(1921 - 2013)
Seong Moy was active/lived in New York, Minnesota / China. Seong Moy is known for expressionist figure painting, printmaking, teaching.
Biography from the Archives of askART
Obituary for Seong Moy
Biography from ACME Fine Art
by Adrienne Moy, Daughter
Seong Moy, 92; Artist and Educator
NEW YORK - Seong Moy, a prolific artist and influential educator whose career spanned more than 70 years, died on June 9 at his home in New York. He was 92.
Although Mr. Moy began as an accomplished painter in the 1940s, his reputation today rests chiefly upon his printmaking. He is considered an innovator of technique and vision in his graphic work, developed over nearly five decades.
Born in Canton, China in 1921, Mr. Moy immigrated to the United States in 1931 at the age of ten. He joined other members of his family who had settled in St. Paul, Minnesota where, at the height of the Depression, he began his art studies as a teenager at the WPA Federal Art Project. He continued his art education at the St. Paul School of Art under Cameron Booth, and the WPA Graphic Workshop at the Walker Art Center in Minneapolis, MN. Instructors quickly recognized his talent and enabled him to take classes while maintaining a job.
In 1941, Mr. Moy won a scholarship to attend the Art Students League in New York City where he studied painting under Vaclav Vytacil and printmaking with Will Barnet. Another scholarship made it possible for Mr. Moy to study at the Hans Hofmann School of Art. During this time, Mr. Moy also first spent time in Provincetown, MA. Here he became part of the community of artists that flourished and became one of the premier art colonies in the United States.
According to Dominic J. Iacono, Director of the SUArt Galleries at Syracuse University, in The Prints of Seong Moy, "These experiences provided Moy with his first direct contact with artists working in a 'modernist' style, one that he refined over the next several decades."
In 1941, Mr. Moy enlisted in the Air Force and put his art education on hold. He served in the 14th Air Force, the "Flying Tigers," in the China-India-Burma Theater where he worked as an aerial reconnaissance photographer in China and Southeast Asia.
After the war, Mr. Moy came back to New York with his new wife, Sui Yung. He returned to the Art Students League on the G.I. Bill and re-established his relationship with Cameron Booth, who was now teaching in New York. Along with Hofmann, Booth was considered one of the few major teachers of the modernist approach to art. In a 1991 commentary by artist Tony Vevers in Seong Moy: Color Prints, Mr. Moy was remembered by the sculptor Eleni and painter Nadine Valenti as "extremely kind and generous," "…so active, so full of life and fun – and he was a wonderful cook."
Although Mr. Moy was primarily a painter during the post-wars years, he began making prints when he received a fellowship to work at Stanley William Hayter's graphic art workshop, Atelier 17, which had moved to New York in 1940 after its founding in Paris in 1927. The workshop was a center for the development of new techniques and attitudes towards printmaking. It was home to many avant-garde artists including Joan Miro, Marc Chagall, Robert Motherwell, Jackson Pollock, Mark Rothko, Boris Margo, and Willem de Kooning, some of whom also shared a Provincetown connection.
"The excitement and heady atmosphere of working at close quarters with some of the most innovative artists of the 20th century was not lost on Seong Moy. But he also realized that this environment was not for beginners…The Atelier encouraged experimentation with older art forms that inspired Moy to re-interpret the gestural aspects of Chinese image making, especially calligraphy, and create a new and personal art form. Additionally, as a painter, Moy had developed a colorful palette and believed this would make his prints stand apart from graphic work by his contemporaries," according to Iacono.
During his time at the Atelier, Mr. Moy formed an association with a generation of young printmakers, many of whom later became teachers or printers at important studios. Mr. Moy became known for an "aggressive approach to mark making his images, his willingness to push the boundaries of printmaking with color, and an open attitude towards using media," writes Iacono.
In 1947, according to James Watrous in A Century of American Printmaking 1880-1980, "The Jacques Seligmann Galleries presented The Printmakers, a group of younger artists working in the modern vein whose leader is Seong Moy, a promising creator of color woodcuts." His work was singled out by The New York Times and the Art Digest in their reviews of the show.
"Moy's techniques of printmaking represent a considerable advance," according to Francis Harvey in a 1954 article written for Print: The Magazine for the Graphic Arts. By using innovative techniques such as transferring designs painted on transparent celluloid to woodblocks, Mr. Moy was able to retain the immediacy of his image making and the painterly quality that made his work so recognizable. In his later works, Mr. Moy continued his inventive use of materials and techniques, incorporating the collage medium, and experimenting with non-traditional, common materials. He pioneered a technique of printmaking using cardboard known as color relief printing.
In the 1950s, Mr. Moy began a career as an educator. He taught for nearly forty years at colleges, universities, and institutions including Cooper Union, Pratt Graphic Arts Center, Columbia University, New York University, Smith College, Vassar College, and his own art school that he founded in Provincetown, Massachusetts. He served as Professor of Art at City College of New York from 1970 to 1989, and as Instructor at the Art Students League where he taught for more than twenty years.
