Sam Moyer
Tone
March 12 – April 24, 2021
Boarder Lord, 2020
marble and hand painted canvas mounted to MDF
44 x 33 1/2 x 1 inches (111.8 x 85.1 x 2.5 cm)
the work is accompanied by a signed certificate of authenticity
SM-P.20.0743
Square in a Square, 2019
bluestone, painted canvas mounted to MDF panel
59 1/2 x 46 1/2 x 1 inches (151.1 x 118.1 x 2.5 cm)
the work is accompanied by a signed certificate of authenticity
SM-P.19.1215
Tōfuku-ji, 2019
Travertine, painted canvas mounted to MDF panel
72 x 51 x 1 inches (182.9 x 129.5 x 2.5 cm)
the work is accompanied by a signed certificate of authenticity
SM-P.19.6039
Dear Heschel, 2017
marble, hand painted canvas mounted to MDF panel
91 1/4 x 53 x 3/4 inches (231.8 x 134.6 x 1.9 cm)
SM-65
Grid for Helio, 2019
terrazzo concrete, painted canvas mounted to MDF panel
60 x 49 x 1 1/2 inches (152.4 x 124.5 x 3.8 cm)
the work is accompanied by a signed certificate of authenticity
SM-P.19.6036
Piece Apart, 2019
Carrara marble, painted canvas mounted to MDF panel
54 x 36 1/2 x 1 inches (137.2 x 92.7 x 2.5 cm)
the work is accompanied by a signed certificate of authenticity
SM-P.19.1225
'92 Electric Blue Explorer, 2018
stone, hand painted canvas mounted to MDF panel
120 1/4 x 216 inches (305.4 x 548.6 cm)
the work is accompanied by a signed certificate of authenticity
SM-P.18.06
Mary's Chair, 2017
stone, hand painted canvas mounted to MDF panel
90 1/2 x 57 1/4 x 3/4 inches (229.9 x 145.4 x 1.9 cm)
SM-59
Dark Matter, 2017
Travertine, hand painted canvas mounted to MDF panel
92 x 48 1/4 x 3/4 inches (233.7 x 122.6 x 1.9 cm)
SM-62
psychic telephone, 2017
stone, marble, hand painted canvas mounted to MDF panel
92 1/2 x 53 x 3/4 inches (235 x 134.6 x 1.9 cm)
SM-63
Me & Wolfie, 2015
marble and dyed canvas mounted to MDF
each panel: 78 x 46 3/4 x 3/4 inches (198.1 x 118.7 x 1.9 cm)
overall: 78 x 97 3/8 x 3/4 inches (198.1 x 247.3 x 1.9 cm)
the work is accompanied by a signed certificate of authenticity
SM-P.15.084a,b
Untitled, 2012
ink and bleach on canvas mounted to wood panel
48 x 36 inches (121.9 x 91.4 cm)
SM-59
Small Bond No. XL, 2019
fused glass
11 1/4 x 9 5/16 inches (28.6 x 23.7 cm)
the work is accompanied by a signed certificate of authenticity
SM-G.19.6106
Small Bond No. XLVIII, 2019
fused glass
20 1/2 x 17 3/8 inches (52.1 x 44.1 cm)
the work is accompanied by a signed certificate of authenticity
SM-G.19.6050
Small Bond No. XXIII, 2019
fused glass
13 1/2 x 9 1/4 inches (34.3 x 23.5 cm)
the work is accompanied by a signed certificate of authenticity
SM-G.19.02
Small Bond No. XXX, 2018
fused glass
17 5/8 x 16 7/8 inches (44.8 x 42.9 cm)
the work is accompanied by a signed certificate of authenticity
SM-G.18.1121
Small Bond No. XLIV, 2018
fused glass
10 1/2 x 7 1/4 inches (26.7 x 18.4 cm)
the work is accompanied by a signed certificate of authenticity
SM-G.18.6065
Payne 100 (c-19), 2020
oil on Bristol
paper: 24 x 19 inches (61 x 48.3 cm)
signed by the artist, verso
SM-WP.20.0522
Payne 101 (c-19), 2020
oil on Bristol
paper: 24 x 19 inches (61 x 48.3 cm)
signed by the artist, verso
SM-WP.20.0528
Payne 104 (c-19), 2020
oil on Bristol
paper: 24 x 19 inches (61 x 48.3 cm)
signed by the artist, verso
SM-WP.20.0752
Untitled, 2017
oil paint on Bristol
paper: 24 x 19 inches (61 x 48.3 cm)
the work is accompanied by a signed certificate of authenticity
SM-WP.17.42
Installation view, Fisher’s Hinge, 2016; Carrera marble, steel, concrete, and beach stones from Fisher’s Island
Installation view, It’s up to you and me brother (after EM), 2014, Basel Art Public at Bass Museum, Miami, FL. Poured concrete and marble; 84” x 168” x 7”
Installation view, Slowly, Galerie Rodolphe Janssen, 2015; Marble, stone, bronze
Both sides now, 2017
marble, steel
overall: 142 3/8 x 194 3/5 x 4 inches (361.6 x 494.3 x 10.2 cm)
the work is accompanied by a signed certificate of authenticity
SM-S.17.01
Blind Corner Hinge, 2019
soapstone
39 x 36 x 36 inches (99.1 x 91.4 x 91.4 cm)
the work is accompanied by a signed certificate of authenticity
SM-S.19.01
Photography: Jason Schmidt
Since 2008, Sam Moyer has developed a distinctive language of abstraction that considers questions of value, labor and beauty. Her practice has evolved from its more conceptual and process-based origins to address formal and theoretical issues regarding the construct of painting. Examining traditional roles of painting and sculpture, Moyer reframes the painted surface as a sculptural field in which fragments of previously used stone are paired with hand-painted canvas to create dynamic compositions. She manipulates these found textures and materials into powerful and evocative abstract works that evince beauty, humor, balance and chance, employing the hand-made and readymade.
Sam Moyer’s works are included in prominent collections including the Whitney Museum of American Art, New York; the Yale University Art Gallery, New Haven; the Morgan Library, New York; the Louis Vuitton Foundation, Paris; The Aïshti Foundation, Beirut; and the Davis Museum, Wellesley College, MA. Moyer has exhibited her work at The Drawing Center, New York; The Bass Museum, Miami, FL; University of Albany Art Museum, New York; The Public Art Fund, New York; White Flag Projects and The Contemporary Art Museum St. Louis, MO; LAND, Los Angeles; and Tensta Konsthall, Stockholm. Moyer has participated in important group exhibitions including, “Inherent Structure,” Wexner Center for the Arts, Columbus, OH; “Painting/Object,” The FLAG Art Foundation, New York, NY; "Greater New York" and “Between Spaces” at PS1 Contemporary Art Center, Queens. In 2018 she was the subject of a solo presentation at “Art Basel Unlimited”.
Sam Moyer received her BFA from the Corcoran College of Art and Design; her MFA from Yale; and she lives and works in Brooklyn.
