Carrie Moyer Sirens Exhibition Catalogue 2016 by DC Moore Gallery

Carrie Moyer Sirens

D C

M O O R E

G A L L E R Y

Between Suggestive Form AND Gesture KATY SIEGEL IN CONVERSATION WITH CARRIE MOYER

K C

KATY SIEGEL: Carrie Moyer and I are sitting in her studio in Long Island City, surrounded by half a dozen paintings. It’s making me remember when I first saw Carrie’s work eight or nine years ago —I thought what a wildly inventive and brave painter to dare to revisit the (then) unfashionable 1950s and ’60s. And make people like it. When I got the whole Carrie Moyer picture, hearing you give a talk, it was a surprise that besides your obvious deep painting knowledge, you also had what seemed like another history with Dyke Action Machine!—doing graphic design that was representational and political throughout the 1990s. I wondered if you could start by helping us with putting those two things together. CARRIE MOYER: I think my paintings and agitprop are together. They come from the same impulse

and are inquiries into different histories of design.

Which impulse?

The impulse towards … I was going to say, “being confrontational,” but I guess the impulse to be directive in a certain way, graphically. I had gone to art school and wanted to be a painter, and then when I graduated, I was living in the world that was utterly shattered by AIDS. Queer activism rose out of that as a response, and it felt really urgent to create agitprop for groups such as Queer Nation, the Lesbian Avengers, and others. Sue Schaffner and I formed Dyke Action Machine! because we wanted to make political art and our day jobs were in advertising. It was all about visibility, working collaboratively on art and politics and my own life at that moment. I couldn’t figure out how painting fit into that. Gradually, I became interested in the place where painting gets big: the solitude where all of the thoughts are your own. So I went back to the studio. At the time I started pouring, I was thinking of both the history of graphics and the history of painting —looking at things like feminist posters or Liberation Movement posters, I wanted to know what was happening in painting at that same moment in the late ’60s and early ’70s. I found that it was a crossing location for the tail-end of Color Field and the advent of a number of other things: Minimalism, post-painterly abstraction. And, of course, there were hippies—we all want to be free people. So when I first returned to painting, I began combining painterly gestures that felt sensuous or related to the body, but in my mind represented a kind of “conservative” art, and graphics, which represented a more cogent engagement with the political or the world.

You can see that in Meat Cloud, from 2001, a very legible painting that starts with the profiles of Marx, Lenin, and Mao, the most Social Realist of figures. You use processes and materials —pouring, glitter—to interfere with that super-representational message. Is it ironic to put those political images together with swathes of pink paint?

That image was taken from a Chinese Communist broadside printed on newsprint. In high school, I, and a lot of my friends, had Chairman Mao’s “Little Red Book” (Quotations from Chairman Mao Tse-tung). It

Dyke Action Machine! Family Circle, Lesbian Family Values, 1992. Set of 6 posters. 11 x 17 inches 500-piece campaign wheat-pasted in New York City, June 1992

was like, “we’re doing our homework, our political homework.” So it was definitely an ironic pairing. But using it in the painting was also very personal in a weird way, despite the fact that the image itself has been screen-printed millions of times. K.

For millions of people.

And for millions of reasons.

And Color Field painting felt corporate and masculine, the opposite of that. I wondered:“When did that kind of painting stop feeling that way for you?”At what point did you psychologically begin to occupy that space or that role of the person pouring paint?

Trashy. Even Stella’s copper paint was intended for painting the bottom of his father’s boat in the summers. It keeps painting in the world. That’s especially true for the colors you choose —they keep painting in the commercial world.

When I first started using acrylic paint I was really interested in all sorts of refractive effects like Interference where the pigment is faceted so it changes color as you move from side to side in front of the picture plane. These types of shiny, luscious surfaces and “chemical” effects show up everywhere from bicycle frames to nail polish, glow sticks, and other tacky pleasures. Since I’m coming out of a design background, I’m always interested in how design whets our appetite for things. How do pictures and objects need to operate visually when glanced at in passing —for five seconds? How do they need to operate when they are looked at every day, for years, in your house?

One of the great things about your paintings is that they have a lot to say about the medium or material, but they are also very accepting of who you already are when you get to the painting. Who “one” is—be they the artist or the viewer—is very broad and inclusive, including the queer history that you’ve referred to, but also very much in terms of different class aesthetics and taste. You don’t have to unlearn the stuff you already like to like Carrie Moyer’s paintings.

I never thought about it that way. I am interested in getting the viewer inside the picture and then slowing you down. The palette and the surface present one kind of moment—“oh!”— and then the layered “interior” of the painting or composition is where I’m hoping to slow the viewer down.

Can you talk me through this painting: Conflagration With Bangs with this giant, almost alarming chartreuse shape that moves across the surface and then the cascades behind it?

Carrie Moyer. Meat Cloud, 2001. Acrylic and glitter on linen, 72 x 84 inches.

Because I had these 5+ years where I was really involved with postering and agitprop, trying to make something that was both seductive and instantly legible. Once I returned to painting, I was still thinking about the sign value of everything in the picture. Even the glitter was used in a self-mocking way, because I was secretly afraid making abstract paintings again might a bit too “serious” or “removed” from the real world. Part of it was that I didn’t really understand my material choices when I initially made them. I wanted to return to painting, but I didn’t want to do it in a way that I recognized —that is through developing a set of brush marks and a kind of compositional language. Not only was I choosing acrylic paint and pouring because it felt like the end of the road, a comment on the decadence or corporatization of painting, but I was also actually unconsciously choosing a medium that didn’t have a kind of patriarchal baggage, something that I didn’t realize until much later in my own process.

Do you think it was because pouring came from Frankenthaler and a feminine aesthetic instead of Pollock’s drips, a gesture connected to a famous male painter? Something else?

I often think of David Batchelor’s book, Chromophobia. There is a chapter in which he talks about the fact that oil paint has only been used to make oil paintings, so it carries within it materially a history that is constantly talking to itself. One of the attractions of acrylic paint is that it is part of the larger world. As a material, it is completely ordinary and therefore generates multiple references beyond itself. When I was a student, acrylic paint was totally scorned —you’d never use that because it was considered so cheesy.

C. What

I’m thinking about a lot is the idea of pouring, creating a different kind of location than the hardedge shapes. In Conflagration With Bangs you’re looking through a large “gateway” that spans the entire horizontal canvas, into a space of poured color and light. The architectural forms are much more directive: “You’re going to go in here now.”

K. To

go back to that moment in the late ’50s and ’60s, you talk about how your current paintings have an interior and you’re focused on interior space now— an idea that, of course, was the great taboo of the 1960s. No metaphors and no interiors. There was no

Helen Frankenthaler. Giant Step, 1975. Acrylic on canvas, 93 x 160 inches.

working side by side for so many years. In terms of the shimmering washes of color, it’s all about how much water gets mixed with the polymer binder and bit of pigment. The literal stain seems to slip between blood and some sort of psychedelic bloom. The other really critical part for me is the fact that the image seems to be lit from the back. It’s as if the light is emanating from behind the painting which was a very important aspect of Color Field and 1960s painting in general.

subjectivity in art objects—almost no feeling, only the material, observable exterior. The rehabilitation or rediscovery of illusionism and illusionistic depth in painting, which was forbidden for so long, goes together with a sense of renewed possibility for emotion. You’ve gotten into an increasingly complicated painting space that puts those two things together. I’m looking at Vieni Qui Bella, the painting behind us with this great dark greenish-grey shape that stretches across the front of it and behind it are these poured veils. When they encounter each other, they are each equally changed by the encounter, so the graphic shape doesn’t cover or master interiority. C.

The craze for pouring paint right now is partly about how “easy” it is: with enough practice, you can make some beautiful transparencies that imply a certain relationship to painting that is light and ephemeral. But this history is not the only thing I’m interested in. I’m always trying to create some electrical optical situation that’s very active, that changes our relationship to the clichés that we bring to certain kinds of painting.

K. And,

Sheila Pepe. Common Sense II, 2010 (detail). Yarn, rope structure and hardware,

K. C.

Do you want to talk a little about that great ceramic piece that’s a source for Vieni Qui Bella? I was invited by the Everson Museum of Art to be part of Three Graces, a show with Polly Apfelbaum and Tony Feher. We were all asked to use the museum’s collection as part of our presentation. The Everson is very well known for its ceramic collection, and lot of the work is midcentury with a high modernist design sensibility. One piece that I found was Orator, an amazing little tabletop sculpture by George Stark, that is both lacy and figurative. Looking at the photograph of the piece, I flattened it out to make a screen and used it in combination with a very stately red pour. I was interested in the way the ceramic itself plays with decoration and movement and stasis, and a kind of biomorphic abstraction that locates it in time. It’s also very erotic or sexual — it feels like a body part, although you’re not quite sure which one, maybe a lacy pelvis. You feel like you’re inside the body, not just looking at a figure from the outside.

15 x 15 x 15 feet (overall).

