To Dream, to Collect

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Single piece Signed Dated Titled

Reference

380c1136

Year

2013

Medium

Prints

Size

60.5 x 58.4 cm
23.82 x 23 in

Price

2500,00 €

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  • About the work

TECHNIQUE: ETCHING

Etching. Aquatint with spitbite, photogravure, and Pochoir.

Jill Moser is an American abstract artist whose work explores the intersection of “painting, writing and the animated image.”

Her work is in the collections of the Museum of Modern Art New York, the Art institute of Chicago, the National Gallery of Art, the Metropolitan Museum of Art, the Seattle Art Museum, and many others.

Moser has an interdisciplinary practice that includes painting, printmaking, drawing and collage.

Her work can be understood in relation to the history of written language—marks that carry meaning. Her brush marks are lyrical, gestural and calligraphic.

Moser is inspired by languages, whether written, visual, indexical, or gestural. She seeks balance similar to that sought by a poet—between conveying enough meaning that the viewer has a guided revelatory experience, and allowing enough room for surprise during the creation and presentation of the work that additional layers of meaning can emerge.

Boyle, Fintan and Nichols, Jennie, “Studio Visit: Jill Moser” romanovgrave.com, March 2018. 

Carey, Brainard, “Jill Moser Interview,” Yale Radio, https://museumofnonvisibleart.com/interviews/jillmoser/, May 2017 

Adams Weinberg, Jill, “Play, Replay”, Exhibition Brochure, 2017 

Major Jackson and Jill Moser, “Urban Renewal: A Painter and a Poet Collaborate”, The Southampton Review, Volume X, No. 2, (pages 42-49) Summer/Fall 2016 

Hirsch, Faye. “A Seemingly Effortless Gesture is Choreographed into an Emptied Field”, Art in Print, Volume 5, Number 6, 2016 

Marks Made: Prints by American Women Artists from the 1960’s to the Present, catalog of the exhibition, Museum of Fine Arts, St. Petersburg, FL, 2015. (p. 94,95) 2015 

Kedmey, Karen, “Jill Moser Tempers Control and Chaos in Abstract Paintings”, Artsy.com. January 2015 

Westfall, Stephen. “Caught in the Act”, exhibition brochure, Lennon, Weinberg, 2012. 

McAdam, Alfred. “Jill Moser at Lennon, Weinberg”, ARTnews, Summer 2012. 

Ross, Alex. Review of New Paintings at James Kelly Contemporary, Visualartsource.com, Spring 2011. 

Moser, Jill. “Collaborating on the Introvert”. NYFA Current: artists on art, NYFA.com March 30, 2011. 

Champa, Judith Tolnick. Extravagant Drawing, Dorsky Gallery, Curatorial Programs, 2011. (p.3) 

Thomson, Steven. “Serif Embedded in Swirls,” culturemap.com, December 2010. 

Taube, Isabel and Huhn, Tom. Between Picture and the Viewer: The Image in Contemporary Painting, Exhibition catalog. Visual Arts Press, Ltd. 2010. (p. 61) 

Art At Lincoln Center – The Public Art and List Print and Poster Collections, John Wiley & Sons, Inc., Hoboken, NJ, 2009, (p. 210.) 

Holzer, Stacey. “Lines of Flirtation,” visualseen.com, Fall 2009. 

Interview with Meghan Hendley, The Front Line, KUHF, Houston National Public Radio, September 2009. 

Maul, Tim. Sixteen Street, exhibition catalog, Wade Wilson Art, Houston, Texas: 2009. 

560 Broadway: A New York Drawing Collection at Work, 1991-2006, Yale University Press, 2008. (pgs. 31, 58, 59) 

Pankey, Eric, The Pear as One Example- New & Selected Poems 1984-2008, cover art, Ausable Press, 2008. 

Wilkin, Karen. “At the Galleries,” The Hudson Review, Spring 2008

Hirsch, Faye. “Jill Moser at Lennon, Weinberg”. Art in America, April 2008. 

Hu, Tung-Hui. Mine, cover art, Ausable Press, 2008 

“Jill Moser: New Paintings,” Art and Living, Fall 2007. 

Morton, Julia. “Art More or Less,” New York Press, November 14, 2007. 

Taubman, Lara. “Blue is the Color of Infinity: A Studio Visit with Jill Moser,” artcritical.com, November 2007. 

Grant, Daniel. “Major Museums Acquire the Abstract Art of Jill Moser,” ARTnewsletter, September 18, 2007. 

Cunningham, Meredith. “Jill Moser at Wade Wilson Gallery”, artifice.blogspot.com, March 3, 2007. 

Devine, John. “Jill Moser at Wade Wilson”, Glasstire.com, February 2007. 

Farnell, Cynthia. “Jill Moser: Naming Game”, Art New England, October/November 2006. 

Baker, R.C. Review of Action Precision, The Village Voice, July 28, 2006. 

Van Siclen, Bill. Review of Naming Game at URI, The Providence Journal, July 20, 2006. 

Norris, Douglas. Review of Naming Game, South County Independent, July 14, 2006. 

Cohen, David. “The Afterlife of an Ideal”, review of Action Precision at Lennon, Weinberg, The New York Sun , June 29, 2006. 

Ryan, Dinah. “Jill Moser: Naming Game”, Art Papers, March/April 2006. 

Wei, Lilly. Naming Game, exhibition catalogue, 1708 Gallery, Richmond, VA, Westby Gallery, Rowan University, NJ and Main Gallery, University of Rhode Island: 2005. 

Pounds, Kristen I. “Jill Moser: Parings”, Art New England, February/March 2005. 

