Now live! Mark Moore Fine Art presents “Playful Objects” by Rebekah Andrade—an exclusive online exhibition on ARTSY. Experience vibrant new works exploring presence, balance, and emotion through lush color fields and dynamic, gestural marks. Each piece invites you to pause, breathe, and connect. Don’t miss this visual journey!
Mark Moore Fine Art proudly presents “Ben Weiner: Dad Bod,” featuring Weiner’s latest Diary drawings—vibrant, psychedelic abstractions made with ink and solutions of both prescription and recreational drugs. Each piece begins with expressive ink marks on chromatography paper, which dissolve into bursts of color when exposed to drug-infused solutions, echoing forensic tests and society’s obsession with chemical body enhancement.
Ben Weiner’s process is deeply personal, using leftover substances from his own life—marijuana, Tylenol, Vicodin, MDMA, mezcal—and medications from friends and family. These works transform into a visual and chemical diary, mapping shifting states of mind and body. Pieces like “April (My Face)” and “Groundhog Day” even use his grandfather’s prescriptions, exploring themes of care, memory, and mortality.
Some drawings feature pills embedded in the surface, adding sculptural depth—like Furosemide tablets for a heart condition in “Winter Sounds,” and Doxycycline from his son’s tick bite in “Ogunquit.”
Weiner’s Diary drawings are intimate, meditative, and rooted in Color Field painting, capturing the invisible labor of care and our growing chemical connections to our bodies.
DAVID KLAMEN Untitled, 2002 Graphite on Paper 10” x 14’ (image size) 18”x 22” (framed) Collection of the Museum of Fine Arts Houston
Mark Moore Fine Art and the artist are pleased to announce the acquisition of a major work by artist DAVID KLAMEN by Museum of Fine Arts Houston.
David Klamen (American, b.1961) is a contemporary painter whose work grows in conjunction with his interest in philosophy and scholarship, centralized around the questions,”How do I know what I know?” and “How do I know myself?” Klamen paints figuratively and abstractly, sometimes combining the two by incorporating geometric lines or patterns atop his high finished landscapes. Says Paul Gray of Richard Gray Gallery, “His current paintings test epistemological strategies as diverse as OP Art (and its implication that knowledge may be a purely retinal experience), empiricism (the idea that the sole source of knowledge is direct quantifiable experience), introspection, and others. In this investigation, Klamen plays with the history of art, utilizing modern and pre-modern conventions as metaphors for our communal search for meaning.”
In contrast to the tradition of artists creating works informed by a consistent visual language, David Klamen’ watercolors (like the one here) embraces an aesthetic diversity that is directed instead by an exploration of an expanding idea. In recent years, the scale of his work has shifted from tiny to larger than life, the imagery from pictorial to digital abstraction, and the tone from the silent to the aggressive, yet in each there is a common commitment. All of these works use various visual images and processes to investigate the question of how we know our culture and ourselves. His current paintings and drawings test epistemological strategies as diverse as OP Art (and its implication that knowledge may be a purely retinal experience), empiricism (the idea that the sole source of knowledge is direct quantifiable experience), introspection, memory, and others. In this investigation, Klamen plays with the history of art, utilizing modern and pre-modern conventions as metaphors for our communal search for meaning.
In his recent body of landscape-based work, Klamen examines the veracity of his memories, creating images based upon the distant recollections of his surrounding childhood environment. Beginning each work with paper that is saturated with an even black layer of graphite. Klamen slowly reveals the imagery by erasing the highlights, uncovering and discovering the nuances of his memory from the depths of the graphite surface. These quiet, humid, existential spaces share a familiarity that emerges from the accumulated embodied experiences of his past. Each work celebrates and solidifies a fleeting facet of his prior experience.
In many of these works, Klamen incorporates geometric tubes or patterns that float atop his highly refined landscapes. These contrast the sensuous memory of his embodied experience in the landscape with a present and vivid abstract element, overlapping two seemingly incompatible planes of cognition. The results are meditative and quiet, engaging the audience with deep tonal values and extreme control. They ask the viewer to look more than once into the complexity of each work and encourage a shared comparison of our memories with the present moment.
Klamen’s work has been exhibited in international-level solo and group exhibitions across the US, Europe and Asia. His works are in the permanent collections of numerous museums including: the Metropolitan Museum of Art, New York; the Los Angeles Museum of Contemporary Art, Los Angeles; the Museum of Contemporary Art, Chicago; the Whitney Museum of American Art, New York; the San Francisco Museum of Modern Art, San Francisco; the Chazen Museum of Art in Madison, Wisconsin; The Berkeley Museum of Art in California; The Illinois State Museum, Springfield; the National Museum of Contemporary Art, Seoul, Korea; and the McNay Museum, San Antonio. Klamen earned his Bachelors of Fine Arts at the University of Illinois, Champaign/Urbana, and his Masters of Fine Arts in Painting at the School of the Art Institute in Chicago.
Founded in 1900, the Museum of Fine Arts, Houston is the largest cultural institution in the region, with an encyclopedic collection especially renowned for pre-Columbian and African gold; Renaissance and Baroque painting and sculpture; 19th- and 20th-century art; photography; and Latin American art.
Exciting news! Mark Moore Fine Art is thrilled to announce that the McNay Art Museumhas added an incredible piece by artist Kim Rugg to its permanent collection.
Kim Rugg is known for her meticulous, mind-bending artworks—she takes everyday printed material like newspapers, magazines, and maps, and transforms them into something entirely new. Her process breaks down and reconstructs these objects, challenging how we see information and the world around us.