Right. It also has to do with the nature of the paint. You wouldn’t have the same effect with oil paint. It would be less about looking through the paint to the screen and more about the body of the paint itself. I’m always a sucker for code-switching.

Does it feel like watercolor when you’re using it?

Yeah, the canvas sits on the table and I’ll pour a bucket of paint on it, tip it over and squirt it with the spray bottle, all of which produces rivulets and modulated color. As the first wash adheres to the canvas, it makes a beautiful, sensuous tideline. It’s just a very different, organic-looking mark.

It gives that little hint of nature in an artificial world of plastic colors. Not only because watercolors are often landscapes, but when you come up close to this painting, the paint has bubbles in, and there is a topographical surface that is very much about describing liquid. You feel like you could be underwater, or again, inside the body.

I’m more and more interested in water. And dancing. There is so much maneuvering of these big canvases, tipping them at odd angles. Since the composition is often figured out beforehand in the small collages, using gravity and the tension of the stretcher to mix color and move the paint around is where all the pleasure is. Before painting came along, I thought I was going to become a dancer.

These two paintings here, Maiden Voyage and The Wishing Table, both look like they have vessels in them that could hold liquid—especially against that flat ground.

C. I’m glad you’re getting that erotic charge since the

painting is also a kind of call and response to my partner Sheila Pepe’s large-scale crocheted pieces which are loopy, decorative, and play with essentialist, feminist imagery. There’s a kind of subterranean exchange between us that comes from

going forward too: David Reed talks about his color-onwhite ground paintings, and those of others, as “screen” paintings, related to the color and light of television and early movies. And that’s part of what keeps the work appealing to us today—we look at things on screens.

George Stark. Orator, 1957. Stoneware, 7 1⁄ 4 x 10 3⁄ 4 x 7 1⁄ 2 inches.

Carrie Moyer installation at the Everson Museum of Art The Three Graces: Polly Apfelbaum, Tony Feher, and Carrie Moyer September 25, 2015 – January 3, 2016.

Lately I have been using Flashe in my work, which is a vinyl paint that is very, very matte. In Maiden Voyage, the ultramarine ground makes a teardrop shape that becomes a keyhole or window. Alchemists use a teardrop-shaped glass vessel called an alembic to hold the humors.

Contrasting the flatness of the Flashe and the interior liquidity gives it a really strong feeling that something has happened. It’s an effect of figuration without much figuration in the usual sense. It’s specific enough to suggest not just inchoate emotion, like “joy,” but, as you say, a narrative.

I’m very interested in that. I find myself cycling between suggestive form and gesture. I often think of Ernst Gombrich’s Art and Illusion. In particular the chapter called “Image in the Clouds” about Constable, where Gombrich talks about how paintings determine how we see the things we see in the world; a cloud’s relation to painterliness as a marker for how we perceive or describe things. So I’m letting the naturally occurring processes of the acrylic stand in for other kinds of processes, like a puddle of water as a site for germination or cosmic soup. And in the case of Maiden Voyage, creating a vessel or architectural window to look at them through.

The windows make that seeing into or going inside a space explicit, even more so because the image is repeating. So we don’t know if we are looking at a pair of windows and if there are two figures behind them, or whether there is a single figure who is moving in time, which is unusual because in the past your paintings have had that all-at-onceness we associate with Color Field or design.

In this other painting, Belvedere, you can see I’m cutting into forms that feel bodily. Dematerializing the body, not through making it loose and transparent, but literally by cutting into it, so that we see through it.

You are making conscious and material the way we see things. Do you feel like is there is something specific pushing you in the direction of artifice and images?

In a way, every stage of my work has been marked by this kind of intellectual shift. I did a body of work that was inspired by my own relationship to feminist art of the 1970s and the position of painting in that movement. Lately, I’ve been thinking a lot about composition. In the past it’s often functioned as a frame for the one big, splashy event—the pour. In Color Field painting, pouring could be seen as a kind of “spontaneous” or “intuitive” event. How much control did Helen Frankenthaler have? She had a lot of control, like in her dark mauve painting, Giant Step. The so-called event is her restraint.

This is something I haven’t seen before in your work. What’s the name of this painting?

Sala de Dos Hermanas, which is a room in the Alhambra.

Have you been there?

I’ve never been to Granada or North Africa. But these twinned forms looked to me like two women, languid upright odalisques, which led me to thinking about colonial painting, arched windows, and Arabic architecture. It’s more imaginative and experiential.

sitting on top of it. The bodily shapes come from my collages. Instead of treating the cut forms as singular events in the painting: “What would happen if I double them up? What if there are some that keep returning?” It’s not something I’ve done often. Once I use a collage, I usually don’t return to it. Some of the new works use this repetition to present a kind of scene or narrative. Again, its directive: “This is a window inside a frame. Look in here.”

K. So,

is there an event here at all?

C. Not all of the time. I don’t want “the painting as a container for a gestural event” to be the only way that

the poured paint operates. What else can it do, what other kinds of time signatures, spaces, or optical conditions can it evoke?

This is your most obviously planned work that I have seen, with the two windows as an architectural structure, and especially the two images being so related. It’s not process anymore, it’s an image that’s repeatable. How much of that was planned, and how did you make that leap?

K. What

would happen if you really gave up on process as some kind of naturalized event? The event is one thing that might happen, and it might happen twice.

C. Yes!

That’s where all this is going.

K. Because it’s not “natural” the first time. It’s so strikingly a move in a different direction—are you excited? C.

Initially when I made this painting, it didn’t have this flat, architectural frisket of windows

C. I

am! It’s just crackling with ideas in here!

Carrie Moyer. Collage for Conﬂagration With Bangs, 2005. Paper, 4 x 5 1⁄ 4 inches.

In a Cool Blaze, 2015. Acrylic and glitter on canvas, 72 x 96 inches

Cloud 9, 2016. Acrylic and Flashe on canvas, 72 x 60 inches

The Green Lantern, 2015. Acrylic and glitter on canvas, 72 x 60 inches

Conflagration With Bangs, 2015. Acrylic and glitter on canvas, 72 x 84 inches

Mirador, 2015. Acrylic on canvas, 30 x 211⁄ 2 inches

Maiden Voyage, 2015. Acrylic and Flashe on canvas, 36 x 24 inches. (opposite, detail)

Vieni Qui Bella, 2016. Acrylic and Flashe on canvas, 72 x 84 inches

Sala de Dos Hermanas, 2015. Acrylic and Flashe on canvas, 72 x 72 inches

The Wishing Table, 2015. Acrylic and Flashe on canvas, 72 x 60 inches

Cloud Comb for Georgia, 2015. Acrylic and Flashe on canvas, 72 x 60 inches

Intergalactic Emoji Factory, 2015. Acrylic and glitter on canvas, 72 x 96 inches

Carrie Moyer Solo & Two-Person Exhibitions 2016 Carrie Moyer: Sirens, DC Moore Gallery, New York, NY 2014 Carrie Moyer: Pirate Jenny, SCAD Museum of Art, Savannah, GA

Carrie Moyer: Pirate Jenny, Canzani Center Gallery, Columbus College of Art and Design, OH 2013 Carrie Moyer: Pirate Jenny, The Frances Young Tang Teaching Museum

and Art Gallery, Skidmore College, Saratoga Springs, NY 2012 Carrie Moyer & Les Rogers, Galerie Suzanne Tarasiève, Paris, France

Carrie Moyer: Interstellar, Worcester Art Museum, MA 2010 Pictures Hold Us Captive: Carrie Moyer & Jered Sprecher, UT Downtown

Gallery, University of Tennessee, Knoxville, TN

Group Exhibitions 2016 Cut-Up: Contemporary Collage and Cut-Up Histories through a

Feminist Lens, Franklin Street Works, Stamford, CT 2015–16 Agitprop!, Brooklyn Museum, NY

2010 The Exquisite Corpse Project, Klemens Gasser & Tanja Grunert, New

York, NY Raw State, 222 Shelby Street Gallery, Santa Fe, NM

Absolute Abstraction, Judy Ann Goldman Fine Arts, Boston, MA Beauty is in the Street, Mason Gross School of the Arts Galleries, Rutgers University, New Brunswick, NJ. Traveled to: Bronx River Art Center, NY Bound LES: Celebrating Contemporary Art on the Lower East Side, Abron Arts Center, New York, NY

When Artists Speak Truth…, The 8th Floor, The Shelley & Donald Rubin Foundation, New York, NY

Ultrasonic V: It’s Only Natural, Mark Moore Gallery, Santa Monica, CA

The Three Graces: Polly Apfelbaum, Tony Feher, and Carrie Moyer, Everson Museum of Art, Syracuse, NY

Love Never Dies, Form+Content Gallery, Minneapolis, MN

Ridykeulous, Participant, Inc., New York, NY

CAA: On PTG, Julius Caesar, Chicago, IL

When Artists Say We, Artists Space, New York, NY

Daniel Hesidence Curates, Tracy Williams Ltd., New York, NY

2015 The Abstract Body, Sharon Arts Center, New Hampshire Institute of

Art, Peterborough, NH Multiverse, DC Moore Gallery, New York, NY Love Child, Ortega y Gasset Projects, Brooklyn, NY

