Monthly Archives: October 2014

Julie Oppermann in Cologne

Gallery artist Julie Oppermann will open a new show of paintings at Galerie Stefan Ropke on October 17th, 2014. The exhibition, titled “Raster,” will feature her newest incarnation of optical abstraction – and will remain on view through November 22, 2014.

Julie Oppermann’s work pushes the limits of visual perception, making paintings that are physically difficult to perceive. The scintillating effects arising through the calculated layering and juxtaposition of contrasting colors through repetitive line patterns elicit shuttering afterimages, optical flicker, and disorienting sensations of movement. The paintings, on one hand, reference the digital, looking as if they might be computer-generated, vector-based interference patterns; up close, however, they reveal a gestural, intuitive approach. Glitches, bleeds and mis-registrations rupture the illusory field of the moiré, creating visual noise and also highlight the basic tools at work: taped-off line patterns and paint on canvas. Where others approach ideas such as rasterization, pixelation, image compression, data loss and corruption primarily through the more obvious channel of digital media, Oppermann succeeds, instead, by effecting these phenomena directly through the medium of perception itself. The glitch, so to speak, occurs in the viewing of the work, by distorting the viewer’s field of vision, and interfering with their ability to “see” and look at the painting.

Julie Oppermann is an artist from New York who lives and works in Berlin. She received her BFA from The Cooper Union, and a Master’s in Neuroscience from the University of California, Berkeley. In 2012 she completed a residency at FAAP in São Paulo, an academic exchange with Professor Robert Lucander at the Berlin University of the Arts, and completed her M.F.A. at Hunter College. In 2013 she had solo exhibitions at Mark Moore Gallery in Los Angeles, and Galeria Árnes y Roepke in Madrid. Her work is included in numerous public and private collections, including the Museum of Fine Arts Houston (TX), and the Museum of Contemporary Art, San Diego (CA).

For more information about the artist or available works, please email


Christopher Russell Acquired by University City Art Museum (China)

Mark Moore Gallery congratulates gallery artist Christopher Russell on the recent acquisition of his work by the University City Art Museum, Guanhzhou China.

Guangzhou Academy of Fine Arts(GAFA) – which houses the University City Art Museum – is the only one of its kind in South China. It is the result of Central South College of Fine Arts, a merger of South China Institute of Art and Literature in Guangzhou, Central South Institute of Art and Literature in Wuhan, and the Guangxi Institute of Art. The merger, which was initiated in 1953, moved to Guangzhou in 1958 and was renamed as Guangzhou Academy of Fine Arts. In the same year, the school began to enroll undergraduate students. The Academy, which once operated under the jurisdiction of the Ministry of Culture, is now directly under the provincial government of Guangdong.The collection treasures up more than 10,000 pieces of rare works of art dating back to the Tang Dynasty, and includes a number of international modern and contemporary works.

For more information about the artist or available works, please email

Explosion 15b


Vernon Fisher at Hiram Butler Gallery

Gallery artist Vernon Fisher opened a solo show of new work at Hiram Butler Gallery on October 4, 2014. On view through November 29, 2014, the exhibition focuses on the many “Faces” created by the artist throughout his career.

Vernon Fisher’s preoccupation with archive, information transmission, memory, and taxonomy stems from an early interest in how people make sense of the world. His hallmark blackboard paintings recall pedagogical lessons or speculative renderings, oftentimes replacing sequential logic with disordered notations analogous to excerpts from an unrepressed mindscape. Fisher’s work is often contextualized within a postmodern lineage, as expounded in Frances Colpitt’s essay for the monograph, Vernon Fisher, University of Texas Press, 2010, which was produced in tandem with “Vernon Fisher: K-Mart Conceptualism,” the artist’s career retrospective at the Modern Art Museum of Fort Worth.

