“A childhood in which I had been emotionally battered had left me with wounds I refused to acknowledge. But the darkness that threatened to envelope Jon in his bondage photos was a darkness I knew quite well; and it bound me to him.”
“Ropes” essay, Eclectica Magazine by Lee Brozgol
“Discovered in his studio by Brozgol’s family after his death, these paintings look like they were made yesterday; brightly colored, cartoonish depictions of the violence and erotica of a long-disappeared New York.”
“Brozgol’s work has deep roots in American culture—gritty, political art that offers a scathing, profound, and heartbreaking look at our country.”
- Author Periel Aschenbrand in Tablet Magazine
“Move over, Betsy Ross.” - Washington Post
“Being an artist was an aspect of my identity that was hardwired. Like the grass under the sidewalk, it had to grow and would push away the sidewalk. I was never trying to be an artist, or a beatnik, or fringe. It just came naturally. They couldn’t beat it out of me.”
- Brozgol interviewed for Pentales oral history project
Select Press
“Canvases punch hardest, with operatic scenes of the beautiful and damned rendered in vibrant colors, hard lines, and sumptuous patterns,” art writer Tim Schneider, The Gray Market
“Depicting vignettes of community history…the resulting presentation recognizes the many individuals who gave the neighborhood [Greenwich Village] its reputation as a cauldron of artistic and political actvitiy.” Official MTA writings on Lee Brozgol’s Greenwich Village Murals
“The vignettes of community history in the murals showcase children’s composite drawings, inspired and guided by an artist concerned with “identity” and its portrayal. The entire 1993 artwork honors the many individuals who made the neighborhood a focal point of artistic and political activity.” - Greenwich Village Society for Historic Preservation
”Architecture, fantasy, and city life are on display at After Lives, a group show curated by Foreign & Domestic Gallery,” Daniel Roche for The Architect’s Newspaper
“After completing his work at the Christopher Street subway stop, Brozgol designed a proposal for a 984-foot Eiffel Tower replica perched above Delancey Street clad with foliage, as an unsolicited monument to the Triangle Shirtwaist Factory Fire victims. ‘Eiffel on Delancey was about taking one of the most recognizable, posh symbols of high culture in the world and repurposing it into a monument for predominantly Jewish immigrant women who died through murderous negligence in a sweatshop,” - The Brooklyn Rail
”Brozgol’s tongue-in-cheek jab at cities’ attempts to turn sites of tragedy into tourist attractions,” HOME Gallery writing on Brozgol’s proposd Triangle Shirtwaist Factory Fire Memorial
Artist and Educator Adam Zucker writes on Brozgol’s Greenwich Village Murals for Artfully Learning
“We need to think about what to do when the government takes the position that there is no poetry.” Brozgol comments on the War Against Iraq at Detroit’s Museum of New Art (MONA)