I’ve got the cigarette cards—and an idea to recreate them. Coincidentally, I have the means to explore this idea. This was 2005 and after graduating from BA (Hons) Fine Art in 2001 I had immersed myself gallery education and community art, applying my skills so that I could share them with others. I was a … Continue reading Getting Going, The Start of an Obsession
Who was viewing these images produced by Zoë Mozert and her colleagues? Many of these works were marketed to military servicemen fighting in World War II, and the pictures adorned both workspaces and the barracks. In this 1943 photograph of a bomber-crew shack, collages of pin-up illustrations and photographs cover almost every available surface, as … Continue reading Who’s looking?
After another hot summer weekend, I've been thinking about a curious category of pin-ups painting: the woman who seems to be working 'en plein aire' (out of doors), poolside or at the beach, wearing a swimsuit and painting not a landscape but rather a pin-up for herself, perhaps: a muscled male figure, pointedly posing, wearing … Continue reading Painting Pin-Ups… at the beach
For those of you in the Pittsburgh area, David Saunders will be giving a talk titled "The Secret Life of Women Pulp Artists," Friday, 16 August as part of PulpFest 2019! For more information, see: http://www.pulpfest.com/2019/05/the-secret-life-of-women-pulp-artists/
In my earliest research into Zoë Mozert and pin-up Mutoscope cards, I was surprised to come across dozens and dozens of examples of pin-ups in the act of painting, posed with palette and easel. While pin-up artists were undoubtedly skilled at sexualizing almost any scenario, this repeated motif of the female painter-- often depicted by … Continue reading Painting Pin-Ups
We invite proposals for a special session at the upcoming College Art Association conference (Chicago, 12-15 February 2020). Artists and art historians are welcome to contribute, with no restrictions as to geographical range or temporal spans. PRODUCING AND CONSUMING THE IMAGE OF THE FEMALE ARTIST Judith Leyster, Self-Portrait, ca. 1630 (National Gallery of Art); Zoë … Continue reading CFP: Producing and Consuming the Image of the Female Artist – CAA 2020
Zoë Mozert with "Red Dog Rosie," ca. 1959 The photograph you see across the top of the ZMAS website is one we love, showing Zoë Mozert with one of her paintings sometime in 1959. The photograph was probably taken in Mozert's studio, given the paint-splattered linoleum floor, and Zoë is likely wearing what she actually … Continue reading Our banner image: Zoë with “Red Dog Rosie”
When Ellery told me about the work of Zoë Mozert, my engagement with the images, was less of a sense of: why would a woman become engaged with making images that feature herself in scantily clad ways, because this is something I have done. Rather, I’ve been fascinated by the showwomanship and publicity myth-making of … Continue reading What I First Saw When I Saw Zoe’s Paintings
I first learned about Zoë Mozert by mistake. Her works came to my attention through the random vicissitudes of a keyword search—not in a scholarly database, but rather through eBay of all places. My research on bodybuilder Eugen Sandow had taught me that the online retailer could be an excellent place for finding ephemera and … Continue reading The picture that started it all…
Inspired by the work of Zoë Mozert, a mid-century pin-up artist and model, ZMAS explores questions of artistic practice, image consumption, bodily display, and relationships between artist and model, muse and producer. Balancing a playful spirit of inquiry with rigorous research and critical engagement, ZMAS searches for evidence of the lived experiences of pin-up models … Continue reading Welcome to The Zoë Mozert Appreciation Society (ZMAS)
Zoë Mozert Appreciation Society 