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It describes how the white ground, silver paint, and brush gesture create an ultra-cool, hypnotic dislocation. The discussion traces her evolution from near-monochrome toward choreographed color “characters,” and interprets references to dance choreography and artists like Elizabeth Streb, Pina Bausch, Warhol, and Informel painters.",{"@graph":69,"@context":122},[70,84,105],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":15,"@type":76,"position":81},"https://docshare.wps.com/document/literature/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/caught-in-the-act-jill-mosers-suspended-present/409947/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/caught-in-the-act-jill-mosers-suspended-present/409947.png","ImageObject",300,407,{"name":92,"@type":93},"\tCallum ","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-10-30","2026-09-28",true,{"@type":102,"interactionType":103,"userInteractionCount":34},"InteractionCounter",{"@type":104},"ViewAction",{"@type":106,"mainEntity":107},"FAQPage",[108,114,118],{"name":109,"@type":110,"acceptedAnswer":111},"What is the central visual quality described for Jill Moser’s new paintings?","Question",{"text":112,"@type":113},"The paintings are described as simultaneously incandescent and freezing. The white ground and silver paint establish an ultra-cool tone and a floating, hypnotic dislocation.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"How does the text characterize Jill Moser’s artistic evolution?",{"text":117,"@type":113},"It traces a slow evolution from relative monochrome to a choreographed dispensation of four, five, and six colors. Each color is linked to a specific gestural “type” and movement in its location.",{"name":119,"@type":110,"acceptedAnswer":120},"Which external dance and visual-art references are mentioned, and for what purpose?",{"text":121,"@type":113},"The text cites choreography associated with Elizabeth Streb and admiration for Pina Bausch to explain stage-like spaces for disruptive characters. It also compares Moser’s detachment to Warhol and her style to post-war painting lineages.","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},409947,1790939482,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":14,"category_name":15,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":34,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":139,"language":140,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":141,"faqs":142,"seo_title":143,"seo_description":67,"update_tm":144,"read_time":145},137451211410,"https://ap-avatar.wpscdn.com/avatar/2000bb0a9246f588df?x-image-process=image/resize,m_fixed,w_180,h_180&k=1786362646172706240","JILI/MOSER  \nJILLMOSER  \nNEWPAINTINGSApril 19-June 9,2012Reception April 266-8pmLENNON,WEINBERG,INC.  \n514 West 25 Street,New York,NY 100012129410012,lennonweinberg.com  \nCaught in the Act:Jill Moser's Suspended Present  \nJill Moser's new paintings are simultaneously incandescent andfreezing,like tropicalbirdspreeningonaniceberg.Thewhitegroundsets thetemperature but the gestural membranes of silver paint establish the ultra-cool tone,a floatingquality that posits ahypnotic dislocation as an observedcondition of modern life and a seed-bed for a necessary rediscovery andrestatement of the beautiful.Moser's paintings accomplish this task and it'sone measure of their depth that they begin by remindingus of art that mightserveas their precedent and then showingushow and why they turn awaytowards something else.  \nAt a quick glance and from a distance,the paintings evoke a men-tholated European rendition of post-war painting,a School of Paris coolingdown of de Kooning and Pollock.Their impeccable sense of style will drawyou in where you can confirm that they are simply better made than mostpaintings by the aptly named Informel artists.Moser's virtuosity is mostdazzling when it seems to pull back from the very showiness it courts.Hergorgeous,elastic sense of line and brushed gesture has expanded into sev-eral different registers of brush width,velocity,and color.  \nThe journey of her work has been a slow evolution from a relativemonochrome to a choreographed dispensation of four,five,and six colors,each assigned to a specific gestural “type”of mark making a set of definedmovements in its location,like a Merce Cunningham dancer wearing aparticular color of costume and occupying a specific location on a stage.One \"character,\"in the sense of both the calligraphic and figural,might bemaking a large,slow encompassing movement,while an adjacent char-acter might be lunging and darting.A third character,the cerise pink triangleat the bottom of Clock of Pink(2011),for instance,will make furious inwardsgestures,like hands and fingers wiggling.  \nI do not choose the dance metonymies lightly.Moser forwarded meher notes on her recent paintings and among them is this passagein whichshe refers to the choreography of Elizabeth Streb:  \nIn these paintingslhave openedup that stage by creating moredifficult,less fixed spaces that let in more disruptive characters(action figures)to roam.  \nAnd she speaks directly of heradmiration for Pina Bausch.  \nFrom Pina—have work touch that place she  \nplumbed where intimate,simple gestures &movementin repetition enact arange of fears and desires.  \nThe erotics of that—the verve of description that the bodytranscribes in space.  \nIn spite of her ambition to address and bear intensities of feeling.Moseris no fool for unexamined,inherited Romanticism.Just as Bausch woulddress her dancers in pret à porter and leave them out on a street corner,whole sections of Moser's \"action”brushwork may actually be a low-techprint from ablotting of previous brushwork,a\"ghost\"transfer of the nearbyprimary mark.The blotting itself soaks up any excess shine and pushes hergestural characters deeper into the shimmering field of the painting,fromwhich they might otherwise declare a hierarchical figure/ground separa-tion too quickly and easily.The effect is a strange,optical fioating above thebody,atechnical \"remove\"from the Romantic cult of spontaneity that open,extended brushwork tends to invoke.In this she is much closer to Warhol,say,than the Informel painters.This detachment,an expression of knowing,is itself a feeling as well as athought.In Moser's paintingslsee the opposingvectors of Popand Abstract Expressionism converging at the point of time'sarrow slicing into the present.  \n# Wild Turning\n\nYou go and come againas if without noticing一orlfind myselfmotionless,rememberinghow in one momentall that was unsaidburst,likethe sky on the 4thof July,orjustafter./  \nCharles Bernstein2012  \n—1","cbCaibVUg9gWQncj","https://ap.wps.com/l/cbCaibVUg9gWQncj","pdf",1640749,16,"English","# Caught in the Act: Jill Moser's Suspended Present\n## Visual effects and tonal dislocation\n## Evolution of color and gestural characters\n## Choreography influences and artistic comparisons\n## Technical processes and detachment","[{\"question\":\"What is the central visual quality described for Jill Moser’s new paintings?\",\"answer\":\"The paintings are described as simultaneously incandescent and freezing. The white ground and silver paint establish an ultra-cool tone and a floating, hypnotic dislocation.\"},{\"question\":\"How does the text characterize Jill Moser’s artistic evolution?\",\"answer\":\"It traces a slow evolution from relative monochrome to a choreographed dispensation of four, five, and six colors. Each color is linked to a specific gestural “type” and movement in its location.\"},{\"question\":\"Which external dance and visual-art references are mentioned, and for what purpose?\",\"answer\":\"The text cites choreography associated with Elizabeth Streb and admiration for Pina Bausch to explain stage-like spaces for disruptive characters. It also compares Moser’s detachment to Warhol and her style to post-war painting lineages.\"}]","Caught in the Act - Jill Moser's Suspended Present | PDF",1790583762,25]