The Office Inbox: “Brock Enright: Good Times Will Never Be The Same,” a documentary by Jody Lee Lipes

This week NYAB checked out Brock Enright: Good Times Will Never Be The Same, Jody Lee Lipes’ documentary about the off-kilter, passionate, and often goofy journey of Brooklyn-based artist Brock Enright and his girlfriend, painter Kirsten Deirup.

In Oddly Enough Reviews by Teri Duerr 2009-06-25 print

This week NYAB checked out “Brock Enright: Good Times Will Never Be The Same,” Jody Lee Lipes’ documentary about the off-kilter, passionate, and often goofy journey of Brooklyn-based artist Brock Enright and his girlfriend, painter Kirsten Deirup. The film, which premiered at SXSW earlier this year, was shot mostly in 2007. It documents the couple’s retreat to the California woods near Deirup’s family cabin to prepare for Enright’s first solo exhibition for the Perry Rubenstein Gallery. Enright’s no-holds-barred quest for his muse collides bizarrely with a “Meet the Parents” scenario, in which the artist attempts to do right by his lady, win over her family, and make his art—which involves theater of the absurd, dancing nude under the moon, burning stuff, shooting stuff, drinking with power tools, slashing Gallerist Nicelle Beauchene’s tires, blowing a $40K budget, and other self-indulgent/inspired antics.

Thanks to Lipes’ graceful cinema vérité style, cinematographer’s eye, and his complicit, but not too complicit, filming relationship with the charismatic Enright, the artistic journey manages to guide audiences through the expected tropes referencing Art, Genius, and Creativity in ways that seem intimate, unexpected, and very funny. Cynics will note what a savvy companion piece to the career and work of the emerging artist Enright “Good Times Will Never Be The Same” is; which is certainly true, but it also stands as a mirthful, gently-subversive, and ultimately sweet tale all on its own.

Teri Duerr

Teri Duerr. Teri lives in Brooklyn where she co-runs Horse+Dragon NYC, a boutique agency that puts creative talents to work on publicity, editing, design, and events/exhibitions for artists, writers and nonprofit friends. She has spent much of the last year launching publicity campaigns for films at Tribeca, Sundance, SXSW, MoMA, and for television broadcast. In addition to being a contributing editor for the highly dubious culture publication Chief Magazine, and a book reviews editor for Mystery Scene, she spent four years as director and editorial mentor for the Minneapolis teen girls’ magazine Chicas in the Mix, followed In 2000 by editor in chief posts at events & culture magazines Tokyo Scene and Kansai Scene in Japan. Her editorial and photo production work has appeared in places like Best Life, The Source, Men’s Health, Organic Style, Vogue Korea, Vogue China, and most recently Tom Tom Magazine and CODE. » See other writings

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