Greater Reston Arts Center (GRACE) presents a selection of works by artist Moira Dryer (b. 1957, Toronto, Ontario; d. 1992, New York, New York) in conjunction with the major exhibition of Dryer’s early work at the Phillips Collection in Washington, DC, entitled Moira Dryer: Back in Business. Both exhibitions are curated by Lily Siegel and serve to reposition Dryer as one of the most significant artists of her generation.

Photograph of notebook page from the artist’s archives

The exhibition title, Yours for the Asking, was borrowed from a newspaper clipping found in Moira Dryer’s studio notebooks. Her composition books, full of notes, clippings from newspapers, glossy magazines, photographs, and drawings, show an acute attention to language. Much of the text found in these notebooks appear as titles of individual works. The title of this exhibition was selected in recognition of her generosity, confidence, and singular voice.


“When Dryer’s friends, family, acquaintances speak of her, it is of a generous, charismatic, strong, and driven woman. She was a singular talent. For this exhibition, Yours for the Asking, I wanted to reflect those sentiments through the title. All you have to do is ask; the squeaky wheel gets the grease; open book; easily attainable.”

 

– Lily Siegel, Curator


The Power of Suggestion, 1991
Casein on wood

46 x 48 and 23 3/4 x 15 3/4 x 10 1/4 inches
Private collection

Yours for the Asking provides an intimate look at the artist’s practice through works given as gifts to, or purchased by, friends and family, many never previously shown publicly. The Power of Suggestion features impressions of the artist’s fingerprint along the edge of the panel and splotches of casein paint applied using a baster.

 

 

Untitled, 1990
Oil on wood
94 x 42 inches
Courtesy of John S. Morawetz

Moira Dryer signed and dated every work and included detailed notes on the back specifying hanging instructions such as direction, height, and spacing of panels. Untitled (1992) is one of the final paintings left in Dryer’s studio at the time of her death and is not signed nor dated on the back. Although the painting appears finished the lack of a signature and date on the back suggests that Dryer may still have been working through the piece.

 

 

Green #129, 1985
Casein on wood
20 1/4 x 18 1/4 inches
Courtesy of James C. McKinley Jr.

This work, inscribed with “FOR JIMMY” on the back, is an early example of Dryer’s interest in color, space, and illusion specifically in the impeccable handling of her materials.

 

 

Untitled, c. 1980
Painting on wood
8 3/4 x 10 inches
Loaned by Rachel Klein and Lyle Rexer

Untitled was completed in 1980 while Dryer pursued her undergraduate studies at the School of Visual Art, New York. This work closely resembles that of her late husband Victor Alzamora. Both were painting students at SVA. 

 

 

       

Left: Untitled, 1988
Gouache on paper

14 x 10 inches
Collection of Klaus Ottmann and Leslie Tonkonow

Right: Untitled, 1982
Painting on wood
20 1/2 x 23 1/4 inches
Courtesy of Pegeen and David Rubinstein

 

 

Target, 1987-88
Casein wash on paper and collage, artist’s frame
Diameter: 24 inches
Private collection

 

 

Omo Norma Kamali suit worn by Moira Dryer at her opening at the Mary Boone Gallery, 1990 or 1992.
Courtesy of Nancy Morawetz

This suit was worn by Dryer to one of her first major gallery openings. It is included in the exhibition to give a sense of intimacy despite the artist’s long absence. She is remembered for her charisma, style, and outsized presence.

 

 

Untitled, 1991
Casein on wood and metal
46 x 48 and 17 x 13 x 7 inches
Courtesy of James C. McKinley Jr.

Untitled (1991) incorporates a seed-spreader found on James McKinley’s family farm. The green field of paint is punctuated by Dryer’s signature blotches referencing the seeding of the land and the artist’s growing cancer.

 


   
Untitled, 1991
Casein on wood, metal, and fabric
17 3/4 x 14 3/4 inches
Courtesy of Pegeen and David Rubinstein

Untitled (1991) references Dryer’s sense of humor and playfulness. She hints towards more dimensionality by including a card drawer pull in the center of the work, implying that there is more within.

 

Ephemera from the artist’s archive.

Dryer’s archive includes hundreds of postcards from her travels, most notably significant works of art from the Renaissance and landscapes of locations that were important to her. The references regularly appear in her work in subtle and clever ways. 

