Writings by David Brody

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Who, Me? James Esber and the Megolomania of the Group Portrait


Up through December 23. Friends of the artist traced his drawing of Osama bin Laden


Paul Rudolph, Final rendering of the interior of the HUB including people mover, c. 1967-1972. Color slide. Courtesy of the Paul Rudolph Archive, Library of Congress Prints and Photographs Division.

Brutalist Bridge Builder: Paul Rudolph’s plans for a Lower Manhattan Expressway


Exhibition, organized by Drawing Center, was at the Cooper Union this fall


Thomas Nozkowski, Untitled (N-26), 2010, Ink, colored pencil, oil and crayon on paper, 8 5/8 x 9-13/16" inches. The Pace Gallery

The Model Abstraction for Our Times: Thomas Nozkowski at Pace


A counter argument to David Cohen’s earlier review of the same show


Pam Lims, Medusa page design decoy, 2010. Spray paint and acrylic on panel, paint, ACX plywood, plaster, approx. 66 x 20 x 20 inches. Courtesy Rachel Uffner Gallery

The Fifth Leg: Pam Lins at Rachel Uffner Gallery


Pam Lims: Problem Picture Sources New Sculptures up through October 24


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Contrapuntal Infinitudes: Il Lee at Art Projects International


For some 30 years Il Lee has exclusively used, and abused, ballpoint pens.


William Kentridge, Drawing for the film Sobriety, Obesity & Growing Old [Soho and Mrs. Eckstein in Pool], 1991. Charcoal and pastel on paper, 47-1/4 x 59 inches. Collection of the artist © 2010 William Kentridge. Photo: John Hodgkiss, courtesy the artist

Taking the World by Drawing: William Kentridge and Animation


Where should we locate Kentridge’s sequential, continuous drawing within the eye-popping history of drawn animation?


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Carl Fudge: Dazzle at Ronald Feldman Gallery


Sometimes Fudge seems to be searching for hidden sweet spots in the harmonics of recognition.


Louise Belcourt, HedgeLand Painting #9 2009. Oil on canvas over panel, 30 x 41 inches. Courtesy Jeff Bailey Gallery

Louise Belcourt at Jeff Bailey Gallery


February 17 to March 27 511 W 25TH Street, Second Floor New York City, 212 989 0156 Clouds and shrubbery, water and air have long been insinuating themselves into Louise Belcourt’s lusciously brushed color fields that otherwise can seem bequeathed from Friedl Dzubas or Helen Frankenthaler.  Belcourt raises the stakes of this mingling of painting…


Charles Steffen, Red Headed Stripper at the End of Her Act 1991. Pencil on brown wrapping paper, 49 x 30 inches. Courtesy Andrew Edlin Gallery

Charles Steffen: Drawing Nudes is Like Saying a Prayer, Amen at Andrew Edlin Gallery


Stylistic textures are revealed to be unselfconscious tics without which Steffen cannot construct flesh.


Phillip Taaffe, Subsaxana, 2007. Mixed media on paper, 21 x 30 inches. images courtesy of Gagosian Gallery

Phillip Taaffe at Gagosian


Taaffe’s pure decorativeness nevertheless embraces, almost as fetish, the visible husks of signs.