New York

Carrie Moyer


Carrie Moyer’s newest series of paintings builds on her previous works, which combine abstract forms and swathes of color with overt citations of radical social movements. Yet the works here, devoid of raised fists and images of Emma Goldman, also mark a significant departure for the New York–based artist. Moyer has moved further into the realm of free association, allowing her political references to hover suggestively rather than spelling them out. Biomorphic shapes evoke the “central core” imagery of ’70s feminist art at the same time that they resemble simplified Rorschach inkblots onto which we may project our own interpretations.

The imagery of The Stone Age (all works 2006), for example, alludes to ancient female figurines such as the Venus of Willendorf, but its shimmering veils of brilliant red and magenta additionally refer to the poured pigments of Helen Frankenthaler and Morris

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