WHEN LONDON-BORN ARTIST CECILY BROWN LANDED IN NEW YORK CITY, where she has lived ever since, it was 1994, about a year after graduating from the Slade School of Art. She came to the United States as a budding painter in rebellion against the conceptual inclinations of the Young British Artists (YBAs). Brown, you might say, became a standard-bearer for another kind of YBA. After all, she was also young, British, and an artist—one, however, who exuberantly and fearlessly wielded a brush dipped into thick dabs of (wonderfully) messy, smelly, voluptuous paint. She arrived at a time when the medium, declared dead in the 1970s, was undergoing a resurrection, a rehabilitation. Her paintings, assuming a non-partisan stance, embraced both abstraction and figuration, toggling between the two: some more figurative, others…
