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exemplifies the idea that art is a bridge between the verbal and pre-verbal world, a blending of the reality and perception of life. Roser believes that the âcommunication of painting can express the architecture, landscape, aerial views, free associations, random choices and unexpected juxtapositions of perceptions and feelings that constitute life experience.â Roser's abstraction and distinct style of purposefully using colors has been described as âsuggesting a symbolic language of earth and mountain topography.â That critique continues on to stress that her work is a great example of âperception shiftsâ and her abstraction is able to âengage the viewer through ambiguity.â
58:'s early âImprovisationsââ and referred to her ârecognizable images which come and goâ with color that is âeverywhere light, clear, clean and free.â The use of expansive white space helps in her emphasis of crisp clean color which is used with distinct intention so much that Roser is regarded as âvery good on the edges of her pictures, too, with plenty of action backed up into the corners.â This increase in white space, praised by many critics, came about as a translation of the sunlight that she saw flickering on the Hudson River from her New York studio. The
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overcome discrimination against women artists by providing information that aids women in functioning effectively as professional artists. Since its creation in 1971, WIA has obtained grants from the
National Endowment for the Arts, Exxon Corporation, Mobil Foundation, the Eastman Fund, and Consolidated Edison thus allowing its objective to be achieved. Currently WIA is open to all women interested in the arts.
159:. Her painting Double Vision (1991) was in the collection of her colleague, Sylvia Sleigh, who was married to Alloway. Today, the painting is part of the Sylvia Sleigh Collection at Rowan University. Roser also exhibited at the East Hampton Guild Hall âArtist of the Region,â a show that sought to revel under-recognized talent.
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Roser has stated that it is for others, not her, to say what tradition her art belongs to; yet many critics categorize her work as abstract. Abstract art focuses on what a person sees; i.e. color, shape, size, and scale, thus, it does not directly depict objects in the visible world. Roser's work
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Roser studied under the
Japanese calligrapher Hidai Nankoku (b. 1912) during his New York City visit. Roser later transferred the experience of rendering abstract characters on paper to painting on canvas. Although the experience with Hidai paid homage to her Asian ancestry, Roser's work does not
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While some critics claim that her work is âbest suited for water color,â Roser's style is bold, vibrant and unintentionally intimate. Her colorful style and broad brush strokes âbecome abstract elements that float over the picture plane.â The organic nature of her paintings reflect a process
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Women in the Arts (WIA) was founded by both
Cynthia Navaretta and Ce Roser as a protest against the chauvinism of art galleries. The foundation was created as a solution to the failure of galleries to actively exhibit works by women artists. The Women in the Arts Foundation continues work to
19:, who works under the name Ce Roser, was born in Philadelphia, Pennsylvania in 1925. Roser has been active in New York City as an artist since the 1960s. Ever since childhood, Roser had been painting and drawing. While studying in Berlin, Roser learned of a female artist named
152:. The exhibition was historic because a female panel, composed mainly of artists, selected the work of their sisters to be exhibited. âWomen Choose Womenâ sought to represent the ability of all artists in order to overcome the hierarchy and bureaucracy of the museums.
23:. Kollwitz, who worked until the day she died, was an inspiration to Roser. Remarking that she would like to live that way too, Roser proceeded to emphasize the need for young artists, especially women, to find a fitting predecessor and mentor.
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based on feeling and through the rhythm and underlying harmony, viewers are given a pleasurable experience for the eyes. Roser's work embodies childlike verve and spirited expression while remaining seemingly delicate.
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132:, Elizabeth C. Baker, and Laura Adler. In all, 109 artists were selected from among the 700 anonymous submissions that were received to be exhibit in the show. Among those chosen for the exhibition were
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responded to an exhibition proposal that the WIA group sent to every major art museum in New York. The works that were exhibited were selected by a committee composed of WIA members, including
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Roser was a supporter of exhibiting in alternative spaces and stressed how exhibiting at the Mary H. Dana
Artists Series opened a window that introduced her work to
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116:âWomen Choose Women Exhibitionâ was organized as the first exhibition by WIA. The exhibition was held in 1973, at the New York Cultural Center, after
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fall into the East Asian art tradition. According to Peter
Townsend, Roser's work seems âoriental only to those who donât know oriental art.â
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546:"Elizabeth A. Sackler Center for Feminist Art: Feminist Timeline: United States"
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Lubell, Ellen (February 1973). "Women Choose Women New York
Cultural Center".
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Russell, John (October 30, 1981). "Spirits of 1700s Haunt a Soho
Gallery".
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John
Russell described her work as âsomething of the headlong imagery of
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Harrison, Helen A. (June 1, 1980). "Just Don't Trip Over the Banana".
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Braff, Phyllis (July 26, 1987). "Guild Hall
Features New Faces".
628:"Groundbreaking: The Women of the Sylvia Sleigh Collection"
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Women in the Arts
Foundation (WIA) and Women Choose Women
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is a good example of the use of expansive white space.
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Elaine Benson Gallery, Long Island (1985, 1981, 1971)
168:Ingber Gallery, NYC (1986, 1983, 1981, 1980, 1977)
85:. Her image is included in the iconic 1972 poster
30:In addition to Kollwitz and Hidai, Roser admired
516:"Some Living American Women Artists/Last Supper"
491:"Some Living American Women Artists/Last Supper"
96:Her image is included in the iconic 1972 poster
38:transformed nature into paint. Hans Uhlmann,
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258:Dunlop, Lane (September 1977). "Ce Roser".
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278:"Art History Definition: Abstract Art"
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682:20th-century American women artists
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576:"Women in the Arts Foundation"
445:Whitney Museum of American Art
79:Whitney Museum of American Art
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304:"Institute for Women and Art"
228:(February 1980). "Ce Roser".
198:"Institute for Women and Art"
635:Rowan University Art Gallery
687:21st-century American women
64:The Cleveland Museum of Art
34:'s watercolors and the way
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470:Metropolitan Museum of Art
83:Metropolitan Museum of Art
677:American abstract artists
672:Artists from Philadelphia
163:Selected solo exhibitions
40:Charmion von Wiegand
582:on October 17, 2010
550:The Brooklyn Museum
340:on January 18, 2012
334:The Painting Center
402:The New York Times
384:The New York Times
366:The New York Times
466:"Boxed Lightning"
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102:Mary Beth Edelson
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138:Hannah Wilke
134:Audrey Flack
124:, Ce Roser,
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36:Claude Monet
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662:1930 births
226:Joan Marter
146:May Stevens
122:Pat Passlof
118:Mario Amaya
656:Categories
525:25 January
500:24 January
475:24 January
450:24 January
441:"Ce Roser"
425:24 January
416:"Ce Roser"
330:"Ce Roser"
179:References
142:Alice Neel
81:, and the
32:Emil Nolde
640:April 22,
62:owned by
56:Kandinsky
616:(4): 66.
586:March 4,
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