This week, an Instagram Live conversation brings together Carrie Moyer and curator Piper Marshall to discuss Moyer’s presentation for DC Moore Gallery's Frieze New York Viewing Room.
Thursday, May 7th
Piper Marshall is a doctoral candidate in the Department of Art History and Archaeology at Columbia University, a curator, and an educator. Her research centers on questions of feminisms, film, and care as they have been engaged by artists since the 1960s. She is currently completing a dissertation that analyzes the work of artist, filmmaker Ericka Beckman and her collaborators (Mike Kelley, Johanna Cypis, and Brooke Halpin) as informed by second wave feminist debate, the emergence of postmodernism, and the constitutive formation of “Pictures” and “The New Talkie.” She examines the oppression in ideology and subjectivity addressed by feminism precisely at the same moment that artists redefined the boundaries of image production. Marshall was a curatorial correspondent for the First Front Triennial of Cleveland Ohio in 2018; curator of the 12th annual A.I.R. Biennial 2017; and she was formerly the curator at the Swiss Institute / Contemporary Art in New York (2008–14). She has made monographic exhibitions devoted to the artists Nina Chanel Abney, Math Bass, Angela Bulloch, Judith Barry, Sadie Benning, Laurie Simmons, Pamela Rosenkranz, and Leidy Churchman, among many others. Between 2016 and 2017, Marshall served as the editor at large for the journal The Exhibitionist. She will contribute essays for monographs on the work of Ericka Beckman, Rochelle Goldberg, Carrie Moyer, and Josephine Meckseper. In 2013, she edited the exhibition reader Descartes’ Daughter, published by Sternberg Press. More of her writing may be found in publications such as Cura, Parkett, Texte Zur Kunst, Kaleidoscope, and Art in America.
Carrie Moyer is an artist and writer known for her sumptuous paintings on canvas, which explore and extend the legacy of American Abstraction while paying homage to many of its seminal female figures, among them Helen Frankenthaler, Elizabeth Murray, and Georgia O’Keeffe. Rife with visual precedents, Moyer’s compositions reference Color Field, Pop Art and 1970s Feminist art - while proposing a new approach to fusing history, research and experimentation in painting. In addition, Moyer’s work, influenced by a background in design and queer activism, intricately weaves together concept, research, and lived experience with a range of stylistic and physical references. With their evocative, bodily forms, transparent veils of aqueous color and flat surfaces, Moyer’s paintings forge distinct traces of 20th century art into a contemporary vision uniquely her own. Moyer was featured in the 2017 Whitney Museum Biennial, and has been the subject of recent museum exhibitions such as Carrie Moyer and Sheila Pepe: Tabernacles for Trying Times, Portland Museum of Art, ME (2020) which will travel to Museum of Art and Design, New York, NY (2021); Queer Abstraction, Des Moines Art Center, IA (2019); Carrie Moyer: One Night Only, Dallas, TX (2019); Carrie Moyer: Pirate Jenny, Tang Museum, Sarasota Springs, NY (2013). DC Moore Gallery has presented two solo-exhibitions of Moyer's work, Pagan's Rapture (2018) and Sirens (2016). Moyer is recognized as one of the most distinctive, powerful, and thoughtful painters of her generation.