Writings by David Brody

Photograph of Selina Trieff in 1960

Drawn to the Larger Mystery: Selina Trieff, 1934 to 2015


Her paintings were a comedy of strangely familiar selves


Marsha Cottrell, Aperture Series (15), 2014. Laser toner on paper, unique, 11-3/4 x 18-1/8 inches. Courtesy of Eleven Rivington

The Deliciousness of Staying Still: Marsha Cottrell at Eleven Rivington


“she treats electrostatic toner as a rich, primordial mezzotint”


Alexander Ross, Untitled, 2014. Crayon on paper, 30 x 22 1/2 inches. Courtesy of the artist and David Nolan Gallery.

Hybrids, Mutants: Alexander Ross at David Nolan


A show of “Archimboldo-esque coagulations that insist on being read as faces.”


detail of Roxy Paine, Checkpoint, 2014. Courtesy of Marianne Boesky Gallery

Denuded Lens: Roxy Paine at Marianne Boesky


spatial and informational compression in sculptures of relentless, scrupulous exploration


Matt Freedman, excerpt from Relatively Indolent But Relentless: A Cancer Treatment Journal, 2014.

Cancer, Chemo, Comedy: David Brody on Matt Freedman’s Cancer Treatment Journal


David Brody on Matt Freedman’s dark, comic, and touching memoir of recovery from cancer.


Installation view, DMMDIA at Smack Mellon, 2014.  Photo: Etienne Frossard

A Concentrated Rectangle of Glitz: Rob Hickman in Dumbo


His Smack Mellon installation inspires a “rave” review – and a proposition


Paul Glabicki, RELATIVITY # 6, 2013. Graphite pencil, Prismacolor pencil, ink acrylic on paper, 31-1/2 x 34-1/2 inches. Courtesy of the artist and Kim Foster Gallery

Hyper-Saturation of Sign and Signifier: Paul Glabicki’s Relativity


At Kim Foster Gallery through February 15


Matthew Blackwell, He Tries, 2011, detail. Oil and acrylic on canvas with collage, 65-1/5 x 46-1/2 inches. Courtesy of Edward Thorp Gallery

Bear Men in the Twilight Zone: Matthew Blackwell at Edward Thorp


His sculptures and paintings explicitly cross-pollinate for the first time


Installation view: Aldo Tambellini, We Are The Primitives Of A New Era at James Cohan Gallery, 2013. Photographer: Bill Orcutt

Spooky and Luscious: Aldo Tambellini at James Cohan


Reconstructed environments of pioneering cameraless films prefigure upcoming MoMA screenings


Joan Linder, Counter, sink, 2013. Ink on paper, accordion book, 31 x 156-1/2 inches (open). Courtesy of the Artist and Mixed Greens.

Joan Linder at Mixed Greens


on view through May 24