Monthly Archives: March 2015

Allison Schulnik in Image Forum Festival (Japan)

Allison Schulnik‘s most recent video, “Eager” (2014), will be featured in the upcoming Image Forum Film Festival (Japan). In association with the Yokohama Museum, Fukuoka City Public Library, and Aichi Arts Center (co-organizers), the festival will take place from April 26 to June 21st, 2015.

As the largest film festival in Japan, Image Forum will screen new and ambitious experimental films from in Japan and overseas. Subsequently, its programming will tour five cities throughout the country, including Tokyo, Kyoto, Fukuoka, Nagoya, and Yokohama.

We congratulate Allison on this exciting distinction! For more information about the artist or available works, please email


OPENING TONIGHT: David Maisel & Stephanie Washburn

Mark Moore Gallery is proud to present “The Fall,” a recent series of large-scale color photographs by California–based artist David Maisel. For over two decades, Maisel has rigorously photographed aerial perspectives of landscapes affected by industry, agriculture, urban sprawl and other forms of human intervention. Despite the political underpinnings of these images, Maisel’s work refuses didactic interpretation, arriving instead at a surreal and abstracted intersection of beauty, mystery, and horror that the artist has referred to as the “apocalyptic sublime.”

Maisel was commissioned to photograph the city of Toledo, Spain, for ToledoContemporánea, an exhibition created to commemorate the 400th anniversary of the death of the painter El Greco. The Fall is Maisel’s personal response to the landscape between Toledo and Madrid, in which he reveals topographies that have been aesthetically deranged and environmentally impacted by industrial use. From abandoned construction sites in Vicalvaro, ashen extraction zones in Borox, and crosshatched fields in Fuensalida, Maisel constructs a hallucinatory and alien worldview. Speaking to this, the artist says, “The baser the terrain, the more susceptible it is to contemplation, and the more complex it becomes as subject matter; I consider my pictures not as simply documents of these blighted regions, but as poetic renderings that reflect the human psyche that made them.” Maisel’s painterly abstractions in The Fall reference a variety of sources, from the landscapes of Richard Diebenkorn to the lunar renderings of NASA.

Maisel’s work has been exhibited globally, including such institutions as the Los Angeles County Museum of Art (CA); International Center of Photography (NY); Palais de Tokyo (Paris); Fotografie Forum International (Frankfurt); American Academy (Rome); Musée des Beaux Artes (Bordeaux); and Seoul Arts Center (Seoul) among many other venues. Maisel’s works are in major public collections, including the Metropolitan Museum of Art (NY), the Getty Museum (CA), the National Gallery of Art (Washington D.C.), the Victoria and Albert Museum (London), the Los Angeles County Museum of Art (CA), and many others. He received his BA from Princeton University, studied at Harvard University Graduate School of Design, and received his MFA from California College of the Arts. Maisel is the recipient of a 2011 grant from the Center for Cultural Innovation, a 2008 Artist Residency from the Headlands Center for the Arts, and a 2007 Scholar/Artist Residency from the Getty Research Institute. He has received fellowships from the National Endowment for the Arts and the Center for Cultural Innovation. He was appointed a Trustee of the Headlands Center for the Arts in 2011. The artist lives and works in the San Francisco Bay Area.

Concurrently in Gallery Two, is Stephanie Washburn‘s exhibition, “The Yielding.” Says the artist:

The exhibition includes drawing, photography and a video installation. It is an interpretation of the landscape genre, here at the ghost end of Romanticism. The images counter a pictorial vanishing point with the intimate entropy of a horizontal plane. Rather than objectifying as other and thereby historicizing “Nature,” they entangle mythic with mundane, a sublime of limits.

In the series Portraits, the skyscape overhead is overlaid with a charcoal rubbing of the ground beneath. The diptych Fire at Sea, a reference to Turner, captures a flat screen laid face up on the ground, ablaze in a spectacle of wreck and fire and sprayed with a hose. Idaho presents a still shot of the open desert. The eponymous Idaho potato rolls across the horizon line and screen in that same flatbed orientation. The potato exits and re-emerges in time with an implicit loop around the gallery. The work conflates the landscape genre with portrait, media spectacle, and institutional architecture in turn. We inhabit the very environmental crisis we fail to see. -Stephanie Washburn

Stephanie Washburn received her BA from Wesleyan University and her MFA from the UC Santa Barbara. Recent exhibitions include Fellows for Contemporary Art (CA), Davidson Art Center (CT) and ACME Gallery (CA). Her work has been reviewed in The Los Angeles Times, New American Paintings and Huffington Post. It has been acquired by Museum of Contemporary Art, San Diego (CA) and Sweeney Art Gallery at UC Riverside (CA). Washburn lives in Ojai, CA and is a Lecturer at UCSB.

For more information about the artists or images of available works, please email Both exhibitions open tonight, March 26, 7-9pm, and remain on view through May 2, 2015.


Christopher Russell in “Scientific Magic”

Gallery artist Christopher Russell will open a two-person exhibition of new work at the Harris Gallery (University of La Verne, CA) on April 2, 2015. On view through May 15, “Scientific Magic” will also feature work by mixed-media artist Sarah Cromarty. Says curator Dion Johnson:

‘Scientific Magic’ juxtaposes sculptural paintings by Sarah Cromarty with photographic works by Christopher Russell. This exhibition encourages viewers to wonder beyond their first impressions and discover idiosyncratic imagery and narrative oddities. Linked by complex and sometimes counterintuitive studio practices, Cromarty and Russell create art objects that conjure surprises and chart new visual territories. 

 In ‘The Falls’ series, Christopher Russell’s razor-scratched photo works skillfully integrate photography and drawing to create distinctly mysterious pictures. Most of his pieces are symmetrically structured diptychs or triptychs with pulsating veils of bold monochromatic translucency. Frosty silvers, aquatic blues and glowing golds illuminate ambiguous landscape-like spaces. White razor-scratched lines are superimposed atop these saturated photographic fields. The scratched line technique violates the photo print surface and the resulting imagery seems to both fracture and unite the color space.

Gazing into Russell’s carefully orchestrated scenarios, viewers are invited to explore gossamer precise drawings that flow through his compositions: floral patterns interlace and transition; texts appear and terminate; ship masts connect and cluster. Whether alluding to Victorian interior décor or ships lost at sea, Russell’s fragmented narratives seem to hover between haunted memories and daydreamt hallucinations.

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


Ali Smith in “HERE NOW” at Wilding Cran Gallery

The gallery is pleased to announce Ali Smith‘s inclusion in “HERE NOW: Six Works by Six LA Artists” at Wilding Cran Gallery (CA). Also including works by Kristin Calabrese, Noah Davis, Ian Pines, Fran Siegel, and Etienne Zack, the exhibition will open on Saturday, March 21, and run through May 2, 2015.

Smith uses the canvas as an open space of exploration; an empty landscape that serves as the starting point for investigation into abstract terrains.  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, Irvine Fine Arts Center, Center for the Arts, Eagle Rock, and Riverside Museum. Her work is included in the collections of the Laguna Art Museum, Frederick R. Weisman Foundation, and Progressive. Smith is represented by Mark Moore Gallery in Culver City and Mindy Solomon Gallery in Miami, and was the recipient of the Hoff Award in 2011 and the City of Long Beach Artist Grant in 2008.

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


Penelope Umbrico in WIRED Magazine

Gallery artist Penelope Umbrico was recently featured in WIRED Magazine for her new media-based photography.

Says writer Jakob Schiller:

Penelope Umbrico’s work is to classical photography as hip hop is to soul, blues and jazz music: a giant remix.

It starts with her using an iPhone to take photos of classic images of mountains shot by the likes of Henry Cartier-Bresson and Edward Weston. Next, she chooses from the many photography apps on her iPhone and runs her photos through almost every filter. She’ll process her photos several hundred times. From 19 original photos, she’s created 6,000 images for Range.

The project and corresponding book is a technicolor mashup of old and new photography, harkening to the masters while having the punchy “pop” of Instagram. Umbrico chose to re-photograph mountains because they represent stability, while photography, she feels, is the opposite. New technology—like her iPhone and the apps she uses—has the genre in constant flux. “Photography is always changing, but I do think right now is a particularly amazing moment,” she says.

To read the full article, click here. Exemplary works from this series can be viewed by visiting Umbrico’s most recent exhibition page. For more information about the artist or available works, please email


Now Representing: Jean Shin

Mark Moore Gallery is pleased to announce its representation of interdisciplinary artist, Jean Shin.

Shin is nationally recognized for her monumental installations that transform everyday objects into elegant expressions of identity and community. For each project, she amasses vast collections of a particular object—prescription pill bottles, sports trophies, sweaters—which are often sourced through donations from individuals in a participating community. These intimate objects then become the materials for her conceptually rich sculptures, videos and site-specific installations. Distinguished by her meticulous, labor-intensive process, and her engagement of community, Shin’s arresting installations reflect individuals’ personal lives as well as collective issues that we face as a society.

In her current exhibition at the gallery, “Domesticated Landscapes,” Shin investigates the history and cultural connotations of flatware. The practical, utilitarian function of the utensil serves as a cross-cultural common ground facilitating the basic human need for sustenance. Yet historically, flatware has become loaded with divisive cultural significance, evoking associations embedded with connotations of class, etiquette, and privilege. This complexity is similarly evident in her use of the tree as an object representing both utility and idealized beauty. In combination, the tree and flatware suggest a harmonious co-existence of culture and nature, while softly referencing their mutual fragility. A video interview with the artist focusing on this show may be viewed HERE.

Born in Seoul, South Korea and raised in the United States, Shin attended the Skowhegan School of Painting and Sculpture in 1999 and received a BFA and MS from Pratt Institute in Brooklyn. Her work has been widely exhibited in major national and international museums, including in solo exhibitions at the Scottsdale Museum of Contemporary Art in Arizona (2010), Smithsonian American Art Museum in Washington DC (2009), the Fabric Workshop and Museum in Philadelphia (2006), and Projects at The Museum of Modern Art in New York (2004). Other venues have been the New Museum of Contemporary Art, the Museum of Art and Design, the Museum of Fine Arts, Houston, the Museum of Fine Arts, Boston, Asia Society and Museum, The Brooklyn Museum, Sculpture Center, Socrates Sculpture Park, and Frederieke Taylor Gallery in New York City. Site-specific permanent installations have been commissioned by the US General Services Administration Art in Architecture Award, New York City’s Percent for the Arts and MTA Art for Transit. She has received numerous awards, including the New York Foundation for the Arts Fellowship in Architecture/Environmental Structures (2008) and Sculpture (2003), Pollock-Krasner Foundation Grant, and Louis Comfort Tiffany Foundation Biennial Art Award. Her works have been featured in many publications, including Frieze Art, Flash Art, Tema Celeste, Art in America, Sculpture Magazine, Artnews, and The New York Times. She lives and works in New York City.

For more information about the exhibition artists, or available work, please feel free to email, and we will accommodate your needs.

Installation View

Jean Shin Acquired by Rose Art Museum

New gallery artist Jean Shin now has work featured in the permanent collection of the Rose Art Museum (MA). The acquisition of Shin’s 2009 installation piece, “Alterations,” was part of a major donation of forty-one works by collector, computer programmer, and philanthropist Peter Norton. Says ArtForum:

Drawn from Norton’s personal collection, this gift is part of a series of donations to university art museums and teaching museums throughout the country, including the Tang Teaching Museum at Skidmore, Saratoga Springs, New York; UC Berkeley Art Museum and Pacific Film Archive in Berkeley, California; and the Mary & Leigh Block Museum of Art at Northwestern University, Evanston, Illinois.

The gift to the Rose includes video, photography, painting, prints, sculpture, and mixed media works by artists such as Doug Aitken, Nicole Eisenman, Omer Fast, Robert Gober, Mike Kelley, Jean Shin, Kara Walker, and Christopher Wool, among others.

