Carrie Moyer
| Carrie Moyer | |
|---|---|
| Born | 1960 Detroit, Michigan |
| Nationality | American |
| Education | BFA, Pratt Institute; MFA, Milton Avery School of the Arts, Bard College |
| Known for | Painting, Writing |
| Awards | Joan Mitchell Painters and Sculptors Grant, Anonymous Was a Woman Award, Creative Capital Foundation Grant |
| Website | http://www.carriemoyer.com |
Carrie Moyer is an American painter and writer living in Brooklyn, NY. Moyer's paintings and public art projects have been exhibited both in the US and Europe since the early 1990s.
Carrie Moyer is a painter and writer who has been showing her work since the mid-1990s. Her work has been widely exhibited at national and international venues including MoMA PS1 the Tang, Worcester Art Museum, Weatherspoon Art Museum, Cooper-Hewitt National Design Museum of the Smithsonian Institution and American University Museums; Shedhalle (Zurich) and Project Art Space (Dublin) among others.
Moyer, born in Detroit, Michigan in 1960, received a BFA from Pratt Institute in 1985, an MA in Computer Graphics from New York Institute of Technology and an MFA from the Milton Avery Graduate School of the Arts at Bard College in 2001. In 1995 she was a student at the Skowhegan School of Painting and Sculpture. Moyer has been awarded numerous grants, awards and residencies including a Joan Mitchell Foundation Painters and Sculptors Grant and an Anonymous Was A Woman Award (both 2009), Creative Capital Award (2000), Elaine de Kooning Memorial Fellowship (1999), Peter Norton Family Foundation Project Grant (1999) and the National Studio Program at PS1/Institute for Contemporary Art, New York, NY (1996). She is an Associate Professor in the Department of Art at Hunter College. Moyer was represented by CANADA Gallery in New York City from 2003 until 2015; she is now represented by DC Moore Gallery.
For the past two decades, Carrie Moyer’s paintings have merged abstract aesthetics and political imagery. Complex and seductive paintings layer vividly colored and textured biomorphic forms with a range of historical, stylistic and physical references that include Color Field, Social Realist, and Surrealist paintings, 1960s and ’70s counter culture graphics, 1970s feminist art, and bodily forms and fluids. Moyer often works on the floor, pouring, rolling, stippling, mopping, and hand-working the paint, as well as adding sections of glitter.
Critic Martha Schwendener has written about Moyer's paintings:
By juxtaposing the ancient, modern, and contemporary, Moyer rips images out of their old contexts and circulates them in a new one—"cross-wiring," she calls it. Slipping between abstract and representational, the raw canvases are built up with strata of translucent and opaque color, positive and negative shapes, and solids and silhouettes that reference different historical periods: ancient fertility figures with bulging hips; vases with breasts circling their perimeters; murky blobs that recall the paintings of biomorphic Surrealism. These juxtapositions make a commentary on an unsettling subtext here, a suggestion of the way women have served as talismanic muse-objects in past art instead of intelligent innovators.
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