new-york

Nancy Bowen

Annina Nosei Gallery

These days, Louise Bourgeois–inspired sculpture seems ubiquitous, but Nancy Bowen gives a newly sharpened edge to biomorphic sculpture through a finely calibrated use of diverse materials such as glass, clay, bronze, wax, and synthetic hair; witty and pointed extrapolations of form; a cross-pollination of craft traditions with specifically sculptural concerns; but especially through the intensity of her investment in the by now stock thematics of “the body.”

Typical of Bowen’s concerns and methods is Aural Obsession, 1992–93, one of the largest of the 12 sculptures here (there were also four monoprints). A four-legged steel armature raises a clutch of Bourgeois-esque organic shapes in red clay. One reviewer saw them as a “big welcoming bosom,” though thanks to their small openings they looked more like bladders, all the more so as one of those openings seemed to be expelling (or perhaps

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