new-york

Jane Rosen

Grace Borgenicht

The wall sculpture that Jane Rosen exhibited last year displayed a certain kinship with Gregory Amenoff’s paintings. Each of these artists used a vocabulary of biomorphic abstraction to evoke a self-reflexive vision of nature’s forces and processes. In Rosen’s case, the cocoonlike forms seemed to be intended as metaphorical surrogates of women’s collective body, which is linked with nature because both are sites of creation. In addition to the cocoonlike wall pieces, that exhibition also included three freestanding bird effigies.

In her most recent work, shown here in an exhibition entitled “Oak Island Studies,” Rosen has further explored the metaphorical possibilities embedded within a vocabulary derived from the observation of birds in natural history museums and in the world. The exhibition consisted of seven sculptures and three works on paper, all 1987; five of the sculptures, all of

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