Allison Schulnik in The New York Times

Congratulations to Allison Schulnik for being included in the recent New York Times article, “Unpacking and Decoding the World of Animation.”

The article highlights the works in the group show Screen Play: Life in an Animated World, currently on view at Albright-Knox Art Gallery through September 13th.

To read the article, click here.

For more information about the artist or available works, please email info@markmooregallery.com.

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Featured Works: Lester Monzon

The gallery is pleased to present new works by program artist Lester Monzon. These pieces can be viewed by visiting the gallery’s “Featured Works” page on the website.

By collapsing of architecture, space, and art history, Lester Monzon’s work dissects the notion of context. Colorful gesticulations conceal sections of rigid patterning, a tete-a-tete between abstract expressionism and hard-edge abstraction that implies a gentle lampooning of the taxonomic tradition. Monzon upends the formalism and segregation innate to the fine art world, and fabricates a composite genealogy of painting – a pithy resolution to an otherwise vapid debate. Monzon’s luscious brushstrokes slyly creep into a Hirst-esque field of dots or Noland-like plane of stripes, like the resurrection of a once-declared dead practice through a satirical hand. In his recent work, Monzon applies this critique of contextual art to mark-making in public spaces; be it graffiti on tiles in a public bathroom, stains on the sidewalk, or the popularized notion of “street art.”

Monzon (b. 1973, Brooklyn) received his M.F.A. from Art Center College of Design (CA). His work has been exhibited at the Wignall Museum of Contemporary Art (CA), in addition to shows in San Francisco, Chicago, and Los Angeles. His work is included in the permanent collection of the Museum of Contemporary Art, San Diego (CA). The artist lives and works in Los Angeles (CA).

For more information about the artist or available works, please email info@markmooregallery.com.

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Josh Azzarella and Allison Schulnik at Sydney Film Festival

Gallery artists Josh Azzarella and Allison Schulnik were recently in the 62nd Sydney Film Festival.

Artists from around the globe had their works displayed in the free-access Festival Hub, giving guests a close look at many different perspectives from artists at the forefront of their field.

Read an article about the festival here.

For more information about the artists or available work, please email info@markmooregallery.com.

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Penelope Umbrico at GUS Stellenbosch University Art Gallery (South Africa)

Gallery artist Penelope Umbrico is in a group show at GUS Stellenbosch University Art Gallery (South Africa) titled ‘think of number 6, bark like a dog,’ curated by John Peffer with Bettina Malcomess.

The title comes from a 1962 process work by Fluxus artist Ben Patterson, that humorously points to the non-place of images (not necessarily in the body or in things).

To read more about the exhibition click here.

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Penelope Umbrico at California Museum of Photography

Gallery artist Penelope Umbrico has a new solo installation at California Museum of Photography. Umbrico’s project Range (2013-ongoing) navigates the contemporary vernacular of social media and popular smartphone “app” filters to re-present canonical landscape photographs by photography’s twentieth century masters.

CMP Projects is an ongoing exhibition series that features photo-based work by contemporary artists. This presentation is curated by Joanna Szupinska-Myers, CMP Curator of Exhibitions, and Kathryn Poindexter, Curatorial Assistant. The series is partially supported with funds provided by UCR’s College of Humanities, Arts, and Social Sciences (CHASS) and the City of Riverside.

To learn more about the exhibition click here.

For more information about the artist or available work, please email info@markmooregallery.com.

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Tim Bavington & Joshua Dildine: Opening July 23

Mark Moore Gallery is pleased to present “New Paintings (Stroll On),” the gallery’s seventh major solo show from Las Vegas painter, Tim Bavington. Based on the 1966 Yardbird’s song “Stroll On, “ this new body of work continues the artist’s investigation into transforming musical scores into unique visual compositions.

Drawn to the vibrant palette of his neon-lit hometown, Bavington is a master of richly saturated color and visceral execution. Utilizing pop and rock music as his source material, Bavington creates rhythmic visual systems by assigning colors to the musical arrangements. Guitar riffs become mathematically proportioned bars of paint, varying in widths and colors to represent audible shifts and durations. The result is a visual psychedelic mood ballad with colors undulating in atmospheric swells, at once evoking Bridget Riley and David Bowie. In a 2010 Los Angeles Times article, art critic David Pagel wrote, “Like pop songs, Bavingon’s abstractions waste no time in getting your attention. And like symphonies, they unfold slowly, with shifting tempos that lure memories into moment, filling it with infinite richness.” In his new body of work, the shimmering optical planes swirl dizzyingly while “I’m strollin’ on, gonna make you see me” is called to mind.

