Paint’s materiality has a capacity to release meaning into the work, to underscore our vulnerable bodily presence in the world and time.
The artists in Post prove that paintings and drawings can be captivating years after they were done, and that a timely style has a way of becoming uninteresting, even mummifying.
Gabriel Solomon Brodie grew up in a tenement on Manhattan’s Lower East Side. That he became an artist who achieved what he did in a relatively short period — his career spans around twenty-five years — is a testament to his ferocious persistence. Wanting desperately to get himself out of his impoverished circumstances, he became a painter. He did so out of the purest motivation: he fell in love with painting.
Jocelyn once described her husband, Gandy Brodie (1924–1975) as a “delinquent Hebrew student.” In the novel Life on Sandpaper (Dalkey Archive Press, 2011), the Israeli novelist and painter Yoram Kaniuk writes about the time he and Gandy hung out together in New York, befriending Lenny Tristano and Charlie Parker, as well as Willem de Kooning and Tennessee Williams.