NEW YORK, NY.- Sebastian Gladstone Gallery announced the representation of the New York-based artist Ce Roser.

Ce Roser (born Cecilia Roser in Philadelphia, 1925) is a vital figure in postwar American abstraction whose career spans more than six decades. After early training at the Hochschule für Bildende Künste in Berlin with Hans Uhlmann, she settled in New York in the 1960s and developed a lyrical style of abstraction that merged European modernist influences, Chinese calligraphy, and a distinctly American painterly sensibility. Her work demonstrates how cross-cultural vocabularies reshaped abstraction at mid-century, broadening it beyond the narrowly Western frameworks that had long defined the field.

As co-founder of the Women in the Arts Foundation in 1971 with Cynthia Navaretta, Roser was a pivotal force in the feminist art movement. The Foundation became a platform for artists such as Alice Neel, Louise Nevelson, Elaine de Kooning, Lee Krasner, Audrey Flack, Faith Ringgold, Miriam Schapiro, and Louise Bourgeois, culminating in landmark exhibitions like Women Choose Women (New York Cultural Center, 1973) and Women Artists: Works on Paper (Brooklyn Museum, 1975).

Roser’s activism was inseparable from her painting; she not only fought for her own visibility but altered the conditions by which women artists could be recognized. Her paintings and prints are now represented in more than thirty public collections, including the Museum of Modern Art, the Solomon R. Guggenheim Museum, the Whitney Museum of American Art, the Metropolitan Museum of Art, the Philadelphia Museum of Art, and the Smithsonian American Art Museum. Many of these holdings stem from the collaborative print portfolios she initiated within the American Abstract Artists group, a strategic intervention that secured women’s presence in institutions otherwise reluctant to collect them.

Roser’s painterly vocabulary was deeply shaped by both heritage and training. As a Chinese American artist, she carried an innate connection to the visual traditions of calligraphy, which she later deepened through study with Japanese calligrapher Hidai Nankoku in New York. Works such as Point to Point (1987, Whitney Museum of American Art) and Millennium Moment (1997, Museum of Modern Art) exemplify how she transformed calligraphic rhythm and gesture into a distinctive language of abstraction—precise yet fluid, disciplined yet lyrical. This synthesis placed her apart from contemporaries like Franz Kline, for whom Asian brushwork often became a stylistic device, by allowing calligraphy to function as a structural and generative system within her work.

Across six decades, Roser advanced abstraction not as a closed, formal pursuit but as an evolving practice that linked painting, politics, and cultural exchange. Her career underscores how alternative lineages of influence—feminist, cross- cultural, and formally rigorous—were always present in postwar abstraction, even if rarely given their full place in history.