Tim Bavington (born 1966, England) received his BFA from the Art Center (CA) before making the permanent move to Las Vegas, where he completed his MFA at the University of Nevada, Las Vegas (NV). His work is included in the public collections of Fredrick R. Weisman Collection (CA), Albright-Knox Art Gallery (NY), Creative Artists Agency (CA), Joslyn Art Museum (NE), Museum of Contemporary Art, San Diego (CA), Portland Art Museum (OR), United Talent Agency (CA), Vivendi Universal (CA), Palm Springs Art Museum (CA), Denver Art Museum (CO) and The Museum of Modern Art (NY).

Concurrently in Gallery Two, is “Amities Fly,” the gallery’s second solo show from Los Angeles painter, Joshua Dildine. Merging found autobiographical photographs with viciously gestural painting, Dildine’s works confronts conventional notions of nostalgia and representation – as well as painting itself.

Dildine’s paintings typically begin with a photograph from his childhood. Seeking to make this image universal, the photograph is printed on canvas and painted over—often until the original image is completely obscured, or nearly unrecognizable. The result is a dynamic abstraction, with hints of ‘80s familial iconography. His visceral movements and accelerated brushstroke are loaded with sensual energy, harkening to the Ab-Ex days of pure delight and mystery in paint’s materiality. By placing these gestures on top of faded, kitschy, (and sometimes cloying) memorabilia. The end result is a fixation shared by society at large: the contemplation of past events and relationships. Dildine mines these memories for the underlying traits that forge our shared humanity: the humor found in the compromising, the endearment found in the aggravating, or the conflict found in the absent. His painterly swaths are as instinctive as the family photos they conceal; his vivid palette alludes to the glaring absurdity of our incessant self-analysis and examination of the past. In his most recent body of work, Dildine embellishes elements or patterns within the original image in order to create a farcical confrontation with the past – a perspective that is both critical and celebratory. Through this carefully disjointed lens, Dildine creates experiences that are at once present and bygone as he whimsically harnesses the nature of our being.

Dildine (b. 1984, CA), received his MFA from Claremont Graduate University (CA). He has been featured in group exhibitions in Oakland, Los Angeles, San Diego, and Murfreesboro, as well as the Frederick Weisman Museum of Fine Art (CA). His work is included in the public collection of the Sweeney Art Gallery, University of California Riverside (Riverside, CA). He was also the recipient of the 2010 Claremont Graduate University Award. The artist lives and works in Claremont, CA.

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Okay Mountain for Isles Arts Initiative (MA)

Artist collaborative Okay Mountain recently created and installed a site-specific installation on George’s Island – located within the Boston Harbor Islands, a national park off the city’s coast that’s threatened by sea level rise. Produced by the Isles Arts Initiative, the commission is part of a summer long public art series on Georges, Spectacle islands and Boston Sculptors Gallery that will capture the intrinsic beauty of the 34 harbor islands.

Says Art F City:

[On July 11, 2015], “Cove“opens on Georges Island, a decommissioned military fort from 1861. The show features site specific installations by Elizabeth Alexander, Amy Archambault, Damien Hoar de Galvan, Samantha Fields, Pat Falco, Alex Hamrick, Middle Kingdom, !ND!V!DUALS Collective, Elizabeth Keithline, Megan & Murray McMillan, and Okay Mountain.

For their commission, Okay Mountain created Monument to a Decommissioned Monument (2015), in which they reflect on the way historic sites, and even history itself is repurposed. Responding to the revolving reincarnation of George’s Island, from military fort, to prison, to training grounds, to public park, Okay Mountain presents a shrouded heroic figure looking out toward Boston, suggesting a now-defunct past our possibly an as-yet-revealed future. To visit their contribution to the exhibition – and other works on display – please visit the website for Isles Arts Initiative.

Okay Mountain is a nine member artist collective based in Austin, Texas. Formed in 2006 as an artist-run alternative gallery space, the group has exhibited their drawing, video, sound, and performance projects throughout the United States and in Mexico City, and has been widely recognized for its “inventive construction, loving attention to detail and keen-eyed connoisseurship.” Okay Mountain repackages, reconstitutes, and rekindles our consumerist desires with a sardonic edge. Their installations and multi-media assemblage works mimic the stock vernacular of our communal materialism, yet tweak them just enough to reveal our superficial insecurities and convictions.

While most artists are alumni of the University of Texas at Austin (TX), others are graduates of University of California Los Angeles (CA), Rhode Island School of Design (RI), and the University of Kansas (KS). Institutional exhibitions have included those at the Blaffer Art Museum at the University of Houston (TX), Austin Museum of Art (TX), McNay Art Museum (TX), Arthouse (TX), University of Tennessee, Chattanooga (TN), and the deCordova Sculpture Park and Museum (MA). Their work is included in the permanent collection of the Wadsworth Atheneum Museum of Art (CT), McNay Museum of Art (TX), Orange County Museum of Art (CA), Museum of Contemporary Art San Diego (CA), Santa Barabara Museum of Art (CA), and Vanderbilt University (TN).

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