: The several dozen artists whose work is featured in this superlative survey did not conform to one style, but they did share urgent concerns, often addressing issues of bias and exclusion in their art—and in their art-world organizing.
2009: Holland Cotter, The New York Times, "for his wide ranging reviews of art, from Manhattan to China, marked by acute observation, luminous writing and dramatic storytelling" [2] Inga Saffron, The Philadelphia Inquirer , "for her fascinating and convincing architectural critiques that boldly confront important topics, from urban planning ...
Writing in The New York Times after the exhibition's opening in Mississippi, critic Holland Cotter called the show "richly varied" and designated it a critic's pick, praising works by Bradford, Charlton, and Richmond-Edwards, among others. [2] Cotter later included the show on his list in the Times of the best exhibitions of 2022. [21]
The New York Times critic Holland Cotter found that decision disappointing: "It doesn't require a sensitivity to subtexts to see that the composition, no matter how you gloss it, is quite literally an emblem of white-man-on-top." [13]
In The New York Times, Holland Cotter describes a selection of Gussow's later pastels, "...passages of undulating horizontal lines suggested both flowing water and fingerprint patterns, summing up the intimate link between man and nature that was Mr. Gussow's central concern." [1]
New Jersey Devils center Paul Cotter (47) celebrates his goal during the first period of an NHL hockey game against the Washington Capitals, Saturday, Oct. 12, 2024, in Washington.
Holland Cotter of The New York Times wrote that the show "is a button-pushing marvel: ethereal and gross, graceful and utterly manipulative, and poised on a line where fashion turns into something else", but also noted that the exhibit steers clear of addressing questions about the contradictions in his work. [7]