Vernon Fisher (b. 1943, Texas) has been included in two Whitney Biennials (most recently in 2000). Museum installations include the Museum of Modern Art, NY; the Hirshhorn Museum, Washington, D.C.; and the Museum of Contemporary Art Chicago. Major public collections include: Albright-Knox Museum, Buffalo, (NY), Art Institute of Chicago (IL), Baltimore Museum of Art (MD), Corcoran Gallery of Art, Washington, D.C., Dallas Museum of Art (TX), Denver Art Museum (CO), Frederick R. Weisman Art Museum, Minneapolis (MN), High Museum of Art, Atlanta (GA), Hirshhorn Museum and Sculpture Garden, Washington, D.C., Krannert Art Museum, University of Illinois at Urbana-Champaign, IL, Los Angeles County Museum of Art (CA), Modern Art Museum of Fort Worth (TX), Museum of Contemporary Art Chicago (IL), Museum of Fine Arts, Houston (TX), Museum of Modern Art (NY), Orange County Museum of Art (CA), Phoenix Art Museum (AZ), San Antonio Museum of Art (TX), Museum of Contemporary Art San Diego (CA), San Francisco Museum of Modern Art (CA), Solomon R. Guggenheim Museum (NY), Tucson Museum of Art, (AZ), Whitney Museum of American Art, and The Walker Art Center, Minneapolis (MN). The artist lives and works in Fort Worth, TX.

For more information about the artist or available works, please email

The Fall of Icarus (after Bruegel)

David Klamen Acquired by McNay Art Museum

The gallery is proud to announce the acquisition of work by David Klamen by the McNay Art Museum (TX). Now included in the museum’s permanent collection, “Untitled (Velazquez)” (2009) is an excellent example of the artist’s coveted (and somewhat rare) works on paper.

David Klamen’s (American, b.1961) 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 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.”

Klamen earned his Bachelor’s of Fine Arts at the University of Illinois, Champaign/Urbana in 1983 and his Master’s of Fine Arts in Painting at the School of the Art Institute in 1985. He is currently is a Professor of Fine Arts at Indiana University Northwest. Klamen is represented in the following public collections: the Metropolitan Museum of Art (NY), Los Angeles Museum of Contemporary Art (CA), the Museum of Contemporary Art (IL), the Whitney Museum of American Art (NY), the San Francisco Museum of Modern Art (CA), the Chazen Museum of Art (WI), and National Museum of Contemporary Art, Seoul, Korea.

For more information about the artist, or available works, please email


David Maisel Acquired by Crocker Art Museum

The gallery is pleased to announce the recent acquisition of work by gallery artist David Maisel by the Crocker Art Museum (CA). Now part of the museum’s permanent collection, “The Lake Project 6” (2001) is from the artist’s heralded body of work by the same name.

The Lake Project comprises images from Owens Lake, the site of a formerly 200 square-mile lake in California on the eastern side of the Sierra Mountains. Beginning in 1913, the Owens River was diverted into the Owens Valley Aqueduct, to bring water to Los Angeles. By 1926, the lake had been depleted, exposing vast mineral flats and transforming a fertile valley into an arid landscape.

For decades, fierce winds have dislodged microscopic particles from the lakebed, creating carcinogenic dust storms. Indeed, the site has become the highest source of particulate matter pollution in the United States, emitting 300,000 tons annually of cadmium, chromium, arsenic and other materials. The concentration of minerals in the remaining water yields blooms of microscopic bacteria, turning the liquid a deep, bloody red.

The lake has become the locus of water’s absence, a negation of itself, a void. The images serve, in a sense, as the lake’s autopsy. Viewed from the air, vestiges of the lake appear as a river of blood, a microchip, a bisected vein, or a galaxy’s map. It is this contemporary version of the sublime that Maisel finds find compelling– a strange beauty born of environmental degradation.

We congratulate David on this exciting milestone! For information about the artist, or available works, please email

Lake Project 6

MMG Celebrates 30 Years in Business

As of yesterday, October 2, 2014, Mark Moore Gallery has been open for thirty years. Founded by Mark and Hilarie Moore in Long Beach (CA), the gallery has seen three decades’ worth of exhibitions, art fairs, special projects, and market changes.

Mark received his BA from the University of California, Irvine in 1981. As a graduate of UCI’s progressive art program, he has shared the aesthetic of the department and emphasized the work of contemporary artists working in the areas of post-modern, spiritualist, minimalist, or conceptual concerns. He currently still resides in Orange County, where he has lived since 1967.