2009 Don’t Perish, Leo Koenig Inc. PROJEKTE, New York, NY

Aﬃnities: Painting in Abstraction, Rhode Island School of Design, Providence, RI

2006 Pa•per•ing, Deutsche Bank, New York, NY

Do You Think I’m Disco?, Longwood Art Gallery @ Hostos, Bronx, NY Group Exhibition, Marlborough, New York, NY 2005 Around About Abstraction, Weatherspoon Art Museum,

Artists Run Chicago, The Suburban @ Hyde Park Art Center, Chicago, IL

Greensboro, NC

2011 Carrie Moyer: Canonical, CANADA, New York, NY

Here We LTTR: 2002 –2008, Tensta Konsthall, Spånga, Sweden

2009 Carrie Moyer: Arcana, CANADA, New York, NY

From Now On In, Brian Morris Gallery, New York, NY

Yo Mama: Sheila Pepe and Friends, Naomi Arin Contemporary Art, Las Vegas, NV

USA, Hoy: Pintura y Escultura, Galería Marlborough, Madrid, Spain

Pretty Raw: After and Around Helen Frankenthaler, Rose Art Museum, Brandeis University, Waltham, MA

One Loses One’s Classics, White Flag Projects, St. Louis, MO

New York’s Finest, CANADA, New York, NY

Inﬁnite Possibilities, Momenta Art, Brooklyn, NY

New Prints 2005/Winter, International Print Center, New York, NY

Carrie Moyer: Painting Propaganda, American University Museum at the Katzen Arts Center, Washington, DC 2007 Project: Rendition, Collaboration by JC2: Joy Episalla, Joy Garnett,

Carrie Moyer, and Carrie Yamaoka, Momenta Art, Brooklyn, NY Carrie Moyer: The Stone Age, CANADA, New York, NY Black Sun: New Paintings, Hunt Gallery, Mary Baldwin College, Staunton, VA Black Gold, Rowland Contemporary, Chicago, IL

OYSTERS WITH LEMON: An Exhibition in Three Parts, Ventana 244, Brooklyn, NY

Rough Cut, Morgan Lehman Gallery, New York, NY 2014–15 NOW-ism: Abstraction Today, Pizzuti Collection, Columbus, OH  2014 30 Years of Printmaking: James Stroud and the Center Street Studio,

Grimshaw-Gudewicz Gallery, Bristol Community College, Fall River, MA

2006 Carrie Moyer and Diana Puntar, Samson Projects, Boston, MA

Oﬀ the Wall: Fresco Painting, Hudson Guild Gallery, New York, NY

2004 Two Women: Carrie Moyer and Sheila Pepe, Palm Beach ICA, FL

Permanency: Selections from the Permanent Collection, Leslie Lohman Museum of Gay and Lesbian Art, New York, NY

Sister Resister, DiverseWorks, Houston, TX

2003– 04

Temporary Mural Project, Triple Candie, New York, NY

Artist Activists, Mary S. Byrd Gallery, Georgia Regents University, Augusta, GA

Tom Johnson and Carrie Moyer: Better Social Realism and Chromafesto, CANADA, New York, NY

Art and Activism: Kunst und politischer Aktivismus in New York, Mannheimer Kunstverein, Mannheim, Germany

2002– 03 Hail Comrade!, Debs & Co., New York, NY 2002 Straight to Hell: 10 Years of Dyke Action Machine!, Yerba Buena Center

for the Arts, San Francisco, CA. Traveled to: DiverseWorks, Houston, TX The Bard Paintings, Gallery @ Green Street, Boston, MA Meat Cloud, Debs & Co., New York, NY 2000 God’s Army, Debs & Co., New York, NY

2008 Aﬃnities: Painting in Abstraction, Berrie Center Art Galleries, Ramapo

2013 Come Together: Surviving Sandy, Industry City, Brooklyn, NY

After My Own Heart, Oakville Galleries, Ontario, Canada Pour, University Galleries, Florida Atlantic University, Boca Raton, FL. Traveled to: Aysa Geisberg Gallery, New York, NY; Lesley Heller Workspace, New York, NY The White Album, Louis B. James, New York, NY 2012 Simpatico, Boston University Art Gallery, MA

Beasts of Revelation, DC Moore Gallery, New York, NY Pratt Alumni Painters, Pratt Manhattan Gallery, New York, NY Five by Five: Tom Burkhardt, Carrie Moyer, Kanishka Raja, Jane South, Sarah Walker, DC Moore Gallery, New York, NY Risk and Reward, Foster Gallery, University of Wisconsin-Eau Claire, WI 2011 Aﬃnities: Painting in Abstraction, D’Amelio Terras, New York, NY

A Painting Show, Harris Lieberman, New York, NY 2010 –11 Vivid: Female Currents in Painting, Schroeder Romero & Shredder,

New York, NY

Dissent, SPACES, Cleveland, OH

2005 EV+A, Limerick City Gallery of Art, Ireland

College of New Jersey, Mahwah, NJ

BAM Next Visual Art, Brooklyn Academy of Music, NY

Artcrush, Jenny Jaskey Gallery, Philadelphia, PA

Group Exhibition, Marlborough, New York, NY

The Future Must Be Sweet—Lower East Side Printshop Celebrates 40 Years, International Print Center New York, NY

Twofold: Collaborations on Campus, Richard L. Nelson Gallery & Fine Arts Collection, University of California, Davis, CA

That Was Then...This Is Now, MoMA PS1, Long Island City, NY Publishing Prints: Selections from the Center Street Studio Archive, Joel and Lila Harnett Museum of Art, University of Richmond, VA Reclaiming the “F” Word: Posters on International Feminisms, Northridge Art Galleries, California State University, Northridge, CA Unnameable Things, Artspace, New Haven, CT Freeze Frame, Thrust Projects, New York, NY Duck Soup, La MaMa La Galleria, New York, NY

B-Out, Andrew Edlin Gallery, New York, NY

The Jewel Thief, The Frances Young Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, NY

Convergences/Center Street Studio, Galerie Mourlot, New York, NY  Break the Rules!, Sammlung Hieber/Theising, Mannheimer Kunstverein, Mannheim, Germany 2007 Quiet Riot, March Gallery, New York, NY

Don’t Let the Boys Win: Kinke Kooi, Carrie Moyer, and Lara Schnitger, Mills College Art Museum, Oakland, CA Late Liberties, John Connelly Presents, New York, NY Hot and Cold: Abstract Prints from the Center Street Studio, Trustman Art Gallery, Simmons College, Boston, MA Aﬃnities: Painting in Abstraction, CCS Galleries, Hessel Museum, Bard College, Annandale-on-Hudson, NY New Prints/Spring 2007, International Print Center New York, New York, NY

2004 Watch What We Say, Schroeder Romero, Brooklyn, NY

Timeless/Timeliness, Aljira Contemporary Arts Center, Newark, NJ About Painting, The Frances Young Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, NY Explosion LTTR: Practice More Failure, Art in General, New York, NY  Cakewalk, Ambrosino Gallery, Miami, FL Republican Like Me, Parlour Projects, Brooklyn, NY 2003 Ameri@an Dre@m: A Survey, Ronald Feldman Fine Arts, New York, NY

Illegal Art: Freedom of Expression in the Corporate Age, CBGB’s 313 Gallery, New York, NY. Traveled to: SFMOMA Artists Gallery, San Francisco Museum of Modern Art, CA; In These Times offices, Chicago, IL Adventures in Abstraction, Judy Ann Goldman Fine Art, Boston, MA 2002 Raw Womyn, ATHICA: Athens Institute for Contemporary Art, GA

Unjustiﬁed, Apexart, New York, NY Art Against Apathy, Zmelt, Amsterdam, The Netherlands Queer Commodity, Mount Saint Vincent University Art Gallery, Halifax, Canada 2001 Thesis Exhibition 2001, Milton Avery Graduate School of the Arts,

Bard College, Red Hook, NY

Shared Women, Los Angeles Contemporary Exhibitions, Los Angeles, CA

Beyond the Center, Bard College, Red Hook, NY

Fragments of Change, Ernest Rubenstein Gallery, Educational Alliance, New York, NY

2001 Artist-in-Residence Biennial, Ewing Gallery, University of Tennessee, Knoxville, TN

Mother, May I?, Campbell Soady Gallery, The Lesbian, Gay, Bisexual & Transgender Community Center, New York, NY

Stand Fast Dick & Jane, Project Arts Centre, Dublin, Ireland Smile, Here, New York, NY

2000 The Biggest Games in Town, Künstlerwerkstatt Lothringer Strasse,

Munich, Germany The Color of Friendship, Shedhalle, Zürich, Switzerland The Hissing of Summer Lawns, Debs & Co., New York, NY 1999 Close to You, Gallery @ Green Street, Boston, MA

Gender Trouble, Neuer Aachener Kunstverein, Aachen, Germany Free Coke, Greene Naftali, New York, NY Zone of Risibility, Rotunda Gallery, Brooklyn, NY Jahresgaben 1999, Neuer Aachener Kunstverein, Aachen, Germany Size Matters, GAle GAtes, Brooklyn, NY 1998 Freedom, Liberation and Change: Revisiting 1968, Longwood Arts

Gallery, Bronx, NY Message To Pretty, Thread Waxing Space, New York, NY Summer Show, Debs & Co., New York, NY 1997 Vraiment: Féminisme et Art, Le Magasin, Centre national d’art contem-

2008 Dyke Action Machine Incorporated, 16-page pamphlet. Commissioned

by Printed Matter Inc. as a part of the Artists & Activists Series 2003– 4 Run Bush Run. The Lesbians Are Coming, 2004 Presidential Campaign

button; 2,000 distributed nationally 2002 S.U.V. = W.W.III, 5,000-piece bumper-sticker campaign, Houston, TX 2001 Gynadome, website (www.gynadome.com), outdoor lightbox

installation, San Francisco, CA 2000 Lesben-Heirat. Schwule-Heirat, oﬀset poster campaign wheat-pasted

in 5 subway stations, Munich, Germany One DAM! Minute, monthly segment on The QFiles, produced by CityTV, Toronto, Canada 1999 DAM FAQ: DAM Answers Frequently Asked Questions About Lesbians,

porain de Grenoble, France

website (www.dykeactionmachine.com) and 5,000-piece oﬀset poster campaign wheat-pasted, New York, NY

Hollywood Premiere — Just for the Night, Hollywood Premiere Motel, Los Angeles, CA

Next: Dyke Action Machine! 9-minute feature produced by CityTV, Tornto, Canada

Patriotism, The Lab, San Francisco, CA Revolution Girl-Style, Messepalast/Museumsquartier, Vienna, Austria The 21st Annual National/International Studio Artists Exhibition, PS1/Institute for Contemporary Art, New York, NY 1996 Gender, Fucked, Center on Contemporary Art, Seattle, WA

Mixing Messages: Graphic Design in Contemporary Culture, CooperHewitt National Design Museum, New York, NY Counterculture: Alternative Information from the Underground Press to the Internet, Exit Art/The First World, New York, NY Portraiture, White Columns, New York, NY 1995 In A Diﬀerent Light, University Art Museum and Paciﬁc Film Archive,

Berkeley, CA

1998 Lesbian Americans: Don’t Sell Out! 5,000-piece oﬀset poster campaign

wheat-pasted, New York, NY Meet the Muﬃosi: We are Dyke Action Machine!, 2,000-piece direct-mail postcard campaign 1997 Gay Marriage: You Might as Well Be Straight, 5,000-piece oﬀset poster

campaign wheat-pasted, New York, NY 1996 DAM S.C.U.M., 2,000 oﬀset matchbooks and cards advertising an

interactive phone-line, distributed nationally; artist page commissioned by Art Journal

1994 Straight To Hell: the Film, 5,000-piece oﬀset poster campaign wheat-

pasted, New York, NY 1993 Do You Love The Dyke In Your Life?, 2,000-piece B/W oﬀset poster

Copy-Art, Oldenburg University, Germany

1992 Family Circle, Lesbian Family Values, 500-piece Xerox campaign wheat-

Re-Conﬁguring the Figure, Creative Arts Workshop, New Haven, CT  1994 Becoming Visible: The Legacy of Stonewall, New York Public Library, NY

Amendments, Hallwalls Contemporary Arts Center, Buﬀalo, NY No More Nice Girls, ABC No Rio, New York, NY Paperworks: Prints From the Lower East Side Printshop, Rockland Community College, NY 1993 Kunst und AIDS, International AIDS Conference, Berlin, Germany

SILENCE=DEATH, Münchner Stadtmuseum, Munich and HygieneMuseum, Dresden, Germany

Awards, Grants, Honors & Residencies 2013 Guggenheim Fellowship in Painting

Residency, MacDowell Colony, Peterborough, NH 2011 Residency, Yaddo, Saratoga Springs, NY

Residency, MacDowell Colony, Peterborough, NH 2010 Elected to Board of Governors, Skowhegan School of Painting and

Sculpture 2009 Joan Mitchell Foundation, Painters and Sculptors Grant

Anonymous Was A Woman Award 2008 Artist Pension Trust, New York, NY 2004 Pennies from Heaven Grant, New York Community Trust

Special Editions Fellowship, Lower East Side Printshop, New York, NY 2003 BCAT/Rotunda Gallery Joint Multimedia Residency, Brooklyn, NY 2002 Aljira Emerge 2003, Professional Development Fellowship

Wattis Artist Residency, Yerba Buena Center for the Arts, San Francisco, CA 2001 Elaine de Kooning Memorial Fellowship, Bard College, Annandale-

on-Hudson, NY New York State Council on the Arts, Independent Artist Grant 2000 Creative Capital Foundation Grant

campaign wheat-pasted, New York, NY pasted, New York, NY 1991 The Gap Ads, 200-piece Xerox campaign wheat-pasted, New York, NY

Bibliography & Interviews 2016 Samet, Jennifer. “Beer with a Painter: Carrie Moyer,” Hyperallergic,

February 20. Siegel, Katy. “Between Suggestive Form and Gesture” in Carrie Moyer: Sirens (exh.cat.). New York, NY: DC Moore Gallery. 2015 Buskirk, Martha. “Subversive Color at the Rose Art Museum.”

Hyperallergic, May 30. Einspruch, Franklin. “Fuse Visual Arts Review: ‘Pretty Raw’ at the Rose Art Museum.” The Arts Fuse, March 8. Hirsch, Faye. “New Editions 2014: Carrie Moyer.” Art in Print 4, no. 6 (March/April). McQuaid, Cate. “Frankenthaler’s art prompts new take on history at the Rose.” Boston Globe, January 31. “Multiverse: DC Moore Gallery in New York City opens group show in its project gallery.” ArtDaily.org, June 22. Neal, Patrick. “Rough Collages and Finished Works Cut from the Same Cloth.” Hyperallergic, January 30. Puleo, Risa.“New Territories of Queer Separatism.” Art Papers, March/April. Siegel, Katy, ed. “The heroine Paint”: After Frankenthaler, New York, NY: Gagosian Gallery. Smee, Sebastian. “Raw power at Rose Art Museum.” Boston Globe, February 19. Smith, Roberta. “Review: ‘Pretty Raw’ Recounts Helen Frankenthaler’s Inﬂuence on the Art World.” New York Times, June 3.

Franklin Furnace The Future of the Present Grant Amazon Autumn Grant Open Meadows Grant 1999 Peter Norton Family Foundation Project Grant

Astraea National Lesbian Action Foundation Grant 1995 The Girlie Network, website

You Are Missing Plenty If You Don’t Buy Here: Images of Consumerism in American Photography, Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, NY Printed at the Lower East Side Printshop: 30 Artists, La MaMa La Galleria, New York, NY

DYKE ACTION MACHINE ! Public Art Projects (Collaboration with photographer Sue Schaffner)

1998 Art/Omi, International Artists’ Residency, Ghent, New York

Puﬃn Foundation Grant 1996 National Studio Program at P.S.1/The Institute for Contemporary Art,

New York, NY 1994 Art Matters Fellowship

Keyholder Residency, Lower East Side Printshop, New York, NY

2014 Jeﬀcoat, Yves. “Identity Concealed in Paint: Carrie Moyer at SCAD

Museum.” BURNAWAY, August 19. Neal, Patrick. “Contemporary Fresco That’s Oﬀ the Wall.” Hyperallergic, November 10. Schwendener, Martha. “‘A Way of Living: The Art of Willem de Kooning, by Judith Zilczer.” New York Times, December 5. Stather, Martin, Lutz Hieber, and Gisela Theising. Art and Activism in New York: Sammlungen Hieber/Theising (exh.cat.). Mannheim, Germany: Mannheimmer Kunstverein. Tigges, Jesse. “‘Carrie Moyer: Pirate Jenny’ Swirls and Seduces.” Columbus Alive, February 6. 2013 Berry, Ian, ed. Carrie Moyer: Pirate Jenny (exh.cat.). Saratoga

Springs, NY: The Frances Young Tang Teaching Museum and Art Gallery, Skidmore College. Emerson-Dorsch, Tyler. “Abstraction and Representation in the Pour” in Pour (exh.cat.). Boca Raton, FL: Florida Atlantic University. Karmel, Pepe, “The Golden Age of Abstraction: Right Now.” ARTnews, April 24. Maine, Stephen. “Cover the Earth” in Pour (exh.cat.). Boca Raton, FL: Florida Atlantic University. Smith, Roberta. “Art, a Balm After the Storm.” New York Times, December 6.  2012 Buszek, Maria Elena. “Eros and Thanatos: Surrealism’s Legacy in

Contemporary Feminist Art.” in Wonderland: The Surrealist Adventures of Women Artists in Mexico and the United States. Ilene Susan Fort, Tere Arcq, and Terri Geis, eds. Los Angeles, CA: Los Angeles County Museum of Art and New York: Delmonico Books/Prestel Verlag.

Levey, Lawrence. “Pouring It On.” Worcester Magazine, February 22. McQuaid, Cate. “Moyer’s Arts of Seduction.” Boston Globe, April 24. Parrish, Sarah. “Carrie Moyer, Worcester, MA.” Art Papers, May/June. Stoops, Susan. Carrie Moyer: Interstellar (exh.cat.). Worcester, MA: Worcester Art Museum. Von Arbin Ahlander, Astri. “Carrie Moyer: Interview.” The Days of Yore, April 9. 2011 Bui, Phong. “In Conversation: Carrie Moyer with Phong Bui.” The

Kushner, Marilyn S. The Future Must Be Sweet: Lower East Side Printshop Celebrates 40 Years (exh.cat.). New York, NY: International Print Center New York. Nickas, Bob. “Best of 2008: Abstract Painting.” Artforum, December. Olson, Craig. “Freeze Frame: Thrust Projects January 11– February 24, 2008.” The Brooklyn Rail, March 7. 2007 Baker, Kenneth. “Women’s Art at Mills Mixes Deﬁance, Humor.” San

Brooklyn Rail, September 5.

Francisco Chronicle, October 19.

Cameron, Dan. “Roving Eye: Dan Cameron’s Week in Review.” Art in America, March 4.

Bryan-Wilson, Julia. “Review: Carrie Moyer.” Artforum, April. “Carrie Moyer.” The New Yorker, February 12.

“Carrie Moyer.” The New Yorker, October 7.

Fry, Naomi. “Critics Picks: Carrie Moyer.” Artforum, January.

Coates, Jennifer. “Review: Carrie Moyer, ‘Canonical’.” Time Out New York, September 27.

Goodbody, Bridget L. “Late Liberties.” New York Times, August 3.

Haber, John. “Carrie Moyer, Ronnie Landﬁeld, and Abstraction.” HaberArts.com. Keeting, Zachary and Christopher Joy. “Carrie Moyer at CANADA.” Video Interview, Gorky’s Granddaughter, September 29. Lowenstein, Drew. “Cherry Bomb to Cherry Blossom: Carrie Moyer at CANADA.” ArtCritical.com, October 2. Maine, Stephen. “Carrie Moyer: CANADA.” Artillery: Killer Text on Art 6, no. 2 (Nov/Dec). Peetz, John Arthur. “Critic’s Picks: Carrie Moyer.” Artforum, October 23. Princenthal, Nancy. “The Jewel Thief: The Frances Young Tang Teaching Museum and Art Gallery.” Art in America, January 5. Schambelan, Elizabeth. “Carrie Moyer, CANADA.” Artforum, December.  Smith, Roberta. “Free-for-All Spirit Breezes into a Vast Art Fair.” New York Times, March 4. Stillman, Steel. “Carrie Moyer in the Studio.” Art in America, September. Sutphin, Eric. “Review: The Belladonna Treatment: Carrie Moyer at CANADA.” Beard & Brush: Critical Dialogs in Painting, September 28. 2010 Butler, Cornelia and Alexandra Schwartz, eds. Modern Women:

Women Artists at the Museum of Modern Art. New York, NY: Museum of Modern Art. Jaskey, Jenny. “Vivid: Female Currents in Painting. Schroeder Romero & Shredder.” Art Lies, no. 67. MacPhee, Josh. Celebrate People’s History!: The Poster Book of Resistance and Revolution. New York, NY: The Feminist Press at the City University of New York. Smith, Roberta. “Varieties of Abstraction.” New York Times, August 5. 2009 Carlin, T. J. “Carrie Moyer: Arcana.” Time Out New York, May 21–27.

“Carrie Moyer.” The New Yorker, June 1. Kley, Elisabeth. “Gotham Art and Theatre.” ArtNet, May 20. Mueller, Stephen. “Carrie Moyer at CANADA.” Art in America, October. Nickas, Bob. Painting Abstraction: New Elements in Abstract Painting. London: Phaidon Press Ltd. Rosenberg, Karen. “Carrie Moyer: Arcana.” New York Times, May 15. Schwendener, Martha. “Introducing Heide Hatry, William Lamson and Carrie Moyer.” Village Voice, July 22.

2008 “Freeze Frame.” Time Out New York, January 24–30.

Feinstein, Roni. “Carrie Moyer and Sheila Pepe at Palm Beach ICA.” Art in America, December.

Strong, Lester. ”OUT 100: the Year’s Most Intriguing Gay People.” Out, December.

——.“Exhibit

Unjustiﬁed (exh. brochure). New York, NY: apexart.

Highlights ‘Two Women’ on Diﬀerent Paths.” South Florida Sun-Sentinel, August 11.

Genocchio, Benjamin. “Young and Provacative, Time Is on Their Side.” New York Times, September 12. Greenfield, Beth. “Designs on You.” Time Out New York, September 23 –30. Halden, Loann. “Art, Activism and Intimacy.” TWN: The Weekly News, July 8. Holliday, Frank. “A Partnership of Ideals.” Gay City News, August 5 –11.  Joy, Jenn. “Two Women: Carrie Moyer and Sheila Pepe.” Contemporary, no. 68.

Hirsch, Faye. “Carrie Moyer at CANADA.” Art in America, June/July.

McQuiston, Liz. Graphic Agitation 2: Social and Political Graphics in the Digital Age, London: Phaidon.

Holliday, Frank. “Abstraction Reconsidered.” Gay City News, July 26.

“Palm Beach Institute of Contemporary Art.” Citylink, June 30 – July 6.

Kazakina, Katya. “Beer Show, Trendy Puppies, Glitter Pieces: Chelsea Galleries.” Bloomberg.com, August 22.

Schwan, Gary. “Body of Works Reﬂects Artist’s Care for Their Craft.” Palm Beach Post, July 4.

“Late Liberties.” The New Yorker, August 20.

——.“Diverse

Maine, Stephen. “Addressing Liberty Without Literality.” New York Sun, August 2.

Sheﬃeld, Skip. “Two Women Artists, Three Small Deaths.” Boca Raton/Delray Beach News, June 25 – July 1.

Mueller, Stephen. “Lesbian Cubism: Expanding the Gene Pool of Painting.” Gay City News, January 18 –24.

Sjostrom, Jan. “Two-Woman Show Depicts Hands-On Art.” Palm Beach Daily News, July 18 – 21.

Robinson, Walter. “Weekend Update.” ArtNet, January 22, 2007.

Smith, Roberta. “ART REVIEW; Caution: Angry Artists at Work.” New York Times, August 27.

Smith, Roberta. “Carrie Moyer: The Stone Age, New Paintings.” New York Times, February 2.

Oﬀerings of ‘Two Women’.” Palm Beach Post, June 20.

——.“Republican

Like Me.” New York Times, September 10.

Yablonsky, Linda. “Unjustiﬁed.” Time Out New York, February 14 –21. 2001 Atkins, Robert. “Girls With Wheatpaste and Web Space.” The Media

Channel, May. ——.Straight to Hell: 10 Years of Dyke Action Machine! (exh.cat.). San Francisco, CA: Yerba Buena Center for the Arts.

Blake, Nayland. Stand Fast Dick and Jane (exh.cat.). Dublin, Ireland: Project Arts Centre. Clark, Emilie, and Lytle Shaw, eds. Shark. No. 3, Winter. Cvetkovich, Ann. “Fierce Pussies and Lesbian Avengers.” Feminist Consequences: Theory for the New Century, Elisabeth Bronfen and Misha Kavka, eds. New York, NY: Columbia University Press. Dunne, Aiden. “Taking Art to the Edges of Life and Death.” Irish Times, July 4. Nahas, Dominique. “Carrie Moyer at Debs & Co.” Art in America, April. Ruane, Medb. “Outer Limits.” Culture Ireland, Sunday Times, July 15. “Smile.” The New Yorker, June 18 & 25. 2000 Cotter, Holland. “ART REVIEW; Innovators Burst Onstage One (Ka-pow!)

at a Time.” New York Times, November 10. Delaney, Angel. “For Art’s Sake.” New York Blade News, September 29. ——.“Radical

Re-visionary.” New York Blade News, September 8.

Hammond, Harmony. Lesbian Art in America: A Contemporary History. New York, NY: Rizzoli.

February.

Timeless/Timeliness (exh.cat.). Newark, NJ: Aljira Contemporary Arts Center.

McCarthy, Joan E. “The Gallery @ Green Street: Close to You.” Art New England, December/January.

Cotter, Holland. “Do You Think I’m Disco.” New York Times, February 3.

“Tom Johnson/Carrie Moyer.” The New Yorker, January 12.

Robinson, Walter. “Weekend Update.” ArtNet, October 21.

Daderko, Dean. “A Mirrorball to Liberation.” Gay City News, January 26 – February 1.

Turner, Elisa. “A Nuanced Past is Transformed into the Present.” Miami Herald, August 18.

Simpson, Les. “Tripping Down Memory Lane.” Time Out New York, October 12.

Genocchio, Benjamin. “Exploring the Eﬀects of Disco’s Beat.” New York Times, February 19.

Yee, Ivette M. “The Female Perspective.” South Florida Sun-Sentinel, July 15.

Teckel, Augustina. “D.A.M. Muﬃosi.” (Not Only) One.

2006 Barliant, Claire. “Critics Picks: ‘Do You Think I’m Disco’.” Artforum,

McQuaid, Cate. “Radiating Color.” Boston Globe, February 23.

2003 Costello, Devon, and Esme Wantanabe. “Ameri©an Dre@m.” NY Arts

Ripo, Marisa. “Ridykeulous Gets Serious.” NY Arts Magazine, July/August.

Magazine, March 24.

Smyth, Cherry. “Review: Carrie Moyer and Diana Puntar.” Modern Painters, May.

Levin, Kim. “Art Listings: Ameri©an Dre@m.” Village Voice, March 19 –25.

2005 EV+A 2005 (exh.cat.). Limerick, Ireland: Limerick City Gallery.

Levi Strauss, David, and Daniel Joseph Martinez. “Teaching After the End.” Art Journal 64, no. 3 (Fall). Rush, Michael, and Dominique Nahas. Two Women: Carrie Moyer and Sheila Pepe (exh.cat.). Lakeworth, FL: Palm Beach Institute of Contemporary Art. Smith, Roberta. “New York’s Finest.” New York Times, February 11. “The Second Annual New Prints Review.” Art On Paper 10, no. 2 (November/December). 2004 Barnett, Kari. “Summer Exhibition. Opens at PBICA.” Lake Worth

Forum, June 29. Bischoﬀ, Dan. “Aljira’s Emerge 2003 Presents Amazing Examples of Technique.” Sunday Star-Ledger, August 15.

1999 Becker, Jochen. “Gegenöﬀentlichkeit hinter Glas.” Die Tageszeitung,

June 26. ——. “Unbehagen

der Geschlechter.” Kunstforum International, September-November.

Listings: Carrie Moyer.” Village Voice, January 1–7.

“Frauen & Gestaltung: Der Kleine Unterschied.” Page, December.

McQuaid, Cate. “Adventures in Abstraction’ at Judy Goldman Fine Art.” Boston Globe, June 13.

Glanz, Alexandra. “Das gesammelte Unbehagen.” Hannoversche Allgemeine Zeitung, May 26.

Rubinstein, Raphael. “8 Painters: New Work.” Art in America, November.

Haynes, Esther. “They’re Not Sisters.” Jane, December.

——.“Art

2002 Cotter, Holland. “Unjustiﬁed.” New York Times, March 1.

Grubb, R.J. “Love, Peace & Work by Carrie Moyer.” Baywindows, February 5. Hopkins, Randi. “Stealing Beauty: Fashion, Photography, Video, and Painting.” Boston Phoenix, January 3 –10. McQuaid, Cate. “Revolution, Utopia and Other ’60s Dreamscapes.” Boston Globe, January 26. Parcellin, Paul. “Art Around Town: Carrie Moyer.” Retro-Rocket.com, February.

Miya-Jervis, Lisa. “Proﬁle: Dyke Action Machine!” Bitch, Summer. Reusch, Wera. “I want a dyke for president.” Köln StadtRevue, July. Sherman, Mary. “Familiarity Breeds Content in Shows by Friends, Family.” Boston Herald, October 10. Siﬀrin-Peters, Annette. “Vom Unbehagen der Geschlechter.” Aachener Nachrichten, May 31. Tietenberg, Annette. “Überraschung in der Mittagspause.” Frankfurter Allgemeine Zeitung, June 21. “Unbehagen der Geschlechter im Neuen Aachener Kunstverein.” Kunst-Bulletin, July/August.

1998 Che, Cathay. “DAM! Sell in Distress.” Time Out New York, July.

Gangitano, Lia, and Eileen Myles. Message to Pretty (exh.cat.). New York, NY: Thread Waxing Space. Loos, Tod. “Lesbian Poster Girls.” The Advocate, December 22. Rand, Erica. “Troubling Customs.” New Art Examiner, June. Schlesinger, Toni, and Guy Trebay. “Alphabet City.” Village Voice, December. 1997 Cottingham, Laura, Frainçoise Collin, and Armelle Leturcq. Vraiment:

Féminisme et Art (exh.cat.). Grenoble, France: Magasin, Centre national d’art contemporain. Joselit, David. “Exhibiting Gender.” Art In America, January.

Online Interviews

“Jack Whitten.” The Brooklyn Rail, October. 2015 “Study With The Best: Carrie Moyer,” CUNY TV, City University of New

York, NY. http://www.cuny.tv/show/studywiththebest/PR2004388

1996 Hannaham, James. “Best of the Net: Dyke TV...” Village Voice, October.

Harris, Elise. “Agit Pop.” Out, July 1996. Ingram, Gordon Brent. “In Search of Queer Space on the Internet.” Border/Lines, Fall.

Springs, NY. https://youtu.be/EYr3VihUCvM 2012 “Pratt Eye On Alumni: Carrie Moyer,” Pratt Institute, Brookyn, NY.

https://youtu.be/3dEvcO Ob04 2011 “Carrie Moyer at CANADA, Sept 2011,” Interview with Zachary Keeting

and Christopher Joy, Gorky’s Granddaughter. http://www.gorkysgranddaughter

Reviews & Essays by Carrie Moyer Helaine Posner, Verlag: Prestel. 2015 “Carrie Moyer,” in “The heroine Paint”: After Frankenthaler, ed. Katy

Siegel, New York, NY: Rizzoli. “Roundtable: “The Forever Now” at MoMA.” artcritical.com, February 9.

Turner, Kay. Dear Sappho: Lesbian Love Letters, Past and Present. London: Thames & Hudson. 1995 Blake, Nayland, Lawrence Rinder, and Amy Scholder, eds. In A Diﬀerent

Light: Visual Culture, Sexual Identity, Queer Practice (exh.cat.). San Francisco: City Lights Books.

2014 “Angela Dufresne.” Art in America, November.

“Michael Berryhill.” Art in America, September. 2013 “Dennis Congdon.” Art in America, October.

“Zero at the Bone: Louise Fishman Speaks with Carrie Moyer.” Art Journal, Winter. 2012 “Sensibility of the Times Revisited: Carrie Moyer.” Art in America,

December. [Louise Fishman] “A Restless Spirit.” Art in America, October.

Deitcher, David, ed. A Question Of Equality: Gay Politics In America Since Stonewall. New York: Scribner.

“Carrie Moyer,” in Draw It With Your Eyes Closed: the Art of the Art Assignment, Paper Monument, eds. New York: n+1 foundation.

“News From the Loop: Dyke Action Machine...” Flash Art, Summer.

“Nancy Grossman: Hard Knock Life,” in Nancy Grossman: Tough Life Diary (exh. cat.), ed. Ian Berry. Skidmore, NY: Tang Teaching Museum.

Osman, Jena, and Juliana Spahr, eds. “Documentary.” Chain #2. Buﬀalo, NY: State University of New York. Shapiro, Carolyn. “Directed Action.” High Performance, Summer. 1994 Atkins, Robert. “Scene & Heard.” Village Voice, July.

Schorr, Collier. “Poster Girls.” Artforum, October.

2011 Carrie Moyer: Canonical (exh.cat.). New York, NY: CANADA.

[Rochelle Feinstein] “Modernist at the Disco.” Art in America, September.

“Jo Baer.” The Brooklyn Rail, May.

“Nadia Ayari: Monya Rowe Gallery.” Art in America, September.

“United Society of Believers.” Cultural Politics 3, no. 3, November. “Minister of Culture: The Revolutionary Art of Emory Douglas.” Modern Painters, November.

“Hilary Harkness: A Bow to Female S/M.” Gay City News, June 3. “Marc Handelman: Landscape Focused and Idealized.” Gay City News, September 20. “Nancy Chunn: History Painting for the Fleeting News-Hungry Masses.” Villager, October 13 –19. “Verne Dawson: Painting the Julian Calendar.” Gay City News, November 11. “Martha Rosler: Photographs That Show and Tell.” Downtown Express, December 9. 2003 “Beverly McIver: Minstrels in a Painterly Mode.” Gay City News, Sep-

tember 26. “Charline Von Heyl: Tweaking the Canon.” Gay City News, October 23. “Angelo Filomeno: Blood and Body Politic.” Gay City News, November 20. [Jenny Dubnau] “Discomfort Tells A Story.” Gay City News, December 25. 1998 “Do You Love the Dyke In Your Face: Lesbian Street Representation.”

in Lips, Tits, Hits, Power? Popkulture und Feminismus, Annette Baldauf, Katherina Weingartner, eds. Vienna: Folio Verlag. 1997 “Do You Love the Dyke In Your Face: Lesbian Street Representation,”

in Queers In Space, ed. Gordon Brent Ingram. Seattle, WA: Bay Press.

2006 “‘Wearing Propaganda’ at the Bard Graduate Center for Studies in

Decorative Arts. Propaganda Straight Up & Stylish.” Gay City News, January 26. “Pictures at an Exhibition: New Prints/Winter 2006.” International Print Center New York, January. “Karen Heagle: Luscious and Eccentric.” Gay City News, March 2. “Blalla Hallmann: Gleefully Blasphemous Painted Glass.” Gay City News, April 13. “Judy Glantzman: Layers of Probing Attention.” Gay City News, May 11.

Public Lectures, Panels, Symposia & Conferences 2015 Presenter, Closed Scholars’ Discussion, “Alberto Burri: The Trauma

of Painting,” Guggenheim Museum, New York, NY

“Irving Petlin.” The Brookyn Rail, May.

Presenter, Symposium on Robert Motherwell, Archives of American Art, Smithsonian Institution, Washington, DC

“Garry Neill Kennedy and Joanna Malinowska.” The Brooklyn Rail, June.

Participant, De Niro Sessions, Art In America, New York, NY

“Energy/Experimentation: Black Artists and Abstraction 1964–80.” The Brooklyn Rail, June.

Moderator, “Some Thoughts on Painting,” The Brooklyn Rail, NY

“Greek Studies by Women.” Gay City News, July 7.

Artist Lecture, University of Indiana, Bloomington, IN

“Dona Nelson.” The Brooklyn Rail, October. 2005 “‘Field of Color: Tantra Drawings from India’ at the Drawing Center.

Hindu etchings meant to enlighten.” Gay City News, January 14. “Pat Steir: The Majesty of Paint.” Gay City News, April 7. “‘Post-Modern’ at Greene Naftali Gallery. Vital Look at Modernism’s Wake.” Gay City News, February 10.

Artist Lecture, University of Nevada, Las Vegas, NV

2014 Four Painters: Visiting Artist Lecture, The School of the Museum of

Fine Arts, Boston, MA Artist Lecture, Boston University, MA 2013 Dunkerley Dialogue with Ian Berry, The Frances Young Tang Teaching

Museum and Art Gallery, Skidmore College, Saratoga Springs, NY

“The Deconstructive Impulse: Women Artists Reconﬁgure Signs of Power 1973– 91.” Art in America, May.

“Julian Opie: City Hall Park’s Fodder.” Gay City News, May 12.

Presenter, Pour Symposium, University Galleries, Florida Atlantic University, Boca Raton, FL

“Stephen Mueller, Lennon Weinberg.” Art in America, February.

“William Pope L: Engaging a Discussion of Blackness.” Gay City News, June 9.

Visiting Critic, Leroy E. Hoﬀberger School of Painting, Maryland Institute College of Art, Baltimore, MD

“‘Hunch & Flail’ at Artists Space. Not By Design.” Gay City News, July 21.

Presenter, “Reframing Painting: A Call for a New Critical Dialogue,” College Art Association 101st Annual Conference, New York, NY

2010 “Kirsi Mikkola: Sue Scott Gallery.“ Art in America, December.

“Pat Steir: RISD Museum, Providence, RI.” Art in America, October. “ALINA SZAPOCZNIKOW: My American Dream.” The Brooklyn Rail, October. “So Diﬀerent, So Appealing: Carrie Moyer on the Women of Pop.” Artforum, April. “Carrie Moyer, ” in The Studio Reader: On the Space of Artists, Michelle Grabner and Mary Jane Jacobs, eds. Chicago, IL: University of Chicago Press.

Recent History of Lesbian Representation,” in The Practice of Public Art, Cameron Cartiere and Shelly Willis, eds. New York & London: Routledge.

“Peter Young: Easy Rider of Abstraction.” Art in America, September. 2016 “Louise Isn’t Angry Anymore. She’s Painting,” in Louise Fishman, ed.

“Carrie Moyer: Peaks and Valleys, ” in Akademie X: Lessons in Art + Life, Marina Abramović, Olafur Eliasson, Dan Graham, and Studio Rags Media Collective, eds. London: Phaidon Press.

Tompkins, Betty and Robert Witz, eds. Appearances, No. 23, Summer.

2008 “From Margin to Mainstream: Dyke Action Machine, Public Art and a

“Lori Ellison,” in Here Comes the Sun: Lori Ellison And Shari Mendelson. (exh.cat.). Brooklyn, NY: Sideshow Gallery.

Lupton, Ellen. Mixing Messages: Graphic Design in Contemporary Culture (exh.cat.). New York, NY: Princeton Architectural Press and Cooper-Hewitt National Design Museum, Smithsonian Institution. Straayer, Chris. Deviant Eyes, Deviant Bodies: Sexual Re-Orientation in Film and Video. New York, NY: Columbia University Press.

“Maria Lassnig: The Pitiless Eye.” Art in America, January.

2007 “Feminist Art: VIVA.” Modern Painters, March.

Lippy, Tod. “Dial Tone.” Print VI.

Smyth, Cherry. Damn Fine Art by New Lesbian Artists. London: Cassell.

“Mira Schor: Momenta Art.” Modern Painters, Summer. “Mike Womack: ZieherSmith.” Art in America, June/July.

2013 “Carrie Moyer,” Tang Teaching Museum, Skidmore College, Saratoga

McQuiston, Liz. Suffragettes to She-Devils: Women’s Liberation and Beyond. London: Phaidon Press. Revolution Girl-Style (exh.cat.). Vienna, Austria: Messepalast/ Museumsquartier.

2009 “Sarah McEneaney: Tibor De Nagy Gallery.” Art in America, December.

“Bruce Pearson: Glistening Slabs.” Gay City News, September 22. “Chris Martin: Aesthetic Scavenger Hunt.” Gay City News, October 20. 2004 “Shelburne Thurber: A Sofa Is Not Just a Sofa.” Gay City News, April 1.

“Édouard Prulhière: Challenging Notions of Physicality.” Gay City News, April 29.

Visiting Critic, School of Visual Arts, MFA Program in Art Criticism, New York, NY Artist Lecture, College of New Rochelle, NY 2012 Artist Lecture, Leroy E. Hoﬀberger School of Painting, Maryland

Institute College of Art, Baltimore, MD

Artist Lecture, Tyler School of Art, Philadelphia, PA

Participant, Alumni/Artist Panel, Pratt Institute, Brooklyn, NY

Artist Lecture, Yale University, New Haven, CT

Participant, “Gay-I.G.A.: How Gay is Design?” American Institute of Graphic Arts, New York, NY

Artist Lecture, Cornell University, New York City Program, NY 2011 Chair and Organizer, “Studio Art Open Session: Abstract Painting at

100,” College Art Association 99th Annual Conference, New York, NY

Artist Lecture, New York University, Graduate Program, NY

Claﬂin Lecture, Vassar College, Poughkeepsie, NY

Visiting Critic, Rhode Island School of Design, Providence, RI

Artist Lecture, Minneapolis College of Art and Design, MN

Artist Lecture, Corcoran College of Art and Design, Washington, DC

Artist Lecture, Boston University, MA Artist Lecture, Savannah College of Art and Design, GA 2010 “How to Paint, Write, Teach, be an Activist, and Generally Try to Stay

2003 Participant, “Culture Jamming 101,” Grass Roots Media Conference,

New York, NY Artist Lecture, School of Visual Arts, New York, NY

Sane: A Conversation between Carrie Moyer and Mira Schor,” SkowheganTALKS, New Museum, New York, NY

Artist Lecture, Center for Curatorial Studies, Bard College, Annandaleon-Hudson, NY

Presenter, Panels: “On PTG” and “Feminist Painting,” College Art Association 98th Annual Conference, Chicago, IL

Artist Lecture, Bard College, Annandale-on-Hudson, NY

Artist Lecture, School of the Art Institute of Chicago, IL

Artist Lecture, Virginia Commonwealth University, Richmond, VA

Artist Lecture, University of Tennessee, Knoxville, TN Artist Lecture, SUNY Buﬀalo, NY Artist Lecture, University of South Florida, School of Art and Art History, Tampa, FL Artist Lecture, Austin Peay State University, Clarksville, TN 2009 Participant, Critical Inquiry Colloquia: “Abstraction(s),” American

University, Washington, DC Artist Lecture. 16th Annual Lavender Languages and Linguistics Conference, American University, Washington, DC 2008 Panelist, “Making Art in the World,” Pratt Institute, Brooklyn, NY

Artist Lecture, Montclair State University, NJ Visiting Critic, Pratt Institute, Brooklyn, NY Artist Lecture, Parsons School of Art and Design, New York, NY 2002 Artist Lecture, Rhode Island School of Design, Providence, RI

Visiting Critic, New York Studio Program, NY Presenter, “Art and Activism,” Ladyfest East, New York, NY Presenter, “Get Used to It! Queer Nation: 10 Years After,” New York University, NY 2001 Presenter, “Straight to Hell: 10 Years of Dyke Action Machine!,” 7th