"Many artists list their associations with Moy as a proud mark in their curricula vitae. His influence as a teacher was profound and present day students are discovering his work and the innovative approach he brought to printmaking," writes Iacono.
Since the 1950s, Mr. Moy's work has been exhibited in more than 150 one-man shows, and exhibitions in the United States, Europe and Asia. He has won numerous awards during his long career as an artist, and his work is represented in some of the most important museum collections in the United States. His work has also been acquired by numerous international museums, and corporate and private collections.
The eminent critic Emily Genauer wrote of Mr. Moy's art, "It is a language, seemingly abstract, that through its mélange of bright colors and fragmentary shapes as vivid as banners whipping in the wind, communicates concretely what the artist saw and felt… His own work always stems from events and experiences, deriving from past and present, and melting into a unified image."
Mr. Moy's life was a product of his modest beginnings, fortuitous opportunities, and his lifelong passion for learning and self expression. He maintained a dynamic active painting, printmaking and teaching schedule until the late 1980s. After recovering from a stroke, Mr. Moy enjoyed travelling with his family and spending summers in Provincetown. He returned to a newly developing China in 2008, at the age of 85, accompanying his wife, daughters and grandchildren to the rural villages where he and his wife were born in the 1920s. He was an inspiration to his family and many who knew him in his ninety two years.
Mr. Moy is survived by his wife of sixty six years, Sui Yung, his daughters, Jacqueline and Adrienne, and two grandchildren, Eamon and Fiona.
Submitted by Cynthia Caldwell Allen, Caldwell Gallery
Published by Walter B. Cooke Funeral Home
Biography from Butler Institute of American Art
Saint Paul School of Minneapolis
Art Students League, studies with Vaclav Vytlacil
Hans Hofmann School, 1941-42
Fellowships, William Hayter's Atelier 17, 1948-1950
Whitney Fellowship, 1950-51
Guggenheim Grant, 1955-56
Minneapolis Institute Annual Prize
Philadelphia Print Club Annual Prize
American Federation of the Arts Commission, 1965
Emily Lowe Award, Audubon Artists Annual, 1967
Society of American Graphic Artists Award, 1967
University of Minnesota, 1950
Indiana University, 1952-54
Smith College, 1954-55
Vassar College, 1955
Pratt Graphic Center
Art Students League
City College of New York
Seong Moy School of Painting and Graphic Arts, Provincetown
American Painting, Metropolitan Museum of Art, 1951
University of Illinois Biennials
Carnegie International, 1955
Whitney Museum Annual of Sculpture and Graphics, 1966-67
Hacker Gallery, 1951 (solo)
Esther Robles Gallery (solo)
Everston Museum, Syracuse, NY (solo)
Kyoto Yamada Gallery, Japan (solo)
The Metropolitan Museum of Art
New York Public Library
Library of Congress
Worcester Art Museum
Brooks Museum of Memphis
University of Minnesota
Whitney Museum of American Art
The Woodward Foundation
** If you discover credit omissions or have additional information to add, please let us know at
Moy was born in Canton, China in 1921, and came to the United States in
1931. He studied painting first in the Saint Paul School of
Minneapolis, with Cameron Booth, and then in New York, with Vaclav
Vytlacyl and Hans Hoffmann in 1941 and 1942. During the war Moy served
in the U.S. Air Force in the China-Burma field of operations
(1943-1946) as aerial photographer. The artist has a wide
teaching experience. University of Minnesota, 1950; Indiana University
1952-1954; Smith College 1954-1955; Vassar College 1955. At
present Moy teaches at Cooper Union, Columbia University, Art Students
League and conducts classes in painting and graphic arts in
Provincetown during the summer.
1948-1950 Fellowships to William Hayter's ATELIER 17
1950-1951 John Hay Whitney Fellowship
1955-1956 Guggenheim Grant for color woodcut illlustrations of Li Po Poems
Prizes from Minneapolis Institute Annual
1st prize for etching from the Philadelphia Print Club Annual
1965 Commissioned by the American Federation of Arts for a color woodblock poster
1967 Emily Lowe Award Audubon Artists Annual
1967 Society of American Graphic Artists Award
American Painting 1951 at Metropolitan Museum;
University of Illinois biennials;
Carnegie International 1955;
Whitney Museum Annual of Sculpture and Graphics 1966-1967.
(solo) : Hacker Gallery 1951; Over fifty solo shows through the years
including Esther Robles Gallery; in Japan the Kyoto Yamada Gallery and
in Syracuse the Everston Museum.
The Metropolitan Museum of Art; Brooklyn Museum; New York Public
Library; Pennsylvania Academy; Library of Congress; Smithsonian
Institution; Worcester Museum; Brooks Museum of Memphis; Indiana
University; Baltimore Museum; University of Minnesota; Smtih College;
Whitney Museum; The Woodward Foundation.
Gallery Catalog published by Grand Central Moderns in 1967
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