 

 

Untitled, nd   
Casein on wood and metal
Diameter: 43 inches
Courtesy of the estate of Moira Dryer 

 

         

Untitled, 1983
Painting on wood
61 1/2 x 23 1/2 inches
Courtesy of Nancy Morawetz

 

 

Untitled, 1991
Casein on wood
18 x 14 inches
James Barron collection

 

Despite Moira Dryer’s premature death, she enjoyed a prolific career with solo exhibitions at the Institute of Contemporary Art, Boston; San Francisco Museum of Modern Art; and New York’s Museum of Modern Art, organized during her lifetime but mounted posthumously. In 2000, there was a major survey of her paintings dated from 1989 to 1992 that traveled to Forum for Contemporary Art, St. Louis; Art Gallery of York University, Toronto; Rose Art Museum, Brandeis University, Waltham, Massachusetts; and The Contemporary Museum, Baltimore.

 


Dryer’s work is included in the permanent collections of The Solomon R. Guggenheim Museum, New York; Hirshhorn Museum and Sculpture Garden, Washington, DC; Museum of Contemporary Art, Los Angeles; and Museum of Modern Art, New York; among others.


INSTALLATION VIEWS


Exhibition booklet with check list

Playful & Philosophical: The Paintings of Moira Dryer
The New York Review of Books, April 25, 2020

Moira Dryer’s art of expectancy, at the Phillips Collection and Greater Reston Arts Center
Washington Post, February 27, 2020


Programming

 

Insights with Kristen Hileman

In our Insights program featuring Curator Kristen Hileman, you’ll hear Hileman respond to the current exhibition on view — Moira Dryer: Yours For the Asking. Hileman provides important historical and contemporary contexts through which to consider Dryer’s work in the exhibition, as well as her overall oeuvre. By discussing Dryer in relation to other understudied female artists of the time, Hileman shares her professional research to further position the artist in the 1980s and 1990s. An overarching theme Hileman coins as “affective abstraction”- an approach to abstraction in art that engages with feeling and direct connections to life experiences – sheds further light on Dryer’s creative process and the breadth of her work.
 
Baltimore-based independent curator Kristen Hileman spent nearly two decades working as a curator at the Smithsonian’s Hirshhorn Museum and Sculpture Garden in Washington DC and more recently as the Head of the Contemporary Department at the Baltimore Museum of Art. Her monographic exhibitions brought new attention to important female artists Anne Truitt and Maren Hassinger, and she has realized major commissions with Theresa Chromati, Mary Reid Kelley and Patrick Kelley, Sarah Oppenheimer, Tomás Saraceno, and others. Additionally, Hileman has organized exhibitions of the works of John Baldessari, Cai Guo-Qiang, Njideka Akunyili Crosby, Lizzie Fitch/Ryan Trecartin, Meleko Mokgosi, and John Waters, and she has taught at the Corcoran College of Art and Design, George Washington University, and Johns Hopkins University.
 
Sponsored by Reston Community Center.

Creative Response with Paige Hathaway

Hear scenic designer Paige Hathaway respond to Moira Dryer: Yours for the Asking.

Paige Hathaway is a freelance scenic designer based in the Washington, DC area. In 2018, she was honored to receive the Rising Star Award from USITT, an award that honors young professionals in the beginning of their career. Regionally, she has designed at The Muny, Arden Theatre Co, People’s Light, the John W. Engeman Theater, Asolo Rep, and Bristol Riverside Theatre. In the DC area, she has recently designed at Arena Stage, Signature Theatre, Round House Theatre, Olney Theatre Center, Theater J, Woolly Mammoth, the Kennedy Center, Folger Theater, Adventure Theatre, Imagination Stage, Everyman Theatre, and Studio Theatre. She received her MFA in Scenic Design from the University of Maryland and her BFA in Scenic Design from the University of Oklahoma. More info here.

Sponsored by Reston Community Center.


Past programming


Curator’s Talk (4–5pm) and Opening Reception (5–6pm): January 18

Curator’s Talk is sponsored by Reston Community Center. Both events are free and open to the public.

Creative Response with Patricia Favero, associate conservator at The Phillips Collection
February 20, 7pm

Patricia Favero is an Associate Conservator at The Phillips Collection where she specializes in the conservation of paintings. Before joining the Phillips in 2004, Patti earned a Masters of Arts with a Certificate of Advanced Study in Art Conservation from SUNY Buffalo State and completed post-graduate fellowships at the Cincinnati Art Museum and Tate. Patti is especially interested in studying the variety of materials and techniques used by modern artists, in part to better do her job as a conservator, and in part to understand an artist’s work from a different perspective. She has published about Georges Braque’s mid-career paintings and her research of an early work by Picasso will be featured in exhibitions at the Art Gallery of Ontario this summer, and then at The Phillips Collection in the fall. 


 

This exhibition is generously supported in part by ARTSFAIRFAX and Robert and Theresa Goudie. Additional support provided by the Exhibition Circle.

Photo credit: Greg Staley