Ryan Wallace at Susan Inglett Gallery

Ryan Wallace will open a solo show of new work at Susan Inglett Gallery (NY) tomorrow, October 23, from 6-8pm. Titled “Slo Crostic,” the show will remain on view through December 4, 2014, and focus on new abstract paintings, collage, and sculpture by the artist. Says the gallery:

Wallace’s process of abstraction is based in materiality, working methodically back from the detritus left behind in the studio, the ends become the means. The artist delves into the technical and formal properties of abstract painting by creating reliefs that prize texture, light and surface tension. By limiting his palette Wallace makes the medium the message, the works are chromatically minimalist, and materially maximalist. Through these material choices we are brought directly into the studio, with both paintings and sculptures serving as time capsules of production.

The stacked sculptures combine Carl Andre’s floor pieces and the serial reproduction of Sol Lewitt with an additional expressionist gesture; Minimalism gone rogue. Wallace also cites Bruce Naumann’s “Mapping The Studio” yet in this case the absence of human presence is ultimately the step from subjecthood to objecthood, from choice to chance. These objects serve as surrogate paintings for the artist, incorporating elements that cannot function in two dimensional space. While reading as sculpture the conversation remains about painting through the artist’s use of shared language and material calling our attention to the mark and to the way that information is gathered and displayed in an aesthetic mise-en-scène.

Wallace received his BFA from Rhode Island School of Design (RI). He was the 2011 recipient of the Pollock Krasner Foundation Grant, and has had solo exhibitions in Copenhagen, Los Angeles, San Francisco, and New York. He has also shown work at the Frans Masereel Center (Belgium), Torrance Art Museum (CA), Katzen Arts Center (D.C.), Yerba Buena Center for the Arts (CA), and numerous other venues around the world. His work is featured in the public collections of the U.S. Department of the Treasury (D.C.), the Museum of Modern Art (NY), the Museum of Modern Art, San Francisco (CA), and the Cleveland Clinic (OH), among others. Wallace is also represented by Cooper Cole Gallery (Toronto), Marianne Friis Gallery (Copenhagen), and Susan Inglett Gallery (New York). The artist lives and works in New York.

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

Wallace

 

LA Times Reviews Penelope Umbrico

The gallery congratulates Penelope Umbrico on her recent review in the Los Angeles Times! Written by Sharon Mizota, the article expounds on Umbrico’s distinctive engagement with technology, photography, and nostalgia. Says Mizota:

“The further we move from traditional technologies, it seems, the deeper the pull to revisit them. Penelope Umbrico’s digital prints at Mark Moore were created on a smartphone but look like old-fashioned photographic accidents. Plagued — indeed, overwhelmed — by light leaks, misalignments and color gels gone awry, they are striking evidence of a collective nostalgia for our vanishing analog past.

[Ansel] Adams may be the inspiration, but his particular vision isn’t at issue here. Our image of the mountain is no longer based on light beaming through a ground glass, but on data beaming through a satellite.”

To read the full review, please visit the LA Times website. For information about the artist, or available works, please email info@markmooregallery.com.

Umbrico LAT

Okay Mountain Acquired by Blanton Museum

The gallery is proud to announce the Blanton Museum‘s acquisition of “Roadside Attractions” (2012) by gallery artist collective, Okay Mountain.

As part of the Diane Marek Visiting Artist Series, “Roadside Attractions” was commissioned for the Cress Gallery of Art at the University of Tennessee Chattanooga. The sculpture, which is as much a print project as it is a sculpture, draws upon the mythology and quirkiness of different categories of roadside attraction, some more or less substantial, some more or less believable, all for the purpose of delighting and confounding the expectations of the browser and would-be tourist. The brochures themselves, all one hundred designed by the members of the collective, mimic the discordant imagery and incongruous information often found in a typical visiting center brochure rack, a place where do-it-yourself and professional design are forced to cohabit. The printed works – like the brochures they are drawn upon – are free to the viewing public, giving “Roadside Attractions” something of a life outside the institutional setting where it originates.

In 2006, Okay Mountain formed their collective and simultaneously opened an exhibition space in East Austin, Texas, by the same name.Their participation on both the production and vending sides of the same industry contributed to a shared heightened awareness about the nature of exchange—a trait that has manifested itself in objects and performances that parody our uniquely American reverence for commerce. Through calculated exaggeration and espousal of the absurd, Okay Mountain creates farcical caricatures of a national identity. Faux infomercials, flyers, guidebooks, and memos are rife with satirical imitations of salesmen, tour guides and mascots – playing on our communal tendency for insatiable want. As consumers, we’re often told that the perfect handyman tool, business plan, or instructional manual can guide you towards your best self; Okay Mountain riffs on these distorted perceptions, and lampoons their fallacies with a shrewd wit. Nonsensical instructions scrawled across a whiteboard mimic the brainstorm sessions of a start-up company, but ultimately lead to inconclusive results. Products born from harebrained invention appear fetishized and enticing, but are fundamentally useless. Okay Mountain identifies the contrivances that shape our relentless desire for immediacy and accumulation, and spoofs them with a sagacious flair.

Formed in 2006 in Austin, Texas, Okay Mountain collective is comprised of artists Sterling Allen, Tim Brown, Peat Duggins, Justin Goldwater, Nathan Green, Ryan Hennessee, Josh Rios, Carlos Rosales-Silva, Michael Sieben, and Corkey Sinks.  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).

