Carrie Moyer

She serves as the director of the graduate MFA program at Hunter College, and has contributed writing to anthologies and publications like The Brooklyn Rail and Artforum.

[6] While at Pratt, Moyer studied under artists Rudolf Baranik, Amy and Jenny Snider, Phoebe Helman, Jack Sonnenberg, and Ernest Benkert.

[7] She largely produced abstract paintings during this time, and was inspired by painters such as Lee Krasner, Bill Jensen, Elizabeth Murray, and Katherine Porter.

[8][9] In 1990, she received her MA in Computer Graphics from the New York Institute of Technology and an MFA from the Milton Avery Graduate School of the Arts at Bard College in 2001.

[3] At the same time, she became more involved with lesbian and gay rights movements in New York after learning about ACT UP and Gran Fury through Avram Finkelstein, and began to apply her graphic design skills to her activism.

), a queer interventionist public art project informed by Appropriationist artists like Barbara Kruger, Jenny Holzer, and Sherrie Levine.

[14][2] It began as a working group of the activist organization, Queer Nation, which Moyer felt neglected lesbian issues, and evolved into a stand-alone agitprop duo.

would launch artistic campaigns in which Moyer and Schaffner would wheat-paste roughly 5,000 posters featuring lesbian imagery in diverse, highly trafficked neighborhoods, with the goal of dissecting and critiquing mainstream and commercial culture.

[9] They frequently repackaged popular and recognizable logos, designs, and slogans to package a lesbian aesthetic,[11] and in using public advertising space to subvert heterosexual norms, created what Jayne Caudwell refers to as a "micro dykescape".

began focusing on digital techniques and mediums to avoid commodification and assimilation, using domains like Dyke TV and Girlie Network to create interactive narratives and artwork.

[18] In 2004, her work appeared in a group exhibition at Aljira: A Center for Contemporary Art alongside Ellen Harvey, Chris Bors, and Richard Silberman.

Slipping between abstract and representational, the raw canvases are built up with strata of translucent and opaque color, positive and negative shapes, and solids and silhouettes that reference different historical periods: ancient fertility figures with bulging hips; vases with breasts circling their perimeters; murky blobs that recall the paintings of biomorphic Surrealism.