Unlike contemporary text artists such as Laurence Weiner and his followers, the prolific Amy Wilson is more interested in the narrative use of language than in its semantic meaning. Her current show at BravinLee features her usual cast of innocent, skinny-legged girls, all dressed in micro-minis, surrounded by handwritten text bubbles containing confessional outpourings about politics, art, science, and metaphysics. The thematic focus of the show, The Myth of Loneliness, is a fascinating fifteen-foot-long handmade pop-up book in which her penciled text snakes around three-dimensional paper buildings, trees, trains, and bridges. While reading it, I got the discomfiting feeling that I was inside Wilson’s head, listening to her think. The text in one drawing revealed that when she was a child, she thought the constant activity humming in her brain was abnormal. In later passages we learn that as she grew up, she came to appreciate and indulge her mind’s constant agitation, which is clearly evident in the engaging drawings and books presented here.
“Amy Wilson: The Myth of Loneliness,” BravinLee, New York, NY. Through