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

Roadside Attractions

MMG Director Elected Chair of ArtTable

The gallery is pleased to announce that its Director, Catlin Moore, has recently been elected Chair of the Southern California chapter of ArtTable. ArtTable is the leading national nonprofit organization dedicated to advancing women’s professional leadership in the visual arts. It serves women at all stages of their careers, with a special effort to increase diversity in the arts professions. ArtTable’s eclectic array of programming is an essential benefit to its membership. This includes special access, panel discussions, networks, and professional development opportunities.

As Southern California’s regional Chair, Moore will lead an Executive Committee of members to develop new programming content, membership outreach, and education about the local arts community. This chapter of the organization includes more than 150 members, whom reside in cities from Santa Barbara to San Diego.

In addition to being the Director of Mark Moore Gallery (Culver City, CA), Moore is the Co-Director of 5790projects (Los Angeles, CA). She received her B.A. from the University of California, Irvine, and her M.A. from California State University, Long Beach. She is also a founding member of the Orange County Museum of Art’s “Contemporaries,” and sits on the Curators’ Lab Committee for the Fellows of Contemporary Art. She has also been a contributing writer for various arts and culture publications, including Beautiful/Decay, DailyServing, ArtLog, .ISM, and the Orange County Register. Prior to her time at Mark Moore Gallery, she worked as the Director of Press and Marketing for the Beall Center for Art + Technology (Irvine, CA) and as a Fair Assistant for PULSE Contemporary Art Fair (New York, Miami). Currently, she also sits on the Culver City Arts District council, and is an active member of many museums in the Los Angeles area.

To read ArtTable’s Member Spotlight on Moore, please click here. We congratulate her on this accomplishment. To learn more about becoming an ArtTable member, please refer to the organization’s membership page.

Moore

Allison Schulnik & Feodor Voronov in Berlin

Gallery artists Allison Schulnik and Feodor Voronov will both have works featured in 68projects’ (Berlin) upcoming exhibition, “Person, Place or Thing: Works on Paper by Over 50 Artists.” Opening on November 15, 2014, the show will remain on view through January 10th, 2015. Says the gallery:

The show reunites a selection of works on paper by emerging and established artists, including works by Brooke Werhane Maples, Gabby Collins-Fernandez, Keith Haring, Zak Prekop, Richard Serra, and Richard Tuttle amongst others. Using a single medium as the basis for the group exhibition allows for a diverse range of artworks and participating artists, tightened by asking each artist to make a work that falls into one of the three categories in a common guessing-game prompt.

68projects is run by Quang Bao, who studied literature and arts management at Boston and Columbia Universities. He has edited and written essays, fiction, nonfiction and reviews for The New York Times, The Boston Globe, International Herald Tribune, National Public Radio and others. His professional experience spans twenty years of work with arts organizations, individual artists and nonprofits. For the last six years, he served as the director of The Rema Hort Mann Foundation  – and organization established through family and friends of New York City-based contemporary art collectors Susan and Michael Hort.

For more information about this exhibition, please contact the gallery.

Voronov

Cheryl Pope Performs in Chicago

Tomorrow, October 11th, interdisciplinary artist Cheryl Pope will stage a performance at Gallery 400 (Chicago, IL), a not-for-profit arts exhibition space within the College of Architecture, Design, and the Arts at the University of Illinois at Chicago.

In conjunction with Universal Declaration of Infantile Anxiety Situations Reflected in the Creative Impulse, Gallery 400 presents “A Feminist Perspective on Gun Violence in Chicago: Screening and Performance.” The event includes two film screenings, Lonnie Edwards’ Parietal Guidance and Michael Paulucci’s Shirley’s Kids, followed by INGRAVESCO, a performance by RJ EL and Cheryl Pope in collaboration with young Chicago poets.

4:00-4:30 – Screenings
4:40-5:30 – Performance

Gallery 400 has presented more than 1,000 artists in its exhibitions and programs since its founding in 1983. In so doing, they strive to make complex works and ideas accessible to a broad spectrum of the public, advance and cultivate a variety of cultural and intellectual perspectives, and foster an interdisciplinary understanding of the visual arts.
 
For more information about Cheryl Pope, or her available work, please email info@markmooregallery.com
Pope

New Featured Works: Ali Smith

New works by painter Ali Smith are the current focus of the “Featured Works” section of Mark Moore Gallery’s website. Continuing with her interest in macro-versus-mirco structures, Smith pushes the boundaries of perception and context as her compositions toe the line between architectural and cellular forms. Rendered in her signature harlequin palette, these works conjure a sense of sensory excess and stimulation that appears luxuriant in these cold, technologically-driven times.

Ali Smith (b. 1976, Newport Beach, CA) uses the canvas as an open space of exploration; an empty landscape that serves as the starting point for investigation into abstract terrains. Her work illustrates the existential plight the artist has in finding new, personal meaning and direction within the field of abstract painting. The recurring visual trope of Rococo-like excess and abundance performs a celebratory re-assertion of the endless possibilities available to the painter. Smith weaves together fleeting thoughts, moments of time, the fine lines between fact and fiction and subjective desires within her canvases, which in turn present the hopeful attitude of the artist, in the face of the realities of life and experience.

Smith received her MFA from California State University, Long Beach (CA), and has since had solo exhibitions in New York, Houston and Los Angeles. She has been included in numerous group shows, including those at the Laguna Art Museum (CA), Irvine Fine Arts Center (CA), Center for the Arts, Eagle Rock (CA), and Riverside Museum (CA). Her work is included in the collections of the Laguna Art Museum (CA), Frederick R. Weisman Foundation (CA), Progressive (OH). The artist lives and works in Long Beach, CA.

Voyager