• Nancy Pierson

    Ovsey Gallery

    Nancy Pierson’s thoroughly peculiar tableaux of middle-aged women suggest, through their eccentric wordless narratives, the tangled webs of female-to-female relations.

    The figures in these charcoal works on paper are positioned with an intentional stiltedness. If pushed much further, this quality could come off as conventionally allegorical; as it is, the slight stiffness contributes to the work’s overall oddness. Making use of smudged areas as well as fine cross-hatching, Pierson’s renderings contain a measure of neo-Gothic spookiness, which is quite magnetic. The women in these works look like

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  • Tom Wudl

    L.A. Louver

    Tom Wudl’s tour of earthly delights takes two forms. Tiny paintings (as small as four by three inches) of isolated objects—a goblet, a yellow fish, a bird, a hand holding a bullet paradoxicallyfeel as expansive as the gigantic The Rapture of Dionysus (all works 1991), a painting that features an explosion of information—a burst of flora, a clock, a deck shoe, a violin, and the Challenger spaceship exploding in a galaxy studded with stars and planets. Small paintings have a tendency to be awkwardly constricted, but Wudl’s diminutive works do not fall prey to rigidity and stiffness; they

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