Carrie Moyer’s first major monograph expansively represents the influential abstract painter’s work and queer agitprop.
Carrie Moyer consciously centers her painting as a practice about painting, with history as a subtext. Known for her incursions into Color Field painting, Moyer also traces her influences to iconic female artists of the twentieth century, such as Georgia O’Keeffe, and surrounding questions of taste, once quipping of her paintings that “[Helen] Frankenthaler and [Fernand] Léger met in a dark corner and had Elizabeth Murray.”
Moyer’s complex work merges abstract aesthetics and legible imagery: vividly colored and textured forms are embedded with a range of historical, stylistic, and physical references to Surrealism, Modernism, 1960s and ’70s counterculture graphics, and ’70s feminist art. Moyer often works on the floor, pouring, rolling, stippling, mopping the paint, and embellishing with glitter. An exploration of acrylic’s unique properties is a driving force in her work. Beginning as an intern at HERESIES, the pioneering feminist art magazine, Moyer has also engaged in critical practices beyond the studio.
This monograph enriches a deep dive into Moyer’s painting practice, in particular her work of the past decade, with a portfolio of the artist’s agitprop from the 1990s, including Dyke Action Machine! (DAM!), one of the first lesbian public art projects.
Les informations fournies dans la section « Synopsis » peuvent faire référence à une autre édition de ce titre.
Carrie Moyer is the director of Hunter College’s MFA program in Studio Art. Lauren O’Neill-Butler is a New York–based writer, editor, and educator. Katy Siegel is Eugene V. and Clare E. Thaw Endowed Chair in Modern American Art at Stony Brook University. Johanna Fateman is a writer, musician, and founding member of the rock band Le Tigre.
Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.
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Hardcover. Etat : new. Hardcover. Carrie Moyer consciously centres her painting as a practice about painting, with history as a subtext. Known for her incursions into Colour Field painting, Moyer also traces her influences to iconic female artists of the twentieth century, such as Georgia OKeeffe, and surrounding questions of taste, once quipping of her paintings that '[Helen] Frankenthaler and [Fernand] Leger met in a dark corner and had Elizabeth Murray'. Moyers complex work merges abstract aesthetics and legible imagery: vividly coloured and textured forms are embedded with a range of historical, stylistic, and physical references to Surrealism, Modernism, 1960s and 70s counterculture graphics, and 70s feminist art. Moyer often works on the floor, pouring, rolling, stippling, mopping the paint, and embellishing with glitter. An exploration of acrylics unique properties is a driving force in her work. Beginning as an intern at Heresies, the pioneering feminist art magazine, Moyer has also engaged in critical practices beyond the studio. This monograph enriches a deep dive into Moyers painting practice, in particular her work of the past decade, with a portfolio of the artists agitprop from the 1990s, including Dyke Action Machine! (DAM!), one of the first lesbian public art projects. Carrie Moyers first major monograph expansively represents the influential abstract painters work and queer agitprop. Shipping may be from multiple locations in the US or from the UK, depending on stock availability. N° de réf. du vendeur 9780847870264
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Hardcover. Etat : VG+/VG+. Hardcover with blue cloth wrap and embossed title on front. Color printed paper dustjacket 263 pages : nuerous reproductions (chiefly color). Carrie Moyer's first major monograph expansively represents the influential abstract painter's work and queer agitprop. Carrie Moyer consciously centers her painting as a practice about painting, with history as a subtext. Known for her incursions into Color Field painting, Moyer also traces her influences to iconic female artists of the twentieth century, such as Georgia O'Keeffe, and surrounding questions of taste, once quipping of her paintings that "[Helen] Frankenthaler and [Fernand] Léger met in a dark corner and had Elizabeth Murray. N° de réf. du vendeur 201412
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