«Future
Greats», December 2005 «Twelve Footnotes for Ian Monroe», Tom Morton, Show Catalog, Haunch of Venison, Zurich Art Review, «The Walls Came Down» Jay Merrick, July 2005 «Ian Monroe's Architecture», Barry Schwabsky, Show Catalog «They Built Upon It», Haunch of Venison, London 2004 Modern Painters, «All in the Best Bad
Taste» Sally O'reilly, Dec 2004 - Jan 2005 2003 Art Monthly, «
Anyway», Bruce Haines, May 2004, number 276 Contemporary, «The Queen Mum Show» Jamie Lau, issue 53/54 The Times, «New Blood at RA Summer Show Gets Old Blood Boiling» Dalya Alberge, May 29 The Royal Academy of Arts Magazine, «Summer Exhibition» Sebastian Smee, Summer 2003, number 79 Arena, «The Boom», Tom Morton, July, number 136 The Spectator, «Formidable Power», Andrew Lambirth, May 17 Art Review, «Saatchi's New Sensation», Meredith Etherinton - Smith, May Evening Standard, Metro Life, «The Saatchi Effect» Hephzibah Anderson, April 18 The Observer, «Space Traveller», Alison Roberts, April 20 Telegraph Magazine, «Adventures in Saatchiland», Colin Gleadell, March 29 2002 The Sunday Times, «Saatchi's Rival to the Tate Takes Shape» Richard Brooks, September 8 Time Out London.
By my reckoning,
anyway, the emergence of Frank Cohen as the Frick or Guggenheim of Manchester, to say nothing of his appointment as a judge of this year's Turner prize - a force, now, in the formation no less than the corroboration of
taste, for whoever buys must inevitably influence - is a
great tonic for a milieu notoriously shrinking and uncommunicative.