Annabeth Rosen

[7][38][10][39] Writers place equal weight on Rosen's postminimalist merging of formalism with emotion and intuitive gesture, which links her to sculptors Eva Hesse, Jackie Winsor, Yayoi Kusama and Lynda Benglis, among others.

Like her clay pieces, they emphasize painterly gesture, accumulation, immediacy, and conceptual and formal experimentation, and according to Art in America critic Glenn Adamson, attest to the "importance of furious, iterative mark-making to her practice.

[38][37] Maria Porges deemed the yellow-glazed work "a baroque, feminist-inflected riposte to Carl Andre's dour modular floor pieces: nature's fecundity riffing on the sometimes-humorless dryness of Minimalism.

"[2] Rosen's show "Moving in Place" (2003) featured abstract, squatty agglomerations of forms suggesting emergent seedpods, gourds, fruit and human organs with surfaces of chalky white slip fired over deep-colored glazes (e.g., Chromus, 2000).

[42][10] Writing about the stalky, bulbous work Cinctus I (2003), Ken Johnson likened it to an "ancient mold of spooky, moonlit antiquity [whose] weighty, slightly menacing muscularity" offered an exciting alternative to the typical refinement of ceramics.

[36][1][39][6] The larger works typically consisted of numerous, individually modeled biomorphic elements, piled and bound together with wire or rubber strips and seemingly about to topple, which were held upright by tall metal armatures resting on casters, like wheel carts.

[1][2][6] Kenneth Baker wrote that pieces such as Bunny (2011)—a dense cluster of writhing forms capped by a tuberous yellow figure—exhibited "a pitch of comic grotesquerie" making them appropriate "emblems of a culture in which voiceless instinct expresses itself as excess—of accumulation, consumption, impulsiveness or power.

"[36] He and others likened their surprisingly animated human qualities, alternately, to Medusa, absurd Philip Guston works come to life, writhing souls in a scene from Dante, and "the sinewy contortions" of the Mannerist sculptor Giambologna.

[37][7][2] Rosen's exhibition, "Tie Me to the Mast" (P.P.O.W., 2017), included Bank and Parcel (2011–8), two six-foot-high towers composed of tubes, gourds, balls and blobs wired and piled on a wheeled dolly that Art in America called "hilarious in their pendulous anthropomorphism.