Writings by David Brody

Jane Dickson, LV17 (Small Skull), 2010. Oil on Canvas, 24 x 18 inches. Courtesy of Valentine Gallery

Flickering Purgatories: Jane Dickson paints Vegas

Her recent show was at Valentine Gallery, Queens


Winters Lakes: Terry Winters at Matthew Marks

His show continues through April 14

Lori Ellison, Untitled, 2011, gouache on wood panel, 10 x 8 inches. Courtesy of McKenzie Fine Art

Mesmerizing Claustrophobia: Drawings and Paintings by Lori Ellison

This review, from 2012, is offered as a tribute to the artist who died August 1

Gary Panter, Untitled (Robot). Acrylic on paper. Courtesy Fredericks & Freiser, New York

Inverting Aura: Paintings by Gary Panter

on view at Fredericks and Freiser through November 5

Daniel Wiener, All Around the Nether Reaches, 2010, Detail. Blown glass, 37 x 24 x 20 inches. Courtesy of the Artist

An Ethos of Industrious Neurosis: Daniel Wiener at Lesley Heller

His sculpture show ran from March 2 – April 3


Hippie Edenists Adrift: Judith Linhares at Edward Thorpe

On view until April 2

Peter Soriano, Other Side #93 (BASC), 2010, Steel Cable, aluminum pipe, and spray paint, Dimensions variable. Courtesy of Frederico Sève Gallery

Hardware and Software Conspire: Peter Soriano at Frederico Sève

Peter Soriano: Dimensions Variable ran from September 23 to November 6


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