The Moores initiated an active art education program which included free tours to studios and museums, lectures, and panel discussions and was a frequent guest lecturer to art institutions and support groups in Southern California. Mark also served on the steering committee for the Fine Arts Advisory Board at CSULB, Laguna Art Museum Collections, and Crystal Court/ South Coast Plaza. In 1988, the Moores’ first gallery space was selected by The Orange County Register as one of Southern California’s ten best galleries. In 1988, the gallery was also selected by the SLOOC and the Ministry of Culture of the Government of South Korea to represent the United States at the Olympics Art Festival during the Seoul Olympics – the only gallery so honored. In 1989, L.A. Artcore, a leading non-profit arts organization, selected Mr. Moore as its first recipient of the L.A. Artcore Award of Merit in the Arts (an award given to L.A. Councilman Joel Wachs in 1990 and the late Marcia Weissman in 1991).

The gallery relocated to Los Angeles in 1994 in order to focus on the international secondary market of major works and important emerging artists. Shortly thereafter, it was selected by the Art Market Guide as one of the “Top 35 Galleries in America” in 1998. The gallery has participated in the most important of the major international fairs, including: the Art Chicago International Art Fair, Art Cologne, Gramercy International Art Fair, PULSE Art Fairs (Miami, London, and New York), NADA Art Fair Miami, Scope Art Fair (Miami, Los Angeles, and New York), the Armory International Art Fair in New York (from its inception until 2002), and currently, the Dallas Art Fair, Moving Image Video Art Fair, and Miami Project.

One of the most notable achievements of the Mark Moore Gallery was the orchestration and organization of the monumental 1998 sculpture exhibition of works by Mark Di Suvero. The public exhibition was produced in concert with the Orange County Museum of Art and shown in Town Center Park in Costa Mesa (CA) for a duration of nine months. This was the largest exhibition of outdoor sculpture by Mark Di Suvero in the United States in nearly twenty-five years and was the most prestigious and encompassing display of his work in California. The only comparable shows of this scale were both in Europe (the 1995 Venice Biennale and a Parisian solo show in 1987), up until the current SFMoMA-sponsored display in Chrissy Field (San Francisco, CA).

The Mark Moore Gallery also pioneered the development of contemporary art market in Korea over the last 25 years, producing inaugural Korean exhibitions for artists such as Ed Ruscha, Christopher Wool, Gunter Forg, Vernon Fisher, Lucas Samaras, Joel Shapiro, Donald Judd, Carl Andre, John McCracken, Sol Lewitt, Jannis Kounellis, Richard Artschwager, and Gerhard Richter. In addition, the gallery has done extensive work in the secondary market, mounting exhibitions in Seoul featuring Agnes Martin, Sigmar Polke, Bruce Nauman, Cy Twombly, early Frank Stella paintings, Robert Ryman, Robert Therrien, Ad Reinhardt, Jasper Johns, David Smith, Robert Mangold, Roy Lichtenstein, Anselm Keifer, Robert Irwin, Sean Scully, and Terry Winters. The organization of exhibitions and the building of major private and public global collections has become a major function of the Mark Moore Gallery.

The Mark Moore Gallery has always focused on the development of emerging artists and has gained a solid international reputation as one of the premier sites for new talent. Over the last thirty years, the Mark Moore Gallery has included or debuted the work of numerous young artists in the early stages of their careers – many of whom have later gone on to tremendous international success. The Mark Moore Gallery currently represents twenty-nine emerging and mid-career artists.

He and his wife head the Mark and Hilarie Moore Family Trust, and are active in supporting the arts in Southern California. They continue to be major donors of contemporary art to a number of national museums. He and his wife are also aid a number of local charities that support the education in the arts, resources for the homeless, services for abused children, veteran’s healthcare, and the continuing the fight against AIDS. They have two children, Catlin (who is currently the Director of Mark Moore Gallery) and Devin, and have been married for 30 years as of December, 2014.

We congratulate Mark and Hilarie on this incredible anniversary and accomplishment, and certainly wish to see another thirty years in their gallery’s future.