International Performance Studies Conference, Universität Mainz, Mainz, Germany

Artist Lecture, Massachusetts College of Art and Design, Boston, MA

Presenter, “Digital Happy Hour,” The Kitchen, New York, NY

Artist Lecture, Tyler School of Art, Elkins Park, PA

Presenter, “The Mediation of Art and its Audience in the Age of Mass Culture,” with Robert Atkins, Mark Tribe, Lawrence Rinder, and Jeﬀ Weinstein, School of Visual Arts, New York, NY

Artist Lecture, Virginia Commonwealth University, Richmond, VA 2007 Presenter, “Abstracting the Impulse,” with Sonia Gechtoﬀ, Thomas

Nozkowski, Dorothea Rockburne, and Irving Sandler, National Academy Museum, New York, NY Presenter, “Street Appeal: Dyke Action Machine!, the Queer Garde and the Look of Gay Liberation in the 1990s,” Avantgarden and Politik, Jahrestagung der Sektion Kultursoziologie in der Deutschen Gesellschaft für Soziologie, Hannover, Germany Presenter, “Art Partners: The Erotics of Collaboration,” College Art Association 95th Annual Conference, New York, NY Artist Lecture, Mills College, Oakland, CA 2006 Four Painters: Artist Lecture, The School of the Museum of Fine Arts,

Boston, MA Participant, “‘Campbell, Campbell, Campbell:’ Exploring Repetition,” Dorsky Curatorial Programs, Long Island City, NY

Presenter, “culturejamming@NYU,” Center for Media, Culture and History, New York University, NY Artist Lecture, Tisch School of the Arts, New York University, NY Artist Lecture, University of Arizona, Tucson, AZ 2000 Presenter, “Mermaids on the Run: Cyberfeminism,” The Swiss Institute,

New York, NY

Cohen, Cherry Smyth, and Nicola Tyson, Institute for Contemporary Art, London, United Kingdom Presenter, “Do You Love the Dyke in Your Face: Lesbian Street Representation,” Barnard Feminist Art History Conference, Barnard College, New York, NY 1994 Presenter, “Design Pride: the First Lesbian and Gay Design Confer-

ence,” The Cooper Union, New York, NY

1999 Artist Lecture, Neuer Aachener Kunstverein, Aachen, Germany 1998 Artist Lecture, University of California, Irvine, CA

Artist Lecture, New School for Social Research, New York, NY

2011 – PRESENT Hunter College, New York, NY. Associate Professor 2007–11 Rhode Island School of Design, Providence, RI. Assistant Professor

& Director of Graduate Painting 2010 Skowhegan School of Painting and Sculpture, ME. Resident Faculty 2006– 07 Yale University, New Haven, CT. Core Critic, Graduate Program

Pratt Institute, Brooklyn, NY. Adjunct Professor Queens College, Flushing, NY. Adjunct Professor 2005 The Cooper Union, New York, NY. Visiting Artist

Tyler School of Art, Elkins Park, PA. Assistant Professor, Dean’s Appointment

Curatorial Projects 2012 To the Venetians II: Chris Martin, Matt Rich and Ruth Root, Painting

Department Gallery, Rhode Island School of Design, Providence, RI. Co-curated with Dennis Congdon

2005– 07 Art Institute of Boston, MA. Adjunct Professor, MFA Program 2003– 07 Rutgers, The State University of New Jersey, New Brunswick, NJ.

Part-time instructor 2001 University of Tennessee, Knoxville, TN. Artist-in-Residence

2009 Crash Proof, an online exhibition for Scholar + Feminist Online,

Barnard Center for Research on Women. http://www.barnard.edu/sfonline/sexecon/crash-proof/moyer.htm

Education

2006 No Lemons, No Melons, David Krut Projects, New York, NY. Co-curated

with Sheila Pepe Fall ‘06 Exhibition, Lower East Side Printshop, New York, NY 2004 Republican Like Me, Parlour Projects, Brooklyn, NY. Co-curators Dean

Daderko, Edwin Ramoran

2001 Bard College, MFA, Painting, Milton Avery Graduate School of

the Arts 1995 Skowhegan School of Painting and Sculpture 1990 New York Institute of Technology, MA, Computer Graphic Design,

with honors 1985 Pratt Institute, BFA, Painting, with honors

Artist Pages & Cover Art B. 1960, Redford Township, MI 2010 Cover art. Brand 06: Stories, Plays, Poems, Creative NonFiction, vol. 6,

Spring/Summer.

Lives and works in New York

2009 “BOMB SPECIFIC: Carrie Moyer,” commissioned art project for BOMB

Magazine, Summer. 2008 “Women’s History Month Commemorative Stamps,” collaborative art

Cover art. Garron, Isabelle. Face Before Against, Brooklyn, NY: Litmus Press.

2004 Presenter, “Dyke Action Machine!’s Instant Messaging: ‘Branding’

Lesbian Identity on the New York City Street,” College Art Association 92nd Annual Conference, Seattle, WA

1996 Presenter, “Damned Fine Art by New Lesbian Artists,” with Andy

Artist Lecture, Cinema Studies Department, New York University, NY

2005 Artist Lecture, California College of Art, San Francisco, CA

Artist Lecture, Brandeis University, Waltham, MA

Artist Lecture, Williams College, Williamstown, MA

project with Sheila Pepe, Hung Zine, Issue 3, Winter/Spring.

Presenter, “Oﬀ-Center: New Media: Network_Art_Activism,” Center for Media, Culture and History, New York University, NY

Academic Positions

Artist Lecture, Rhode Island School of Design, Providence, RI

Artist Lecture, Künstlerwerkstatt Lothringer Strasse, Munich, Germany

Presenter, “Degrees of Narrative: A Conversation Between Visual Artists and Writers,” with Deborah Bright, Louise Fishman, Esther Newton, Sheila Pepe, Susan Stoops, and Laurie Weeks, Rose Art Museum, Brandeis University, Waltham, MA

Artist Lecture, Williams College, Williamstown, MA

Artist Lecture, University of Houston, TX

1997 Artist Lecture, New York University, NY

Professional Affiliations Governor, Skowhegan School of Painting and Sculpture, ME Member, College Art Association, New York, NY

2007 Cover art. Brand 01: Stories, Plays, Poems, Creative NonFiction, vol. 1,

Spring/Summer. 2003 “Another Dollar: The American Dollar Bill,” Another Magazine, Issue 4,

Spring/Summer. 1998 “Swann in Love Again,” artist page in collaboration with Shelley

Marlow, Zing. “Witness: An Exquisite Corpse,” xxx fruit, ed. Anne-Christine D’Adesky.

Artist Lecture, “Matrilineage: Feminist Art Conference,” Syracuse University, NY

Published on the occasion of the exhibition

Carrie Moyer: Sirens DC Moore Gallery, February 18 – March 26, 2016

Carrie Moyer: Sirens © DC Moore Gallery, 2016 Between Suggestive Form and Gesture © Katy Siegel, 2016 KATY SIEGEL is the Eugene V. and Clare E. Thaw Endowed Chair in Modern

American Art at Stony Brook University. Her books include “The heroine Paint”: After Frankenthaler (2015) and Since ’45: America and the Making of Contemporary Art (2011). Her exhibitions include High Times, Hard Times: New York Painting, 1967–1975, and she is the co-curator with Okwui Enwezor and Ulrich Wilmes of Postwar: Art Between the Atlantic and the Paciﬁc, 1945– 1965, opening at the Haus der Kunst, Munich, 2016.

ISBN: 978-0-9861786-5-8

PUBLICATIONS MANAGER: DESIGN:

PHOTOGRAPHY:

PRINTING:

Gagosian Gallery; PAGE 10:

Andrea Cerbie;

Joseph Guglietti;

PAGES 14/15:

EDITING:

SNAP Editions

Brilliant Graphics

PAGE 11:

Rob McKeever, courtesy of

Collection of Artist and Artists Pension Trust;

PAGE 11:

Private collec-

tion. © 2015 Helen Frankenthaler Foundation, Inc. Artists Rights Society (ARS), New York. PAGE 12: Purchase Prize given by IBM Corporation, 19th Ceramic National, 1956. Collection, Everson Museum of Art, Syracuse, NY; PAGE 13: Installed as part of Hand + Made: The Performative Impulse in Art & Craft, Contemporary Art Museum Houston, TX

COVER:

In a Cool Blaze, 2015 (detail); PAGE 1: The Green Lantern, 2015 (detail)

PAGES 4/5:

Cloud 9, 2016 (detail); PAGES 18/19: In a Cool Blaze, 2015 (detail)

PAGES 50/51:

Intergalactic Emoji Factory, 2015 (detail)

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Arsenic and Old Lace, 2015. Acrylic and Flashe on canvas, 24 x 20 inches

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Night Train, 2015. Acrylic and Flashe on canvas, 24 x 20 inches

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