Brian Moss: Curated by Lisa Yuskavage

c u e a r t f o u n d at i o n

dates tk, 2004 Curated by Lisa Yukasavage

BRIAN MOSS

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*

This exhibition was made possible by the generous support of Company name here

c u r at or’s s t at e m e n t

a r t i s t ’ s s tat e m e n t

Brian and I went to Tyler School of Art from 1980-84.

Having lived through the slow and painful process of watching loved ones die

As in most colleges, good friends were made and lifetime relationships

p re m at u re l y, I have pursued existential issues around death and decay,

blossomed.

memory, loss and history and their relation to photography and representation

But in the case of our college days, the profundity of life got in the way of

ever since. Reading Roland Barthes' Camera Lucida was a transformative expe-

parties when everyone started getting sick: Marsha Marritz, Brian’s girlfriend

rience for me in that it really solidified the peculiar relationship between death

first of Hodgkin’s Disease, and then Guy Kitchen, his best friend of AIDS.

and photography. The work presented here fulfills my need to keep exploring

Marsha was 25 and Guy was 38 when they passed.

this rich subject.

Biography aside, these photographs move me. I see them as profound and unfiltered expressions of sadness.

It is rare that someone bears themselves so clearly.

Lisa Yukasavage

Brian Moss

0 5 - 2 2 - 01, 2001 Silverprint, Dimensions variable

0 5 - 2 5 - 01, 2001 C-print, Dimensions variable

0 5 - 2 6 - 01, 2001 C-print, Dimensions variable

0 6 - 02 - 01, 2001 Ilfachrome, Dimensions variable

0 6 -1 9 - 01, 2001 C-print, Dimensions variable

0 6 - 2 2 - 01, 2001 Ilfachrome, Dimensions variable

0 6 - 2 6 - 01, 2001 C-print, Dimensions variable

0 6 - 2 9 - 01, 2001 Ilfachrome, Dimensions variable

07- 0 4 - 01, 2001 C-print, Dimensions variable

07- 0 8 - 01, 2001 Silverprint, Dimensions variable

07- 0 9 - 01, 2001 Ilfachrome, Dimensions variable

07-1 1 - 01, 2001 Ilfachrome, Dimensions variable

artist’s bi ography

c u r at o r ’ s b i o g r a p h y

Brian Moss is an artist who uses drawing, photography, sculpture, installation,

Lisa Yuskavage received a BFA from Tyler School of Art and an MFA from Yale

computers and the written word in his work. He was born in Philadelphia and

School of Art. She has exhibited in numerous important group shows including

studied painting at Tyler School of Art and Temple University Abroad, Rome

SITE Santa Fe, The Whitney Biennial, The Instanbul Biennial and the “Greater

Campus. He moved to Los Angeles in 1992 to attend graduate school in pho-

New York” show at P.S. 1/The Museum of Modern Art. She recently has had solo

tography at California Institute of the Arts. Since 1997 he has taught at many

shows at greengrassi in London, Marianne Boesky Gallery in New York, Studio

colleges in the Los Angeles area including Otis College of Art and Design, UC

Guenzani in Milan and the Centre d’Art Contemporain in Geneva. In 1999-2000

Irvine and Loyola Marymount University.

she had a solo survey show at the Institute of Contemporary Art in Philadelphia. She is represented by Marianne Boesky Gallery in New York. Her work is in the permanent collection of the Whitney Museum of American Art, The Museum of Contemporary Art in San Diego, The Museum of Modern Art, SF MoMA and The Art Institute of Chicago. Yuskavage currently lives and works in New York.

c u e a r t f o u n d a t i o n m i s s i o n s t at e m e n t

CUE Art Foundation, a non-profit organization, provides educational programs

B OA R D O F D I R E C TO R S

for young artists and aspiring art professionals in New York and from around

Gregory Amenoff

the country. These programs draw on the unique community of artists, critics,

Thomas G. Devine

and educators brought together by the Foundation’s season of exhibitions,

Thomas K. Y. Hsu

public lectures, and its in-gallery studio program. Gallery internships and

Brian D. Starer

stipends afford the next generation of art professionals intimate, working knowledge of the art-making and exhibition processes. CUE’s 2000 sq. ft.

A DV I S O R Y C O U N C I L

gallery and offices, located in New York’s Chelsea gallery district, serves as the

Gregory Amenoff

base for the various educational programs conducted by CUE.

Vicky A. Clark

The Foundation’s exhibition season gives unknown or under-recognized artists professional exposure comparable to that offered by neighboring

William Corbett James Drake

commercial galleries, without the usual financial restraints. CUE does not

Bruce Ferguson

promote a particular school of artistic practice or regional bias; we only require

Sanford Hirsch

that exhibiting artists must either not have had a solo exhibition in a commer-

Dana Hoey

cial venue, or have received minimal recent public exposure.

CUE’s Advisory Council, an honorary group of artists and leading figures from the arts education, applied arts, art history, and literary communi-

G A L L E RY DIREC TO R

Jeremy Adams

ties, has the responsibility of selecting exhibition curators. The curators, in turn, nominate artists to exhibit at CUE, and continue to play a role throughout the

G A L L E R Y A S S I S TA N T

exhibition process, helping the artists catalogue their work for exhibition. Both

Sandhini Poddar

the Advisory Council and the exhibition curators actively participate in the public lectures and educational programs.

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