McQuaid, Cate. “Line Items”, The Boston Globe, November 12, 2004. 

Westfall, Stephen. “Parings”, exhibition brochure, osp Gallery, Boston, MA: 2004. 

Princenthal, Nancy. Masters of the Obvious, exhibition catalogue, Hampden Gallery, University of Massachusetts at Amherst, MA: 2004. 

New American Painting, Number 50, Volume 9, Number 1, January 2004. 

Fox, Catherine. "Circular Thinking". Atlanta Journal-Constitution. January 18, 2002. 

Drawn from a Family: Contemporary Works on Paper, exhibition catalog, Colby College Museum of Art, ME (pg. 56, 57) 

Moos, David. "Orbit", Jill Moser: New Work, exhibition invitation, Kiang Gallery, Atlanta, GA: 2001. 

Volk, Gregory. "Jill Moser at Kate Ganz", Art in America , July 2001. 

Wei, Lily. "Jill Moser: Works on Paper ", Art News, April 2001. 

Goodman, Jonathan. "Jill Moser: Works on Paper at Kate Ganz ", Art on Paper, March/April 2001. 

Princenthal, Nancy. “Sightlines”, Jill Moser: Works on Paper, exhibition catalogue, Kate Ganz USA, NYC:2000. 

Bloemink, Barbara and Greg Hedberg. New York-Classicism-Now, exhibition catalogue, Hirschl & Adler Gallery, NYC: 2000. (pgs. 44, 45, cat 39) 

Wei, Lily. After The Fall: Aspects of Abstract Painting Since 1970 , exhibition catalogue, Snug Harbor Cultural Center, Staten Island, NY: 1997. (pg. 82, 142) 

Tableau : Territories Actuel/ New Territories in Painting , Ecole regionale Des Beaux-Arts de Valence, France: 1997. 

Smith, Roberta, "Drawing from Life", The New York Times, February 7, 1997. 

Brenson, Michael. North Fork Drawings, exhibition catalogue, Wynn Kramarsky, NYC: 1996. 

Van Siclen, Bill, "Two NY Artists at URI", Providence Journal, January 1996. 

Faxon, Alicia, "Jill Moser & Catherine Lee", ART New England, June/July 1996. 

Tolnick, Judith, Figuration Forward: Jill Moser & Catherine Lee, brochure, Fine Arts Gallery, University of Rhode Island, 1996. 

Douglas, Olivia W., "Jill Moser at Black & Greenberg", ARTnews, February 1995. 

Wei, Lilly, "Jill Moser at Black & Greenberg", Art in America, April 1995. 

Wilkin, Karen, "At the Galleries", Partisan Review, Spring 1995. 

Morgan, Robert C., "Drawing Deep", Cover Magazine, November 1994. 

Adams, Brooks, "Slow Art at PS 1", Art in America, October 1992


About the Artist

1956 , United States

Jill Moser is an American abstract artist whose work explores the intersection of “painting, writing and the animated image.” 
She lives and works in New York City.


Education

Moser earned her B.A. from Brown University, Providence, Rhode Island, in 1978, and her M.F.A. from Hunter College, New York, in 1981. 
She has been awarded a New York Foundation for the Arts Painting Fellowship and a Max Beckmann Scholarship in Painting from the Brooklyn Museum. 
She has taught at Princeton, Virginia Commonwealth University, and several other prestigious institutions.


Technique

Moser has an interdisciplinary practice that includes painting, printmaking, drawing and collage. 
Her printmaking includes a diverse array of techniques, such as lithograph, etching, monoprint, intaglio, and screen printing. 
Her work can be understood in relation to the history of written language—marks that carry meaning. 
Her brush marks are lyrical, gestural and calligraphic. 
The lines and forms at first appear spontaneous, yet they evolve through a methodical, indexical process. 
Moser constructs her compositions in terms of figures on a ground. The surfaces are layered and textured, creating a sense that the lines, marks and figures are suspended in dimensional space. 
Color and tone add emotional and visual weight to the work, creating pictures that are at the same time self-referential, revelatory of the process of their making, and open to the interpretation of viewers.


Inspiration

Moser is inspired by languages, whether written, visual, indexical, or gestural. 
She seeks balance similar to that sought by a poet—between conveying enough meaning that the viewer has a guided revelatory experience, and allowing enough room for surprise during the creation and presentation of the work that additional layers of meaning can emerge. 
She also finds inspiration in such things as the language of filmmaking, the history of symbology, and the collaborative process, for example inviting writers to contribute texts that Moser then interprets into abstract visual compositions.


Relevant Quotes

In their article about Moser on RomanovGrave.com, Fintan Boyle and Jennie Nichols wrote, “the sign, the word, the utterance, the shot, the mark as not transparent, but as sites of contested possibilities drenched in unending layers of connotation. It is this particular filtering of language and sign making that shaped Moser’s early work. And language, as writing, as graphic icon, as bearer of meaning, as a bundle of loose lipped conventions we all share and trade in has always, and continues to be a model in Moser’s work.”


Exhibitions

Moser has exhibited extensively around the world, including at the Smithsonian American Art Museum and the Museum of Fine Arts Houston.


Collections

Her work is in the collections of the Museum of Modern Art New York, the Art institute of Chicago, the National Gallery of Art, the Metropolitan Museum of Art, the Seattle Art Museum, and many others.


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About the Gallery

Address

London, 160 Fernhead Road, Maida Vale

IdeelArt is a curated online only art gallery dedicated to contemporary abstract art, offering a representative selection of qualitative works from international established abstract artists....

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