rodolphe janssen opens an exhibition of works by Sam Moyer

The First Art Newspaper on the Net    Established in 1996 Thursday, June 13, 2024

rodolphe janssen opens an exhibition of works by Sam Moyer
Installation view.

BRUSSELS.- In her most recent body of work, Sam Moyer has harnessed the graphic qualities of stone to generate a sense of movement and transformation. The result is a group of paintings in which stone coils, spills, drips, hovers, teeters precariously and curls back into itself. Animated by gesture and motion, these works suggest that something unseen has occurred—a mysterious catalyst that fuels their growth or has knocked them out of stasis. Not privy to the cause or its aftermath, we witness only the suspended moment of transition and wonder at what transfigurative force might make stone behave with the fluidity and nimbleness of ink or paint.

The genesis of this shift in Moyer’s work can be located in her series of fern paintings, two of which are included in Relief. In these works, line and pattern determine the fronds’ direction and rate of growth, the way they arch and bend into and away from their neighbors. The looseness and organic quality of the ferns ushered in a new approach to the stone paintings; where in previous works Moyer allowed for the characteristics of the stone to inform their placement in the composition—much as one might when building a stone wall—here Moyer calls on the traditions of drawing and painting, exploring pictorial space rather than constructing architectonic arrangements.

In Little Good Feeling (2022), Moyer connects the beveled edges of the slate so that shadow becomes a wandering line. In other paintings, stone’s dominance gives way to the negative space of the canvas, creating a dynamic figure-ground relationship. The bristling symmetry of Season of the Witch (2022) is produced by two vertical slabs of marble flanking a grid of white stone fragments and purple canvas; the erratic veins that ripple outward from the center echo Louise Bourgeois’ wiry spider legs or the wavering lines of Gustav Klimt’s drawings. Charged with the crackling electrical currents that give life to inanimate forms, Season of the Witch and its companions seem to be mid-metamorphosis: They may be growing or decaying, rising or collapsing, unfurling or withering. The paintings are not so much an illustration of one state or the other, however; the trick is their ability to encompass multiple stages of a cyclical sequence—Nietzsche’s eternal recurrence—within the space of a single canvas.

Sam Moyer (born 1983 in Chicago, IL USA; lives and works in Brooklyn, NY USA).
Her work has been featured in national and international exhibitions at the Bass Museum, Miami, FL USA; the Contemporary Art Museum St. Louis, MO USA; the Drawing Center, New York, NY USA; the FLAG Art Foundation, New York, NY USA; the Hill Art Foundation, New York, NY USA; LAND, Los Angeles, CA USA; MoMA PS1, Queens, NY USA; Tensta Konsthall, Stockholm, Sweden; Wexner Center for the Arts, Columbus, OH USA; and White Flag Projects, St. Louis, MO USA. Recent one-person exhibitions include Good Friend (2021), Kayne Griffin, Los Angeles, CA USA Tone (2021) at Sean Kelly Gallery, New York, NY USA; Sam Moyer: Doors for Doris (2020), Public Art Fund, Doris C. Freedman Plaza, New York, NY USA; Flowers (2019) at Kayne Griffin Corcoran, Los Angeles, CA USA; and Many Moons (2018) at rodolphe janssen, Brussels, Belgium.

Her works are featured in many public collections, including the Whitney Museum of American Art, New York, NY USA; the Yale University Art Gallery, New Haven, CT USA; the Morgan Library, New York, NY USA; the Museum of Modern Art, New York, NY USA; the Louis Vuitton Foundation, Paris, France; The Aïshti Foundation, Beirut, Lebanon; and the Davis Museum, Wellesley College, MA USA.

Everything dies, everything blossoms again, the year of being runs eternally. Everything breaks, everything is joined anew; the same house of being builds itself eternally. Everything parts, everything greets itself again; the ring of being remains loyal to itself eternally. [...] The middle is everywhere. Crooked is the path of eternity.
—Friedrich Nietzsche, Thus Spoke Zarathustra

Today's News

November 18, 2022

Lucy Lacoste Gallery exhibits works by five ceramic artists with ties to Bizen

National Gallery of Art announces new acquisitions

David Zwirner opens an exhibition of new works by Marcel Dzama

In the gallery race, Shainman expands beyond Chelsea to Tribeca landmark

1904 slot machine sells for an astounding $246,000 at Morphy's antique coin-ops auction

Art Basel announces the galleries for its 2023 edition in Hong Kong

Almine Rech presents new paintings and a selection of pastel drawings by Haley Josephs

Louisiana Museum of Modern Art opens an exhibition of works by Richard Prince

Exquisite opal bust of Roman god Mars headlines Bonhams London Jewels Sale

Exhibition retraces the history of modern conflict from 1914 to the present-day war in Ukraine

C. D. Dickerson III named Senior Curator of European and American Art at National Gallery of Art

The Albertina Museum exhibits works by two Austria-based artist duos

Artcurial Motorcars returns to the Retromobile Salon for the most eagerly awaited sale of the year

Van Eaton Galleries hosts first live in-person auction at New Galleries in Studio City

James Cohan Gallery presents 5th solo exhibition by Yun-Fei Ji in "The Sunflower Turned Its Back"

Outstanding single-owner collection of automobilia, signs, and toys to be offered in Miller & Miller online auction

rodolphe janssen opens an exhibition of works by Sam Moyer

Whyte's November art auction delivers 133 outstanding works by the most desirable Irish artists

Imani Perry wins National Book Award for 'South to America'

A show about colonial power, Born from the freedom to make mistakes

Dressing Wakanda

Beneath its pink cover, 'Lessons in Chemistry' offers a story about power

Kohn Gallery announces representation of artist Li Hei Di

Underground Jumbo Drill

Push to open soft close drawer slides & types of event chairs

Top Cars that are more seductive than art

Most Effective Method for Making a Product Design Presentation

Best Fat Tire Electric Bikes for Seniors

Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .


Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez
Writer: Ofelia Zurbia Betancourt

Truck Accident Attorneys
Accident Attorneys

Royalville Communications, Inc
Founder's Site. Hommage
to a Mexican poet.

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site Parroquia Natividad del Señor
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful