Tag Archives: Albert Moser

Outsider Art Fair 2013

Institute 193 is pleased to announce that we’ll be participating in the Outsider Art Fair in New York City, from January 31 to February 3.

Founded in 1993, the Outsider Art Fair is the leading annual event in the field of Outsider, Self-Taught and Folk Art. This year, under the operation of Andrew Edlin and Wide Open Arts, the fair has moved to the former Dia Foundation building in Chelsea, and will feature a series of panel discussions led by artists, academics, writers, and curators.

In Booth 2.15, Institute 193 will stage an exhibition titled What Is A (W)hole?, featuring photographs and drawings by Albert Moser, sculptures by Marvin Francis, illustrations by J.T. Dockery, drawings by Beverly Baker, sculptures by Robert Morgan, and a video piece by Resonant Hole. This is an extraordinary opportunity to showcase the work of these Kentucky artists to an entirely new population.

Institute 193 will also offer a series of limited-edition artist prints by Robert Beatty (see above), Louis Zoellar Bickett II, and Lonnie Holley. These prints are now available in our online shop.

Albert Moser at Galerie Christian Berst

An exhibition of Albert Moser’s panoramic photographs will open June 1 at Galerie Christian Berst in Paris, France. A 220-page bilingual limited-edition catalogue, featuring text by André Rouillé and Christian Caujolle, will accompany the show.

From the gallery:

“Just as Miroslav Tichy’s work was met with appreciation by the art world thanks to Harald Szeemann’s exhibitions and, more recently, a retrospective at the Pompidou Center, the work of Albert Moser, a creator as lacking in learning as he is guarded, is a major discovery.

Now that his work is revealed, the eternal question arises again of how such work, designed and stored in secret, should be received. Next, Moser’s creations forcefully pose questions about the problem of photography in outsider art, perhaps even, as André Rouillé writes, “giving the lie to its supposedly manual essential nature.” But over and above the questions concerning criteria and classifications, the work, according to Christian Caujolle, is “comparable to the materialization of a projection of mental images on the world” or even to “a cathartic exercise,” as Phillip March Jones suggests. Besides the poetic audacity, what is striking is the deliberate desire to re-invent, even distort the reality captured in the lens. Moser cuts his photos and then sticks them together with scotch tape to produce work that breaks with flatness, where the landscape closes in on itself and on the spectator in a sort of optical vertigo that contrasts with the amplitude of the deployment inherent to the wide-angle lens.”

Read a full press release here.

Click here to browse the publication Albert Moser: Life as a Panoramic.

Moser’s geometric drawings on found paper were on display at Institute 193 in January/February of 2012. His photographs have previously been on view at the University of Kentucky Chandler Hospital as part of the UK Arts in Healthcare Program.

Albert Moser: Designs OPENING

Thanks to everyone who braved the winter weather January 12 and came to the opening reception for the exhibition Albert Moser: Designs. Here are a few snapshots by the delightful Jaime Lazich. If you couldn’t make it to the opening, the gallery will be open Wednesday – Saturday, 10-5 until February 11. Stop in to see Moser’s extraordinary work. To schedule an appointment outside of normal gallery hours, email chase@institute193.org.

THE ARTIST ROBERT BEATTY EXAMINES MOSER’S DRAWINGS

GALLERY PATRONS ENJOYING A VIDEO INSTALLATION OF MOSER’S ARTISTIC PROCESS

ALBERT MOSER: DESIGNS – JAN 12

Albert Moser spent much of his free time wandering the streets of Trenton, New Jersey and Lexington, Kentucky, taking pictures and collecting bits of paper and other objects of interest. Moser later would develop and assemble his photographs into panoramic landscapes, documenting 360 degree views of streets, parks, and shopping malls. The found sheets of paper–bus schedules, take-out menus, and business flyers–became canvases for Moser’s “designs,” on which he created intricate geometric drawings using stencils fashioned from plastic lids, air fresheners, and pieces of cardboard.

Moser’s designs are sophisticated geometric compositions that represent a singular quest for balance and clarity in a world full of surprises and uncertainty. The works have no specific orientation: Moser creates them by constantly rotating the sheet of paper, drawing and tracing from a defined center point. He describes the various shapes and forms, “This equals that. This goes with that. This balances that.” Moser has created thousands of drawings over the past decade, entrusting the majority of them to his sister in Lexington.

Albert Moser: Designs is presented in conjunction with an exhibition of Moser’s panoramic photographs currently on view at UK Chandler Hospital.

Special thanks to Bruce Burris and Latitude Artist Community.

-Phillip March Jones, Creative Director

ALBERT MOSER: DESIGNS
JANUARY 12 – FEBRUARY 11, 2012, OPENING RECEPTION JANUARY 12, 6-9 PM

Albert Moser : PANORAMA

Albert Moser: PANORAMA opens at the UK Chandler Hospital on Thursday, October 20, 2011. The exhibition features Moser’s panoramic photographs and was organized by Institute 193 Creative Director, Phillip March Jones, for the UK Arts in Healthcare program. Below is Jones’ introduction to the show catalog which will be available beginning Friday on the Institute 193 SHOP. For more information about the exhibition or UK Arts in Healthcare, email phillip@institute193.org.

Albert Moser is seated at a small table in his sister’s house in Lexington, Kentucky. He wears large-rimmed glasses and a Hawaiian shirt with blue flowers, its breast pocket overflowing with pens, pencils, rulers, and various scraps of paper. As he shuffles through a stack of photographs and intricate drawings, he gruffly assures me, “You couldn’t do this if you tried.”

Albert Moser was born on December 29, 1928 in Trenton, New Jersey. After finishing the 9th grade, he joined the Army and was sent to Japan for 18 months as part of America’s occupying force after World War II. In March of 1948, he traveled back to the United States and worked a number of odd jobs. He washed airplanes at McGuire Air Force Base and was briefly employed in the candy counter of a large department store in Trenton. According to his sister, Ruth Moser, “that didn’t last long – he ate all the candy.” He also worked intermittently at his father’s print shop. In January 1960, Moser enrolled in a photography course at The School of Industrial Arts under the American G.I. Bill. He completed the course in 9 months, receiving a diploma that marked the beginning of a long career as a photographer.

Those nine months at the School of Industrial Arts were the only formal training Moser ever received in photography, but it was enough to reinforce his nascent interest in the medium, fostering a sense of professionalism and purpose. Moser seems to have identified himself, first and foremost, as a photographer, joining the Trenton Camera Club and investing in various cameras, lenses, filters and other photographic gear. He also tried to sell his work, going so far as to photograph local businesses in Trenton, developing the photos, and offering them to business owners for a small fee.

In the early 1970s, Moser began making panoramic composite photographs of landscapes, cities and other places that he liked to visit. Having chosen a particular view, Moser would slowly turn his camera, taking as many as thirty pictures from his position, making sure to capture every “slice” of his chosen perspective. He meticulously aligned the resulting photographs and joined them together using scotch or masking tape. Moser’s panoramas are dominated by cityscapes and skylines but occasionally feature residential neighborhoods or beachfront scenes. People appear in the photographs only as part of the larger setting, and they are rarely mentioned in the detailed descriptions Moser neatly composed on the back of every photograph.

A by-product of his formal education and a personal obsession with detail, Moser’s descriptions are methodical, and their format remained unchanged over a period of thirty-five years. In the first line, he lists his occupation as “photographer,” and records his personal address alongside the date. The second line is a matter-of-fact description of the buildings and structures that make up the landscape. Moser favored precision, and usually describes the contents of his photographs using proper nouns (e.g. A picture is not of the “ocean” but of the Atlantic Ocean, a “hotel” is a Holiday Inn). In the last line of the description he catalogues the photographic equipment and camera settings he used to make the panorama, including camera type, film speed, f-stop setting, lens profile, and film brand. Most of his photos also bear a custom ink stamp, a calling card of sorts, which reads “Albert Moser,
Photographer, 58 Beechwood Ave. Trenton, N.J.”

Since 1970, Moser has created several hundred panoramas using his formulaic technique. These panoramas, hand-made precursors of Google map images,document the development and changing character of several American cities, particularly Lexington, Kentucky and Trenton, New Jersey. The resulting works are studies in structure, geometry and architecture, and rarely focus on people or human interaction. According to Moser’s sister, “he is the kind of guy who would go to a wedding and take pictures of the cake, not the bride and groom.”

Moser’s work as an artist and photographer revolves around a constant seeking of equilibrium, balance and structure in a world that is chaotic and fluid. He is naturally drawn to buses, trains and other things that function on schedules or that have static routes. In the same vein, Moser seeks out buildings and outdoor structures that are permanently posed in the landscape, willing subjects for a deliberate and precise photographer. The process of creating a panorama must be cathartic for Moser, allowing him to sit down and calmly piece together all of the chaos of the city into a neat row of pictures – quiet and still.

- Phillip March Jones