Monthly Archives: February 2016

ArtForum Critic’s Pick: Ryan Wallace

Gallery artist Ryan Wallace was recently chosen by ArtForum as a Critic’s Pick for his current solo exhibition at Cooper Cole (Toronto). Continuing the themes and techniques featured in his 2015 exhibition at Mark Moore Gallery, Wallace has extended his signature textured multi-media methodology from the canvas into the gallery space itself. We congratulate the artist on this milestone achievement. Please find the review by Bryne McLaughlin in its entirety below:

The instant you step inside the gallery door, you’re implicated in Ryan Wallace’s exhibition “Dragnalus.” Spread out underfoot across the space is Pitch, 2016, a patchwork of square Plexiglas tiles, each roughly imprinted with evidence of Wallace’s working methods—footprints in paint, offcut strips of packing tape and mesh, a flattened work glove or pair of jeans, and traces of spray paint and carpet glue, among other things. Interspersed throughout this blue-collar mosaic are squares covered in gold and silver foil or mirrors. Walking on “Pitch,” it’s impossible not to think of how heavily this, and the work of many young like-minded sculptural painters, treads on the legacy of Carl Andre. Earlier iterations of similar pieces by Wallace have included stacks of plaster cubes, another allusion to Andre’s Minimalist shadow. But here it’s less of a flaw than a self-reflexive reminder of how questions of process, material, value, and the negotiated play between object and subject have perpetual traction.

Wallace’s paintings operate in a similar fashion. In his “Dragnalus” series, 2014–15, vertical cuts and strips of canvas, mesh, vinyl, rubber, aluminum foil, wax, and paint—the same bric-a-brac from Wallace’s workspace that covers the tiles in “Pitch”—form a suite of densely textured veils. A departure from his earlier monochromatic paintings, these works hum with layered blacks, off-whites, deep reds, and a well-placed eyelet or two. The linchpin, though, is “Untitled,” 2016, a pair of white canvas sneakers hanging on the gallery wall, the soles of which are caked in studio detritus. Echoes of the labor-intensive heroics of the midcentury avant-garde—“Combines”-era Robert Rauschenberg comes to mind—resound again, even if, for better or worse, they remain just a step away.

For information about the artist or available works, please email

Redactor 2014 XIX_SM

Allison Schulnik’s “Hoof” Closes Feb. 20

“Hoof,” the current solo exhibition by Allison Schulnik, will close on Saturday, February 20.

The first Los Angeles solo exhibition by Schulnik in nearly four years was met with strong preview support from Arrested Motion, CalArts Blog, and Artsy Editorial, which did an extensive interview feature with the artist in her studio. Says writer Rachel Will:

“Cats don’t only make appearances at Schulnik’s studio but also in her latest exhibition ‘Hoof’ at Mark Moore Gallery. One of the paintings in the show, ‘Lady with Cat’ (2015), is derived from a photo of Schulnik holding her own cat, reimagined with haunting eyes and a morose color palette of black, dark browns, and blues, typical of her oeuvre. But beyond cats, her paintings are inhabited by centaurettes, unicorns, and mermaids—not those of Disney films and children’s books but rather of nightmares and fairy tales gone awry. Her work portrays seemingly vulnerable heroines, ensconced in fields of pastel wildflowers, imbued with a quiet grace and strength.”

“Hoof” was also selected by critic Catherine Wagley as one of her “5 Must-See Shows in Los Angeles.” In her humorous assessment of the show, Wagley writes:

“The best two things about Allison Schulnik’s show at Mark Moore Gallery are nipples and cats. Schulnik’s painted and ceramic figures — all female, long-haired, loosely rendered and wild-looking (some are half-woman, half-horse centaurettes) — tend to have the most remarkable, pink, tube-like nipples at the ends of their breasts. They’re like weapons, guns that could go off. And then there are the cats, vulnerable and silly while the women are fierce. Writhing Boochie is a black ceramic cat lying on its back on a pink pedestal, looking like a diva who’s sick of being pretty.”

For information about the artist or available works, please email the gallery, and we will accommodate your needs. The gallery’s next exhibition will open on Thursday, February 25, from 6-8:30pm; featuring new work by Jason Salavon in the main gallery, and Lester Monzon in Gallery Two.


Vernon Fisher at Wadsworth Atheneum Museum of Art (CT)

Vernon Fisher is part of a group exhibition opening tomorrow at Wadsworth Atheneum Museum titled, “The End of Innocence: Childhood Torments in the Contemporary Art Collection.”

The fairy-tale notion of childhood as a happy and carefree time of innocence and play is challenged by the artwork presented in this exhibition. At their worst, early experiences can provide the first shocking realizations of evil and pain in the world. The End of Innocence explores these difficult and lingering early life memories, fantasies, and nightmares in works that address issues such as loneliness, bullying, racism, poverty, violence, and war. Making reference to childhood, much of the art contains cartoons, dolls, toys, coloring books, the alphabet, school photographs, and TV shows.

Drawn entirely from the Wadsworth Atheneum’s Contemporary Art collection, Fisher will be showing alongside Eleanor Antin, Morton Bartlett, Enrique Martinez Celaya, Joseph Cornell, Vanessa German, Keith Haring, Charles LeDray, David Levinthal, Pepón Osorio, Collier Schorr, Deb Sokolow, Carrie Mae Weems, and David Wojnarowicz.

Click here for more information on the exhibition.


New Andrew Schoultz video on YouTube

Andrew Schoultz recently completed a mural in LA’s Chinatown in collaboration with Converse as part of their Blank Canvas Program..

See the mural come to life in this new video about the project:

David Maisel in Wired Magazine

David Maisel is in Wired Magazine this month for his groundbreaking series The Fall, now on view at Haines Gallery.

Click here to read the article.

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


Kim Rugg Acquired by Blanton Museum of Art (TX)

The gallery is thrilled to announce the Blanton Museum‘s acquisition of “The View from Oklahoma (Kim’s Valley North of Amarillo)” (2014), by Kim Rugg.

The Blanton Museum of Art at The University of Texas at Austin is one of the foremost university art museums in the country, and has the largest and most comprehensive collection of art in Central Texas. The Blanton’s permanent collection of more than 17,000 works is recognized for its European paintings, an encyclopedic collection of prints and drawings, and modern and contemporary American and Latin American art.

The Blanton is considered one of the university’s many Gems along with The Harry Ransom Center, the Briscoe Center for American History, The University of Texas Press, UT Libraries, the Graduate School, and the Michener Center for Writers. Located at the intersection of Martin Luther King Jr. Boulevard and Congress Avenue, the museum is across the street from the Bob Bullock Texas State History Museum and is adjacent to downtown Austin.

With surgical blades and a meticulous hand, Kim Rugg (b. 1963, Canada) dissects and reassembles newspapers, stamps, comic books, cereal boxes and postage stamps in order to render them conventionally illegible. The front page of the LA Times becomes neatly alphabetized jargon, debunking the illusion of its producers’ authority as much as the message itself. Through her re-appropriation of medium and meaning, she effectively highlights the innately slanted nature of the distribution of information as well as its messengers. Rugg has also created hand-drawn works alongside wallpaper installations, both of which toy with authenticity and falsehood through subtle trompe l’oeil. In her maps, Rugg re-envisions the topography of various states, countries, continents, and even the world without borders, featuring a staggeringly precise hand-drawn layout with only city names and regions as reference points. In own sense of abstracted cartography, Rugg redistributes traditional map colors (or eliminates them entirely) in order to nullify the social preeminence given to constructed territories, and highlight the idea that our attention is manipulated to focus on the powerful few instead of the physical many.

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