Shift is the Shade, 2020. Flashe and acrylic on panel. 30h x 24w in. 

Meret, 2020. Acrylic on panel. 30h x 24w in. 

Verdigris Flash, 2021. Acrylic on panel. 40h x 40w in. 

Verdigris Flash, 2021. Acrylic on panel. 40h x 40w in. 

Some Other Spring, 2020. Acrylic on panel. 30h x 24w in. 

Some Other Spring, 2020. Acrylic on panel. 30h x 24w in. 

Bird, 2021. Acrylic on panel. 30h x 24w in. 

Bird, 2021. Acrylic on panel. 30h x 24w in. 

Hilma, 2020. Flashe and acrylic on panel. 24h x 30w in. 

Hilma, 2020. Flashe and acrylic on panel. 24h x 30w in. 

Greening, 2021. Acrylic on panel. 30h x 24w in. 

Sonia, 2020. Flashe and acrylic on panel. 30h x 24w in. 

Simone, 2020. Flashe and acrylic on panel. 30h x 24w in. 

Slim (For LP), 2021. Flashe and acrylic on panel. 30h x 24w in. 

Slim (For LP), 2021. Flashe and acrylic on panel. 30h x 24w in. 

Jill Moser, 12.1.12, 2021. Gouache on various papers on khadi. 8.50h x 8.50w in.

Jill Moser, 12.1.12, 2021. Gouache on various papers on khadi. 8.50h x 8.50w in.

 

2.10.21, 2021. Gouche and ink on various papers. 6h x 8w in. 

2.10.21, 2021. Gouche and ink on various papers. 6h x 8w in. 

3.15.21, 2021. Gouache and ink on various papers. 6h x 8w in. 

7.10.21, 2021. Gouache on various papers on Kozo card. 8h x 6w in. 

7.10.21, 2021. Gouache on various papers on Kozo card. 8h x 6w in. 

Venus, 2021. Woodcut print on Khadi 100% cotton paper. 8.25h x 8w in. 

Jill Moser

New Paintings

April 7 – May 7, 2022

Bienvenu Steinberg & Partner is pleased to present New Paintings, an exhibition of works by Jill Moser. The artist’s debut with the gallery represents a significant departure from her earlier production. In an essay written in response to this new direction, art historian Agnes Berecz states: “In her new paintings, Moser abandons the looping, sinuous lines and broken scriptural notations that, along with the velocity of mark making, characterized her earlier work without relinquishing the sensuous aggression of her practice. The color forms of the paintings are endowed with sensations of stillness and containment as well as with a pronounced presence of tactility and carnality.” (Agnes Berecz, Touch and Tone.)

 

The eleven featured paintings portray complex color relationships and compositions first explored in the series of painted collages Moser began in the Spring of 2020 in response to the anxiety of the pandemic and displacement from her studio: “Made from fragmented, colorful volumes of varying dimensions and degrees of opacity, the paintings’ vivid and compact shapes touch and hug, echo and cancel each other. The chromatic ensembles suggest broken and vessel-like objects, pseudo-geometric topographies, or details of surrogate bodies. As if they were enlarged fragments of even larger forms, the paintings are marked by a sense of monumentality. Their contrasting size and scale and their extended play on part-whole relations makes them similar to imaginary mathematical sets and mereological studies.” (Agnes Berecz)

 

With over 35 years of exhibition history, both within the United States and internationally, Jill Moser’s works are included in distinguished institutional and private collections. Among the major museums that have acquired her work are The Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, The Art Institute of Chicago, The National Museum of American Art, Washington D.C.; The National Gallery of Art, Washington D.C.; The National Library of France; The Museum of Fine Arts, Houston, TX; The Hammer Museum, Los Angeles, CA; The Fogg Art Museum, Harvard University; Yale University Art Gallery, New Haven, CT, and The Brooklyn Museum, Brooklyn, NY. 



For more information contact jackson@joseebienvenu.com or call (646) 489-8342.