Monthly Archives: March 2016

Gallery artist Allison Schulnik is part of the exhibition Before the GIF at The High Line.

Before the GIF features a selection of film and video from artists who use a wide range of animation techniques, including stop-motion, clay animation, and hand-drawn animated sketches. The majority of the works featured in the program were created after the introduction and popularization of the GIF (Graphic Interface Format), the now-ubiquitous digital animation form. As digital animation becomes increasingly sophisticated; ever more convincingly replacing live action filming, these artists explore the possibilities unique to analog animation forms whose primary goal is keen creativity, rather than mimetic trickery.

Click here for more information on Before the GIF.

Allison Schulnik / The High Line / Photo by Tim Schenck 

Artillery Magazine has named Lester Monzon‘s solo exhibition, SI VIS PACEM PARA BELLUM, Pick of the Week!

The article reads:

“Lester Monzon’s second solo exhibition with Mark Moore Gallery is titled “SI VIS PACEM PARA BELLUM,” which translates to “If you want peace, prepare for war,” and reads as an enigma wrapped within an enigma as these loosely rendered gestural works are also simultaneously tight and formally rigorous. These acrylic and graphite on Belgian linen pieces propose their own intense poeticism as each painting  reads like a line of verse in a much larger more comprehensive narrative. For example, If T.S. Eliot’s “Prufrock” were to hang art on his perfectly appointed, four square walls, it would be Monzon’s small, yet elegantly spare paintings that would surely give him, as it does us, pause.”

The exhibition runs through April 9th.

Jean Shin‘s solo show, Surface Tension at Cristin Tierney Gallery (NYC) has been reviewed by Karen Kedmey for Artsy. 

From the article:

Mark Moore Gallery is now hiring a full-time Gallery Manager. This position is a unique combination of tasks typical of both a Preparator and a Registrar – which affords the individual diversity in his/her daily activities as well as opportunities for professional development. We seek a highly organized, self-motivated individual who has previous Preparatory experience, and may have experience with Registrar tasks – or be interested in learning more administrative skills. Please find below a full description, required skills, and overview of position tasks:

The Gallery Manager’s primary focus is all things relating to gallery artwork inventory. This full-time position will oversee many different elements relating to the artwork’s handling, documentation, installation, shipping, and various locations – as well as working with artists to determine exhibition needs. The Gallery Manager also has the opportunity to assist both Directors with client presentations, and conduct independent sales (with are entitled to commissions, if completed) – if desired. General tasks and responsibilities include:

• Being physically present in the gallery Tuesday-Saturday (11am-6pm), and positioned at the front reception desk.
• Overseeing and devising timeline/logistics for gallery exhibitions, consigned exhibitions, and any art fairs. This includes maintaining a checklist for proper deadlines relating to receipt of work, shipping, framing, and installation (which will also be provided to exhibiting artists with upcoming shows), being in regular communication with artists, venues, and shippers, as well as advising gallery staff of all shipping needs. This position will also update the inventory locations of all works in various gallery systems and online platforms – and enter all new artworks as they come into the gallery’s possession (in addition to proper inventory labels).
• Touching base regularly with gallery artists to coordinate inventory swaps and returns.
• Executing all preparatory needs: wrapping/boxing works for storage and shipment, installation of shows, lighting works in the gallery, and deliveries as needed. 
• Maintaining a meticulously organized and accessible “back room” – which houses all of the gallery’s onsite storage and artworks – as well as overseeing the offsite storage inventory. 
• Updating and creating consignments and loan documents for inbound and outbound works, and being in touch with various venues to coordinate returns upon expiration.
• Gathering shipping estimates for clients, and booking shipments for all sold works.
• Pulling works for client presentations, and assisting with presentations as needed/desired.

Required skills:

• Previous preparatory/art handling experience
• Excellent organizational abilities/sense of order and cleanliness 
• Ability to self-manage, create deadlines, and plan ahead
• Decent written and verbal communication
• Collaborative spirit and ability to work with a team
• Comfort with computer systems and email

Desired skills:

• Previous administrative/Registrar experience
• Familiarity with Microsoft Office
• Familiarity with ArtBase/GalleryManager/GallerySystems, etc.
• Ability to present information/speak to groups

Information pertaining to compensation and employee programs is provided during interviews.

Please send resumes and inquiries to catlin@markmooregallery.com – do NOT call the gallery about this job listing.

The gallery is committed to providing an environment that is free from discrimination and harassment based on race, age, creed, color, religion, national origin or ancestry, sex, gender, disability, veteran status, genetic information, sexual orientation, gender identity or expression, or pregnancy.

This listing will remain active until the position is filled. Applicants will be contacted via email for an interview, if appropriate for candidacy. The gallery may not confirm receipt of each application.

Gallery artist Ryan Wallace is in a two-person exhibition at Boeske & Hofland Leipzig, along with Koen Taselaar.

The work of Ryan Wallace (1977, USA) is shaped through his use of materials, which often consist of previously discarded or disregarded studio detritus. This convergence and strong layering give his canvas surfaces a sculptural tension that creates complex multidimensional and nonlinear spaces. By limiting his palette to neutral colours, with exception of hints of warmer reds and yellows, the works optimally lend themselves to the exploration of formal characteristics inherent in the different materials, especially the relationships between different textures and surface light.

This fragmentation of matter reads as brush strokes, ultimately creating an aesthetic composition that flirts with the history of abstraction and painting. Ryan Wallace was born in 1977 in New York, NY. He is a graduate of the Rhode Island School of Design, and a Pollock Krasner Foundation Grant awardee. He has exhibited at Marianne Friis Gallery, Copenhagen, Denmark; The Torrance Art Museum, Torrance, USA; V1 Gallery, Copenhagen, Denmark; Frans Masreel Center, Kasterlee, Belgium; Mark Moore Gallery, Los Angeles; and Cooper Cole Gallery, Toronto, Canada, among many others. Wallace lives and works in Brooklyn and East Hampton, New York.

The gallery is thrilled to announce the Santa Barbara Museum of Art‘s acquisition of “White Hunter” (1991) by Vernon Fisher, for their permanent collection.

The Santa Barbara Museum of Art’s collection of the arts of Asia, Europe, and the Americas includes paintings, sculpture, prints, drawings, photographs, ceramics, glass, jades, bronzes, lacquer, and textiles. The broad areas in which SBMA holds a significant number of works of exceptional quality include international antiquities from China, India, Greece, Rome, Egypt, and the Near East and 19th-, 20th-, and 21st-century art from Asia, Europe, and the Americas. Particular strengths of the collection are 19th- and 20th-century American and European art, contemporary American painting, photography, and the arts of Asia, especially China.

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.

Julie Heffernan’s solo show World Without End has been reviewed in The Berkshire Edge.

From the review:

“This splendid show has been organized by Margaret Cherin, Curator of the Hillman-Jackson Gallery, and Jacob Fossum, Professor of Painting and Drawing, who explains that “What interests me most about Julie is her intense connection to her own imagination and creative powers and her ability to trust her revelatory impulses.” The Simon’s Rock students are fortunate indeed to have shows of this quality to inspire them. Just imagine how they would benefit if they had a proper sized gallery.”

The exhibition is currently on view at The Hillman-Jackson Gallery at Bard College at Simon’s Rock through March 24th.

Read the review here.

Gallery artist Zemer Peled is currently included in a group exhibition at the prestigious Nelson Atkins-Museum of Art (Kansas City, MO), titled Unconventional Clay: Engaged in Change.  Pictured below is “New Years Best Dream,” a new monumental work Peled made for the exhibition.

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

Christopher Russell has written an essay about his work in this month’s issue of Exposure Magazine titled, “A Promiscuous Lens.”  In the article, Russell details several bodies of work, and his shift from Los Angeles to Portland.

Read the essay here.

Austin-based artist collaborative Okay Mountain repackages, reconstitutes and rekindles our consumerist desires with a sardonic edge. With ten members, the group creates installations and multi-media assemblage works that mimic the stock vernacular of our communal materialism, yet tweaks them just enough to reveal our superficial insecurities and convictions.

Join Residence/SF tonight – Friday, March 4 -from 8-10pm for the Opening Reception of Okay Mountain’s 6-day exhibition, where several collaborative videos and works on paper will be on view. Additional viewing hours listed below:

Saturday 11am-11pm
Sunday 11am-9pm
Monday 6-9pm
Tuesday 6-9pm
Wednesday 6-9pm
Thursday 7-10pm

Okay Mountain is a nine member artist collective based in Austin, Texas. Formed in 2006 as an artist-run alternative gallery space, the group has exhibited their drawing, video, sound, and performance projects throughout the United States and in Mexico City, and has been widely recognized for its “inventive construction, loving attention to detail and keen-eyed connoisseurship.” Okay Mountain repackages, reconstitutes, and rekindles our consumerist desires with a sardonic edge. Their installations and multi-media assemblage works mimic the stock vernacular of our communal materialism, yet tweak them just enough to reveal our superficial insecurities and convictions.

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).