Judith Belzer by Jack Stephens

Part of the Editor's Choice series.

BOMB 59 Spring 1997
Issue 59 059  Spring 1997

Discover MFA Programs in Art and Writing

Belzer 1

Judith Belzer, Leaves #2, 1996, oil on canvas, unframed, 22 × 36 inches. All images courtesy of Berry-Hill Gallery.

When I stand before Judith Belzer’s leaf-lavish canvases, I find my mind’s eye crawling hands and knees through thick underbrush, looking for what—my lost baseball, ripe berries, a childhood sanctum? The point is I’m compelled beyond the surface and beyond the seemingly simple context of blurred foliage and suffusive light that defines the world of each painting. I am engaged in a powerful subjective search for some things lost and some things yet to be had.

Belzer’s tradition is pictorial. While her earlier work relied on the natural beauty of tranquil riparian settings—the kinds of places where a duck might safely nest, or picnickers lounge—this new work, though still quite descriptive of the natural world, is more abstract, and so it’s more active. Not only has she stepped up her level of expression, she’s achieved a penetrating dimensionality. These are not just leaves deconstructed by the solvent of abstractionism. They are leaf-like nebulosities which appear to be coming into being the way light resolves through a telescope to become celestial objects.

Belzer 2

Judith Belzer, Bare Branches #4, 1996, oil on canvas, unframed, 40 × 70 inches.

Without any of the dimensional references ordinarily used to engineer perspective—no horizon, no vanishing point, etc.—and nothing to establish a context of scale, Belzer manages her light to compel our gaze in exploratory, investigative ways. By restricting her focus to a shallow, photographic depth of field, she allows whatever leaf, twig, or clump of bright berries which happens to land in that plane an accidental clarity. After that, whatever else her brush intuits, insinuates, or implies, takes care of itself. It’s interesting that by staying “shallow” Belzer achieves so much depth.

Jan Hendrix by George Mead Moore
Hendrix 02
Jacqueline Humphries by Cecily Brown
Humphries 01

It’s a relatively limited type of adjective that clings to recent abstract painting: intricate, quiet, lyrical, seductive, mysterious, atmospheric.

One Piece: Untitled by Johnny Abrahams
Johnny Abrahams Untitled Studio One Piece

The artist talks about the genesis, composition, and execution of a recently completed work.

One Piece: The Old Bars (after M.H.) by David Salle
David Salle The Old Bars

The artist talks about the genesis, composition, and execution of a recently completed work.

Originally published in

BOMB 59, Spring 1997

Featuring interviews with Tim Roth, Amy Hempel, Emmylou Harris, Matthew Ritchie, Wallace Shawn, Christian Wolff, Gilles Peress, Kendall Thomas, and George Walker.

Read the issue
Issue 59 059  Spring 1997