Emily Wilson

  • Amy Nathan, Forever separated, forever attached (detail), 2019, acrylic on panel, acrylic and Flashe paint on hydrocal, epoxy clay, hardware, 60 x 46 x 3".
    picks November 15, 2019

    Amy Nathan

    Ted Hughes’s 1997 translation of tales from Ovid’s Metamorphoses begins, “Now I am ready to tell how bodies are changed / Into different bodies.” Amy Nathan’s solo show “Glyph Slipper” presents drawings and sculptures that reimagine such changes, as well as the tools women use to transform and protect themselves in a misogynist world.

    Lady Slipper (all works 2019) is an inky abstraction of hands turning into high heels, and hangs near Fingertip Array, which depicts a grid of fingernails painted bright red. In another corner of the gallery, giant bobby pins open up into right angles in the sculpture

  • Wesley Tongson, Red Plums Over The Earth, 1993, ink on board, 37 4/5 x 58”.
    picks January 23, 2019

    Wesley Tongson

    Although this show includes just twenty-three works, it represents the range of Wesley Tongson’s thirty-year career, highlighting how the late Hong Kong–based artist expanded the traditional form of ink painting in which he was trained. The exhibition begins with some of his brightly colored abstract paintings made with splashed ink on rice paper and on board. To make Red Plums Over The Earth, 1993, Tongson first marbled the paper by dipping it in a pool of pigment and then painted the branches in dark, jagged lines, and finally added the magenta blossoms in splashed ink to achieve something