Writings by David Brody

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?


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.

Eric Fischl, Corrida in Ronda #6 2008. Oil on linen, 84 by 120 inches. Courtesy of Mary Boone Gallery, New York

Eric Fischl at Mary Boone

By all rights these life-and-death-size duels in the sun between bullfighters and bulls should be awful, stripped of the mystery and mediation that until now had been the artist’s stock-in-trade.

Elliott Green, Lemmonny Soap 2009. Oil on linen, 18 x 24 inches. Courtesy of D’Amelio Terras

Elliot Green: Personified Abstraction at D’Amelio Terras

Green’s current paintings supplant his earlier “limited animation” mock-mayhem with the saturated glazes and rendered anatomies of a Golden Age chipmunk fable.


Roxy Paine on the Roof: Maelstrom at the Metropolitan Museum of Art

Paine manages to steer these leafless “Dendroids,” as he calls them, between the Scylla of transparency and the Charibdis of mechanization.


Pablo Picasso: Mosqueteros at Gagosian Gallery

The problem with late Picasso has to do with his stubborn insistence on diaristic expressionism increasingly isolated from changing times.


Brooklyn DIY: A Story of Williamsburg Art Scene 1987-2007 directed by Martin Ramocki

In Julian Schnabel’s film Basquiat, the title character, exemplar of the flameout credo of the East Village, is assisting an artist-installer at the Mary Boone Gallery.  This mediocrity, played by Willem Da Foe, attempts to counsel the hero about the benefits of a reliable day job.  Basquiat replies that someday he would show on those very…