We congratulate Jean on this major milestone, and encourage you to visit the Rose Art Museum if you find yourself on the Brandeis University campus (on which the museum is housed). For more information about the artist or available work, please email

Jean Shin, Alterations, 1999 (detail 2) -EMAIL

MMG Artists in “The Coded Image”

Recent works by gallery artists Josh Azzarella, Penelope Umbrico, and Stephanie Washburn are currently on view at Biola University‘s Earl and Virginia Green Art Gallery.

Says curator Jeff Rau:

“The Coded Image” features five artists wrestling with the increasing instability of images in the present information age. The distribution of electronic content inherently involves a destructive/reconstructive process that challenges the perceived stability and continuity that were early dinstinctives of photography. By employing a variety of innovative photographic, video, and new media techniques, these artists offer fresh perspectives on the heavily mediated and abstract nature of these information-images.

The exhibition will remain on view through March 26, 2015. For information about the featured artists or available works, please email


Josh Azzarella Acquired by Akron Art Museum

The gallery is pleased to announce that the Akron Art Museum recently acquired three prints by gallery artist Josh Azzarella for its permanent collection, including Untitled #13, Untitled #39, and Untitled #33.

The museum has continued to enrich the lives of those in Northeast Ohio and beyond through modern and contemporary art. Its nationally recognized collection of more than 5,000 objects was documented through the publication of collection catalogues. Three acquisitions endowments were created to ensure the collection’s future growth. A greatly enlarged general endowment provided increased, more stable funding, allowing the staff to undertake ambitious programs and exhibitions with national and even international impact. In 2007, its eighty-fifth year, the museum more than tripled in size with the opening of the new John S. and James L. Knight Building, which adjoins the 1899 building. Spanning three centuries, like the museum’s collection, together they symbolize the museum’s dual role as preserver of the past and herald of the future.

Josh Azzarella (b. 1978, Ohio) creates videos and photographs that explore the power of context in the authorship of memory, oftentimes utilizing seminal moments in pop culture and news media to create accessible confrontations with historiography. By illuminating the individual encounter with communal experiences, Azzarella evaluates the perception of realness – which can ultimately be rooted in both the fantastic as much as the pragmatic.

Azzarella was the recipient of the 2006 Emerging Artist Award and related solo exhibition from The Aldrich Contemporary Art Museum (CT). He has previously shown at the California Museum of Photography (CA), University Art Museum, Long Beach (CA), Vancouver Art Gallery (Canada), Kavi Gupta Gallery (IL), Academie der Kunste (Berlin), Sean Kelly Gallery (NY), Catharine Clark Gallery (CA), Mississippi State University (MS), the Santa Barbara Museum of Art (CA) and DCKT Gallery (NY). His work is included in the permanent collection of the San Francisco Museum of Modern Art (CA), the Los Angeles County Museum of Art (CA), the Pennsylvania Academy of the Fine Arts (PA), the Museum of Fine Arts Houston (TX), the San Diego Museum of Modern Art (CA), the Margulies Collection (FL), Western Bridge (WA) and JP Morgan Chase (NY). He lives and works in Easton, PA.

We congratulate Josh on this incredible milestone. For more information about the artist or available works, please email

Untitled #39

Ryan Wallace in “Altered States”

Gallery artist Ryan Wallace is included in the group exhibition, “Altered States,” which is currently on view at Galerie Jérôme Pauchant through April 4, 2015.

Says the gallery:

An approach that is both singular and collective brings together artists presented here. While visually very different, the exhibited works create a common language around the handling of the manufactured object and processing of organic materials. Their original use is diverted to disappear behind his own formal paradox desecration of art.
The intrusion of raw elements from the real (colored protective film for car glass, rubber bullets, palm leaves, inks cartridge printers or foil) joined this “perceptual approach to reality” dear to the New Realists, as well as the positioning of natural elements and “poor products” compositional elements in Arte Povera. This re-reading is part of a discourse of modernity and a language specific to the twenty-first century.

Also included in the exhibition are works by Graham Collins, Evan Robarts, January S. Hansen, and Niall McClelland.

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