In her latest works, Rugg experiments with maps, removing borders and highlighting cities and regions in stunning, hand-drawn layouts. By reimagining traditional map colors and structures, she prompts us to rethink how we define territory and power. Rugg also continues her playful, thought-provoking manipulation of newspapers, shifting headlines and images to expose how media shapes what we believe.
Her art is both visually striking and deeply critical—inviting viewers to look beneath the surface and question what is presented as fact. Rugg’s work is already in major collections like the Museum of Contemporary Art San Diego and the National Gallery of Art, and we’re thrilled to see it now join the Barrick’s collection at UNLV.
The McNay Art Museum in San Antonio, Texas, is the state’s first modern art museum, founded by artist and collector Marion Koogler McNay. The museum is housed in McNay’s 1920s Spanish Colonial Revival mansion and its collection includes over 22,000 works of art, with a focus on modern and contemporary European and American art. Its 25 acres of landscaped grounds also feature outdoor sculptures and gardens.
Congratulations to Kim Rugg and the McNay Art Museum #KimRugg #McNayArtMuseum #MarkMooreFineArt #ContemporaryArt #ArtAcquisition #MediaCritique #ArtForAll
Mark Moore Fine Art proudly presents “Ben Weiner: Dad Bod,” featuring Weiner’s latest Diary drawings—vibrant, psychedelic abstractions made with ink and solutions of both prescription and recreational drugs. Each piece begins with expressive ink marks on chromatography paper, which dissolve into bursts of color when exposed to drug-infused solutions, echoing forensic tests and society’s obsession with chemical body enhancement.
Ben Weiner’s process is deeply personal, using leftover substances from his own life—marijuana, Tylenol, Vicodin, MDMA, mezcal—and medications from friends and family. These works transform into a visual and chemical diary, mapping shifting states of mind and body. Pieces like “April (My Face)” and “Groundhog Day” even use his grandfather’s prescriptions, exploring themes of care, memory, and mortality.
Some drawings feature pills embedded in the surface, adding sculptural depth—like Furosemide tablets for a heart condition in “Winter Sounds,” and Doxycycline from his son’s tick bite in “Ogunquit.”
Weiner’s Diary drawings are intimate, meditative, and rooted in Color Field painting, capturing the invisible labor of care and our growing chemical connections to our bodies.
Experience the dreamlike world of #DanielDuford in “Divinations,” now live as an exclusive @artsy online exhibition with #MarkMooreFineArt. These new, small-scale paintings channel visions, poetic images, and fragments of myth, inviting us to look deeper beyond the noise of social media and discover art as a true flowering of the soul.
Duford’s process begins with sketches inspired by dreams and evolves into vivid, layered works that draw from American mythology and folklore. Each piece is a story, a fragment of something bigger—reminding us that meaning is fluid, mysterious, and personal.
Explore the exhibition and reconnect with the power of images.
Mark Moore Fine Art announces an exclusive Artsy online exhibition, debuting Lisa Stefanelli’s celebrated “Melee Paintings.” This exhibition showcases her works, created with automotive paint on panel, and highlights Stefanelli’s nuanced reflections on human relationships.
Lisa Stefanelli (American, born 1966) is a painter known for her work in hardline, linear abstraction. Her “Melee” series (1998-2015) is associated with her formative years as a competitive figure skater. Made with automotive paint on panel and drawing on a multitude of visual references, the paintings represent a conversation about the artist’s view of our relationships. They display both grace and complexity in their entanglements, trajectories, and occasional estrangements, and attempt to resolve the struggle that they depict and embody. In the 2010s, Stefanelli began a digital practice centered around concepts from the natural world. This work suggests that all human actions have natural origins.
Collectively titled “Melee Paintings”, Stefanelli’s linear paintings are retrospectively titled. While the artist has produced many other bodies of work—including photography and installation—these paintings form the foundation of her practice.
A ‘melee’ is chaos—just like the energetic lines in Stefanelli’s art. Her work celebrates the beauty found in confusion and clarity. #MeaningfulArt #ArtistThoughts
Jennifer Gunlock Nesting Site #1, 2021 Mixed media paper collage and drawing on rag paper 40 x 26 in / 101.6 x 66 cm COLLECTION OF THE MUSEUM OF FINE ARTS HOUSTON
Mark Moore Fine Art is proud to announce that the Museum of Fine Arts, Houston has acquired two works by artist JENNIFER GUNLOCK for its permanent collection,”Crow’s Nest” (2016) and “Nesting Site #1” (2021).
Founded in 1900, the Museum of Fine Arts, Houston is the largest cultural institution in the region, with an encyclopedic collection especially renowned for pre-Columbian and African gold; Renaissance and Baroque painting and sculpture; 19th- and 20th-century art; photography; and Latin American art.
We are thrilled to see GUNLOCK’s work join this world-class collection.
Now live! Mark Moore Fine Art presents “Playful Objects” by Rebekah Andrade—an exclusive online exhibition on ARTSY. Experience vibrant new works exploring presence, balance, and emotion through lush color fields and dynamic, gestural marks. Each piece invites you to pause, breathe, and connect. Don’t miss this visual journey!
Experience the dreamlike world of #DanielDuford in “Divinations,” now live as an exclusive @artsy online exhibition with #MarkMooreFineArt. These new, small-scale paintings channel visions, poetic images, and fragments of myth, inviting us to look deeper beyond the noise of social media and discover art as a true flowering of the soul.
Duford’s process begins with sketches inspired by dreams and evolves into vivid, layered works that draw from American mythology and folklore. Each piece is a story, a fragment of something bigger—reminding us that meaning is fluid, mysterious, and personal.
Explore the exhibition and reconnect with the power of images.
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