Monthly Archives: July 2017

Ben Charles Weiner “Altered States” is ARTSY’s Featured Show Of The Week

Check out See “Ben Charles Weiner: Altered States” at Mark Moore Fine Art on @artsy on Artsy:


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Previewed: Ben Charles Weiner “Altered States”


Image: Ben Charles Weiner, Fade from Black # 3, 2013, 5-hour energy and ink on chromatography paper, 18 x 22 inches

Mark Moore Fine Art is proud to present “Altered States,” an exhibition focusing on Ben Charles Weiner‘s mixed media drawings.

Illuminating a lesser-known aspect of the artist’s practice, “Altered States” presents new drawings, along with earlier works that serve as precedents. In these works, Weiner engages with household products at a physical and chemical level. The drawings use principles from gelatin sliver printing to record an imprint of the chemical reactions between inks and drugs (both legal and illegal), expanding upon Weiner’s practice of synthesizing process painting and photorealism.

You can preview this exhibition now in preview at:


Image: Fade from Black # 4, 2013, vodka, MDMA (Molly), and ink on chromatography paper, 18 x 22 inches

Weiner begins his drawings by coating a sheet of Chromatography paper in a single color of ink. This heavy-cotton lab paper is used in forensics and art conservation to determine the identities of chemical substances. Weiner mixes a solution of a respective drug into a pan of water, using substances such as Aspirin, Codeine, Molly, Marijuana, 5-hour Energy and Vodka. He then soaks the ink-coated paper in this solution, letting the drug break the ink down into a surprising array of prismatic patterns to create, in Weiner’s words, “a material embodiment of altered perception.” Weiner soaks and re-soaks the paper as many times as necessary to arrive at an image he finds compelling, resulting in works that meld painterly action with chemical reaction.

Weiner anchors his investigation with formal allusions to historical movements including Monochrome and Colorfield painting, and in doing so sheds new light on these movements. His drawings begin as literal Monochromes, and it could be said that once soaked in drugs, they remain Monochromes, albeit seen through the lens of their respective drug. Where Monochrome painters such as Yves Klein isolated pure color as an experience unto itself, Weiner’s drawings position perception itself as a medium, to be manipulated through drug use.

Indeed, the luminous, hazy fields of chemical color in Weiner’s drawings beg the question of whether altered experience is inherently abstract. In “The Doors of Perception,” Aldous Huxley postulates that drugs break down filters that organize, and give form to, an otherwise overwhelming flood of abstract visual information absorbed by our senses. Mark Rothko’s paintings could easily support this, given his well known appetite for anti-depressants and alcohol. 

However, Weiner draws no distinction between legal and illegal drugs in his choice of substances. Thus, he positions drug-use not an escape from reality, but as a behavior integrated into our daily routines. In this sense, the drawings reflect his conceptual interest in the relationship between consumerism and mortality within daily consumption routines, and our daily struggle to resist the entropic forces that pull at our mortal selves.


Image: Fade from Black # 1, 2013, MDMA (Molly) and ink on chromatography paper, 18 x 22 inches

Ben Charles Weiner (b. 1980, Burlington, VT) received his BA from Wesleyan University (CT). He also studied under Mexican muralist José Lazcarro at Universidad de las Americas (Mexico) and has worked closely with artists Jeff Koons, Kim Sooja and Amy Yoes as an assistant. He has exhibited his work widely across the United States and in Mexico with solo shows in Los Angeles, New York and Puebla, and group exhibitions in Chicago, New York, Miami, New Haven, Ridgefield, Los Angeles and Riverside. His paintings can be found in the Sammlung/Collection (Germany), the Progressive Collection (OH), The Microsoft Collection (WA), and the Frederick R. Weisman Foundation Collection (CA). The artist lives and works in New York City.

For additional information on Ben Charles Weiner, please check out our website at:

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Stephanie Washburn: Reception – on view now!




Stephanie Washburn: Reception

July 03, 2017 – August 06, 2017


Mark Moore Fine Art
ARTSY Online Exhibition, Summer 2017

On view now at:

A free online catalog on Washburn is available for download at:

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Meghan Smythe Reviewed in the Los Angeles Times



Installation view of Meghan Smythe show at Mark Moore, including the works “Coupling” and “Young Unbecoming.”

A raw, visceral force at work in sculptor Meghan Smythe’s first solo show, at Mark Moore Gallery “Coupling” is the eye of the storm that is Meghan Smythe’s remarkable first solo show, at Mark Moore.

The two slightly oversized right hands, sculpted in clay and sheathed in milky white glaze, rest on a pedestal, their gently cupped palms facing up. The thumb of one hand makes the barest contact with one of the fingers of the other. This is coupling of a spiritual as much as a physical sort.

Another kind of convergence happens here too. These hands, with their poignantly irregular texture, are quite overtly works of the hand, the clay pressed and pinched into shape by fingers replicating themselves. The means of creation merges with the image created; the act of making couples with the made.


The tenderness and quietness of “Coupling” are nourishing in themselves, but also a reprieve from the demanding intensity of the surrounding work. “Coupling” whispers; the other pieces grunt and pant.

Smythe, from Kingston, Ontario, and now living in Long Beach after a two-year residency at CSULB, harnesses to its fullest clay’s metaphoric power to invoke the very stuff of life.

The raw force of being and becoming, making as well as unmaking courses through these sculptures, which also incorporate glass, resin, epoxy and plasticine. Their energy oscillates wildly between desperate and spent.


“Young Unbecoming” is the most complex of the group, a breathless orgy of bodies grasping, bending, licking, twisting. There are three, or more precisely 3 1/2, female figures in the mix, plus an assortment of stray phalli and a plethora of clutching hands.

Limbs are entwined, tongues extended. Clay is rarely, if ever, this carnal. Some of the skin is mannequin-smooth but veined with cracks. Some seeps a pink foam or a pale fecal flood. Erotic pleasure plays a part here, but is only one of many competing charges.

Throughout this, and Smythe’s other works, there is a violent fragmentation that zigzags between sexual fantasy and deathly dismemberment. With its human shipwreck of compromised flesh, “Young Unbecoming” brings to mind Gericault’s “Raft of the Medusa,” and exudes comparable, palpable urgency.


Smythe is a sculptor of struggle. Primal forces contend in the work, as do various aesthetic and formal dispositions. The sobriety of the relic is countered by the whimsy of glass and resin follies. Figures pallid and cadaverous lie upon a surface oozing with puddles in the happy hues of Easter eggs.

The friction between generation and decay, elegance and entropy, is what makes Smythe’s work so alive and also so tough to digest. It doesn’t go down easy, or at all. Stubborn, sensual, visceral — it sticks.

Mark Moore Fine Art is pleased to announce an exclusive ARTSY online exhibition of award-winning sculptor Meghan Smythe titled “Flesh For Fantasy”, on view July 10 – August 13, 2017. This presentation on recent work can be view now at the following link:

Penelope Umbrico “Suns” Screensaver Now Available

5_flickrsunsSun Burn (Screensaver) (2008), by Penelope Umbrico, is comprised of 365 images from her project Suns from Flickr complied into an animation, and then converted into a screensaver. Download the screensaver here:

As the artist puts it: “As a screensaver, the implied danger of burning a whole into your screen is, in fact, not a real threat: the longevity of our newer screens is no longer effected by intense of light or form in one place. Current screensavers function purely for entertainment and distraction, and in fact they use more energy than if the computer were allowed to just go to sleep.”

Penelope Umbrico offers a radical reinterpretation of everyday consumer and vernacular images. Umbrico works “within the virtual world of consumer marketing and social media, traveling through the relentless flow of seductive images, objects, and information that surrounds us, searching for decisive moments—but in these worlds, decisive moments are cultural absurdities.”

She finds these moments in the pages of consumer product mail-order catalogs, travel and leisure brochures; and websites like Craigslist, EBay, and Flickr. Identifying image typologies—candy-colored horizons and sunsets, books used as props—brings the farcical, surreal nature of consumerism to new light.

Penelope Umbrico (born in Philadelphia, 1957) graduated from the Ontario College of Art and Design in Toronto, and received her MFA from the School of Visual Arts, New York. She has participated extensively in solo and group exhibitions, including at the San Francisco Museum of Modern Art and PS1 Contemporary Art Center, New York. Umbrico is core faculty in the School of Visual Arts MFA Photography, Video, and Related Media Program. Selected public collections include the Guggenheim Museum (NY), International Center of Photography (NY), McNay Museum of Art (TX), Metropolitan Museum of Art (NY), Museum of Contemporary Photography (IL), Museum of Contemporary Art, San Diego (CA), Museum of Modern Art (NY), and the San Francisco Museum of Modern Art (CA), Los Angeles County Museum of Art (CA), among others. She lives in New York City.

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Kim Rugg featured at The Blanton Museum in “Incomplete Sentences,” alongside works by Glenn Ligon, Gene Beery, Ed Ruscha, May Stevens, and Gregory Blackstock



Kim Rugg, The View from Oklahoma (Kim’s Valley North of Amarillo), 2014, Ink on paper / Collection of The Blanton Museum, University of Texas

I am delighted to announce that the work pictured above has been included in the current exhibition at The Blanton Museum, University of Texas.

The work, The View from Oklahoma (Kim’s Valley North of Amarillo), is on view on the second floor in a gallery devoted to contemporary art called “Incomplete Sentences,” alongside works by Glenn Ligon, Gene Beery, Ed Ruscha, May Stevens, and Gregory Blackstock.

Rugg received her MFA in Sculpture from the Royal College of Art (London). Her work can be seen in the permanent collections of the National Gallery of Art (D.C.) and the Frederick R. Weisman Foundation (CA), the Museum of Contemporary Art, San Diego (CA), Honolulu Museum of Art, the Norton Museum (FL), and the Museum of Fine Arts Houston (TX) among others. She has been included in exhibitions at the San Jose Institute of Contemporary Art (CA), Elizabeth Foundation for the Arts (NY), Galerie Schmidt Maczollek (Cologne), and Nettie Horn Gallery (Manchester), P.P.O.W. Gallery (NYC), and was the recipient of the Thames and Hudson Prize from the Royal College of Art Society in 2004. She lives and works in London (UK).

For more information on Kim Rugg, go to the MMFA artist page at:

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Feodor Voronov: “Rainbow of Chaos” Closing July 24th


Mark Moore Fine Art is thrilled to announce “Rainbow of Chaos“, a presentation of recent work by artist, Feodor Voronov. This exclusive online ARTSY exhibition will be an exploration into Voronov’s manipulation of “operative formalism,” and engagement with language.

View this presentation of paintings and works on paper by Voronov now at: