Monthly Archives: July 2018

Image: Benjamin Charles Weiner, Paint, 2018

Painter Ben Charles Weiner is featured in a very interesting article in W Magazine featuring artists who work with unconventional materials. Weiner is in good company, alongside Jenny Holzer, Sterling Ruby and others. Click here on this link to read the full article.

Mark Moore Fine Art is pleased to present a selection of sixteen new paintings on paper and limited edition prints by New York Artist BEN CHARLES WEINER. This ARTSY Online Exclusive Exhibition is on view through September 30th. You can view these works now at the following link: 

https://www.artsy.net/show/mark-moore-fine-art-ben-charles-weiner-recent-works-on-paper

Image: Benjamin Charles Weiner, Untitled, 2018

We are also very pleased to announce our new video channel on Youtube and the addition of several new short video interviews that have just been added to this site for your reference. I would invite you to check out the MARK MOORE FINE ART VIDEO CHANNEL and encourage you to subscribe to future videos at the following link by clicking HERE.

Image: Benjamin Charles Weiner, ​Untitled (Make Up, Perfume)​, 2018

The short film collection at MMFA Video Channel now features four new videos that have been just posted that include a looks inside the studios of artists: ALLISON SCHULNIK, ANDREW SCHOULTZ, VERNON FISHER, and JOHN BAUER. In total we have nearly fifty new or recent videos posted there for you to view – and that list grows weekly. Other artists featured on the MMFA Channel are: Jason Salavon, Kris Kuksi, Stephanie Washburn, Julie Oppermann, Tim Bavington, Joshua Dildine, and Julie Heffernan – just to name a few.

This week’s featured video interview is with BENJAMIN CHARLES WEINER which can be viewed here:

For additional information on this artist and their work, please go to our website at http://www.markmoorefineart.com or check out their artist page on ARTSY at the following link:

https://www.artsy.net/mark-moore-gallery

#markmooregallery #BENJAMINCHARLESWEINER #benweiner

Mark Moore Fine Art is pleased to announce our partnership with Davis Editions to release three new limited edition works on paper by artist JOSHUA DILDINE to be released on August 1, 2018 that I currently can offer you in pre-publication as a special offer.

Joshua Dildine, Round and Round, 2018 / 30 x 24 inches (paper size) / Archival pigment print; Edition of 20 + 2AP

These works, published in association with Davis Editions, are wonderful examples of the artists best work. Davis Editions uses archival pigment inks and 100% cotton rag paper to create museum-quality prints that are fully archival. Each of these works is a limited edition of just twenty with two artists proofs. Once an edition is sold out, those prints are no longer available. Each print is hand-stamped and numbered on the back by Davis Editions and validated with a certificate of authenticity. The certificate includes pertinent information about the print including publication date, print number, and edition size, and is signed and dated by the publisher. 

For more information, images, and the details on all six of these works, please go to the following link:

https://www.artsy.net/show/mark-moore-fine-art-mark-moore-fine-arts-limited-editions-joshua-dildine-and-ben-charles-weiner

Joshua Dildine, Goofy Duck, 2018 / 30 x 24 inches (paper size) / Archival pigment print; Edition of 20 + 2AP

Merging found autobiographical photographs with viciously gestural painting, JOSHUA DILDINE confronts the subject of conventional recollection and familial structure. A fixation shared by society at large, the contemplation of past events and relationships ultimately shapes our psychology moving forward – as a flicker of nostalgia, shame, or glee can be activated by a single sensory cue. With a purposeful cognizance, Dildine mines these memories for the underlying traits that forge our shared humanity: the humor found in the compromising, the endearment found in the aggravating, or the conflict found in the absent. His painterly swaths are as visceral as the family photos they conceal, his vivid palette alluding to the glaring absurdity of our incessant self-analysis and contemplation of the past. In his most recent body of work, Dildine embellishes elements or patterns within the original image in order to create a farcical confrontation with the past – a perspective that is both critical and celebratory. Through this carefully disjointed lens, Dildine creates experiences that are at once present and bygone, and whimsically harnesses nature of our being.

Joshua Dildine, Suited Palm, 2018 / 30 x 24 inches (paper size) / Archival pigment print / Edition Size: 20 + 2 AP

Dildine (b. 1984, CA), received his MFA from Claremont Graduate University (CA). He has been featured in group exhibitions in Oakland, Los Angeles, San Diego, and Murfreesboro, as well as the Frederick Weisman Museum of Fine Art (CA). His work is included in the public collection of the Sweeney Art Gallery, University of California Riverside (Riverside, CA), The Frederick Weisman Museum of Fine Art (CA), The Honolulu Art Museum, and The Museum of Art and History (Lancaster, CA). He was also the recipient of the 2010 Claremont Graduate University Award. The artist lives and works in Fresno, CA.

You can download a free online catalog on this artist on with a more in depth overview of their work on our website at:

http://www.markmoorefineart.com/attachment/en/581c5e0c84184e51358b4568/Press/5b48f146b9c038fa565de2c3

For additional information on these works or these artists, please contact Mark Moore at: mark@markmooregallery.com

All work is available subject to prior sale and prices are subject to change without notice. All taxes, tariffs, shipping and/or viewing expenses, if any, would be additional.

#markmoorefineart #daviseditions #joshuadildine

Image: “Untiled A” (2018) in the studio

In addition, “Meghan Smythe: Praxis” has been selcted as the Featured Exhibition of the Week by WSI Magazine. You can view the article at the following link on the Wall Street International website:

https://wsimag.com/art/41068-meghan-smythe-praxis
Using a traditional sculptural format (the monument), Meghan Smythe captures contradicting extremes within human gesture: intimacy and brutality, beauty and ugliness, or the lewd and tender. In her attempt to achieve an “elegant vulgarity,” she encapsulates moments that define our mortality in unanticipated ways; oftentimes toeing the delicate line between erotic and macabre tendencies that give way to life, and ultimately death. Glass, ceramic, and concrete are woven together in an elaborate, orgy-like web of body parts and organic artifacts, as if suddenly cast with Pompeii-like circumstances. Like excavated antiquities or fossils, Smythe’s ceramic compositions allude to the cyclical nature of civilization – a dramedy in which all of the players are subject to conquest and demise.

DETAIL Image: “Untiled A” (2018) in the studio

On last note.  You may also view these works in person now at the gallery exhibition below:

PRAXIS 

July 14-August 26

ARTexchange Long Beach 

Featuring: Julia Haft-Candell, Armando Cortes, Ben Jackel, Samuel Jernigan, Narsiso Martinez, Alexander Anderson, Anabel Juarez, Meghan Smythe, Tam Van Tran and Joakim Ojanen. Curated by Gerardo Monterrubio.

PRAXIS is also on view now at LBMAx, a part of the Long Beach Museum of Art. LBMAx is curated and mentored by LBMA. As part of the Museum, it is an art incubator that values innovation and promotes creativity. For more information on this brick and mortar exhibition, check out the The Art Exchange website at: http://artexchangelongbeach.org/upcoming-exhibtions/

If you have any questions on this exhibition, contact ARTex at:

Phone:+1 (562) 999-2267

Email: arthappens@artexchangelb.org

Gallery Hours:
Thursday, 11:00 am – 6:00 pm
Friday, 11:00 am – 6:00 pm
Saturday, 11:00 am – 7:00 pm (Second Saturdays 1:00 pm – 9:00 pm)
Sunday, 12:00 pm – 5:00 pm

For more information on Smythe and her work, go to out website at:

http://www.markmoorefineart.com/artists/meghan-smythe

#meghansmythe #markmoorefineart #praxis

Mark Moore Fine Art is pleased to announce our partnership with Davis Editions to release three new limited edition works on paper by artists BEN CHARLES WEINER scheduled to be released today that I currently can offer you in pre-publication as a special offer.

Ben Charles Weiner
Gel Monochrome Variation 1, 2016
18 × 18 in; 45.7 × 45.7 cm (paper size)
Archival pigment print 
Edition of 20 + 2AP

These works, published in association with Davis Editions, are wonderful examples of the artists best work. Davis Editions uses archival pigment inks and 100% cotton rag paper to create museum-quality prints that are fully archival. Each of these works is a limited edition of just twenty with two artists proofs. Once an edition is sold out, those prints are no longer available. Each print is hand-stamped and numbered on the back by Davis Editions and validated with a certificate of authenticity. The certificate includes pertinent information about the print including publication date, print number, and edition size, and is signed and dated by the publisher. 

For more information, images, and the details on all six of these works, please go to the following link:

https://www.artsy.net/show/mark-moore-fine-art-mark-moore-fine-arts-limited-editions-joshua-dildine-and-ben-charles-weiner

Ben Charles Weiner
Gel Monochrome Variation 3, 2016
18 × 18 in; 45.7 × 45.7 cm (paper size)
Archival pigment print
Edition of 20 + 2AP

By photographing paint and luxurious ephemera at close range, then using the resulting image as his subject, BEN CHARLES WEINER creates works that pose a confusion of object, subject and medium. Weiner’s paintings harness the idolatrous fetishistic desire of consumer culture, the fashion industry, and the art world. Thus, his paintings self-critically describe the duality of their own identity as both transcendent creation and commercial item. Likewise, all of the themes and references in the paintings reinforce their status as consumer/art objects. Roland Bathes’ application of Freud’s concept of “the uncanny” to landscape photography is the pertinent reference.

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), and the Frederick R. Weisman Foundation Collection (CA). The artist lives and works in New York City.

Ben Charles Weiner
Gel Monochrome Variation 2, 2016
18 × 18 in; 45.7 × 45.7 cm (paper size)
Archival pigment print 
Edition of 20 + 2AP

You can download a free online catalog on this artist on with a more in depth overview of their work on our website at: 

For additional information on these works or these artists, please contact Mark Moore at:

mark@markmooregallery.com

All work is available subject to prior sale and prices are subject to change without notice. All taxes, tariffs, shipping and/or viewing expenses, if any, would be additional.

#markmoorefineart #benweiner #bencharlesweiner #daviseditions

Image: “Untiled A” (2018) in the studio

In addition, “Meghan Smythe: Praxis” has been selcted as the Featured Exhibition of the Week by WSI Magazine. You can view the article at the following link on the Wall Street International website:

https://wsimag.com/art/41068-meghan-smythe-praxis
Using a traditional sculptural format (the monument), Meghan Smythe captures contradicting extremes within human gesture: intimacy and brutality, beauty and ugliness, or the lewd and tender. In her attempt to achieve an “elegant vulgarity,” she encapsulates moments that define our mortality in unanticipated ways; oftentimes toeing the delicate line between erotic and macabre tendencies that give way to life, and ultimately death. Glass, ceramic, and concrete are woven together in an elaborate, orgy-like web of body parts and organic artifacts, as if suddenly cast with Pompeii-like circumstances. Like excavated antiquities or fossils, Smythe’s ceramic compositions allude to the cyclical nature of civilization – a dramedy in which all of the players are subject to conquest and demise.

DETAIL Image: “Untiled A” (2018) in the studio

On last note.  You may also view these works in person now at the gallery exhibition below:

PRAXIS 

July 14-August 26

ARTexchange Long Beach 

Featuring: Julia Haft-Candell, Armando Cortes, Ben Jackel, Samuel Jernigan, Narsiso Martinez, Alexander Anderson, Anabel Juarez, Meghan Smythe, Tam Van Tran and Joakim Ojanen. Curated by Gerardo Monterrubio.

If you have any questions on this exhibition, contact ARTex at:

Phone:+1 (562) 999-2267

Email: arthappens@artexchangelb.org

Gallery Hours:
Thursday, 11:00 am – 6:00 pm
Friday, 11:00 am – 6:00 pm
Saturday, 11:00 am – 7:00 pm (Second Saturdays 1:00 pm – 9:00 pm)
Sunday, 12:00 pm – 5:00 pm

For more information on Smythe and her work, go to out website at:

http://www.markmoorefineart.com/artists/meghan-smythe

#meghansmythe #markmoorefineart #praxis

Image: AMY ELKINS (American, born 1979), from the “The Golden State” Project

Carnegie Art Museum’s Studio Gallery
June 7th to July 29th, 2018

http://www.carnegieam.org/cam-studio-gallery

The Golden State examines California’s death row, the largest death row population in the United States (currently at 746).  The body of work was created using state provided information and mugshots for the entire 746 predominantly male death row inmates, organized and compiled by last names with each layer treated identically over a golden colored canvas.  The more densely populated, the less of the original golden color remains.   The resulting composite portraits confront the undeniable racial makeup of California’s death row (where 66.75% are minorities*) as well as the inevitable loss of identity created by mass incarceration.  This is a small selection of the twenty-six pieces that were created.
What the Critics are saying about Amy Elkins:

“As viewers, we are invited to puzzle over an assortment of clues, including reenactments, exhibits submitted for our considerations, partial evidence, and statements both leading and misleading. The work is elegiac and provocative, asking the viewer to engage above and beyond a simple, cursory viewing of these images.” – Leslie A. Martin, Aperture Foundation

“The degree of isolation her subjects experience is extreme. Of the prisoners that she has written to over the past several years, most have spent over a decade in a solitary 6 x 9 cell. Letters speak of a life where the memories of loss are equaled only by the seemingly endless time before them, unless their sentence is carried out. Elkins lost one of her pen pals in 2009 and another in 2012, whose final appeal was denied by the Supreme Court mere months before his execution. Much like the author Truman Capote’s complex experience in losing the primary source of his artwork when Perry Smith was executed while writing In Cold Blood, Elkins likely cannot help but be affected by the unique dynamic of these relationships to her subjects. Her work seems to reflect her own loss in the mix of theirs.” – Bill Sullivan, American photographer and painter

“Photographer Amy Elkins offers an unflinching contemplation of capital punishment and identity in a culture of mass incarceration.” – Mass Appeal

“Elkins ponders the psychological impact incarceration has on inmates, using blurry and pixelated photos to imagine how life on the inside shapes and distorts an inmates’ perception of reality and awareness.” – WIRED Magazine

“Rather than a documentary angle, Elkins has chosen artifacts and scenes that reveal both the preponderance of time on death row (enough time to become a poet, learn calligraphy, read voraciously) and it’s corrosive qualities as it ineffably moves these prisoners toward the end. It’s a tough project, but one that reveals Elkins’ profound sensitivity to the shades of gray in this potentially black-and-white issue.” – Arts and Culture, TX

“Elkins’ imagery of the darkness in the lives and deaths of these men may be morose, but optimism is intrinsic to her determination to see the world from their perspective.” – Artillery Magazine

Check out her Exclusive Online Exhibition on ARTSY for more more images and information on this award-winning Series of works at:

https://www.artsy.net/mark-moore-gallery/shows

#markmoorefineart #amyelkins #blackisthedayblackisthenight #bitdbitn

Tim Bavington
Blow-Up
Closing July 28, 2018
Talley Dunn Gallery
Dallas, TX
Mark Moore Fine Art is pleased to announce an exhibition of recent work by British-born artist Tim Bavington at Talley Dunn Gallery in Dallas. Tim Bavington: Blow – Up is the artist’s inaugural exhibition with the gallery and will open through July 28, 2018.

The exhibition features an installation of nine new abstract paintings that create an environment of visual intensity and pulsating color.  With these recent paintings, Bavington continues the practice for which he has received acclaim wherein he transforms sheet music into highly saturated abstract paintings that focus upon the subtleties and associations of color. Using synthetic polymer paint, Bavington acts as a translator between the aural and the visual as he turns guitar solos, melodies and basslines into vertical bands of color.  While Bavington has developed a method that designates sound to color and composition, the paintings are not literal translations.  Each painting remains open the artist’s intuition and decision making.   Together these paintings play upon the nuances of one another with shifts between vibrant colors, the texture of individual canvases, the changing rhythms of different compositions, and the dynamic optical movement created as each painting is viewed from varying perspectives.

The exhibition’s title refers to Michelangelo Antonioni’s 1966 classic, groundbreaking thriller Blow-Up. Part art-film and studio-film, this legendary work, set in 1960s London, follows a fashion photographer who accidentally captured evidence of a murder in the background of one of his images. Unaware of having witnessed anything at first, he is prompted to see the hidden imagery in a process of blowing up portions of his photographs. That is, something invisible to a casual observer of a larger image comes to light though manipulating the scale of the image. Similarly, Bavington’s paintings in this exhibition relate to each other as examples of a working method seen at different magnifications. While all commanding in scale, the five smaller paintings in the exhibition appear to be zoomed-out versions of the show’s centerpiece, Wah-Wah (blow up), which spans over fifteen feet in length.

Inspired by and named after the George Harrison song of the same title, Wah-Wah (blow-up), 2018, is a monumental tour-de-force. The impressive scale of the painting and Bavington’s manipulation of value within the bands of color create the illusion of light coming through the canvas.  Thus, the painting is a blown-up version of the compositions Bavington has become known for, but also hints at another possible meaning for the term: that of rupture and breaking-up. This is both harmonious with the illusion of “seeing through the cracks” and also with the history of the song itself. “Wah-Wah” was written following Harrison’s temporary departure from the Beatles in January 1969, and recorded shortly after the band’s break-up in 1970. Musically, the song is widely considered to be one of Harrison’s best solo efforts and is considered the closest composition to a hard rock song that the musician ever produced. Lyrically, it refers very directly to the conditions in which a “breaking-up” and “breaking-down” occurred between friends and bandmates. Culturally, the song was a window into the personal relationships that inspired (and continue to inspire) so much curiosity. In many ways, the song represents “seeing through the cracks,” and similar to Harrison’s song,  Bavington’s painting allows the viewer’s imagination to consider what lies on the other side.

Tim Bavington was born in England in 1966 and moved to the United States in 1984 to pursue his career in art. Bavington earned a bachelor’s degree at Art Center College of Design in Pasadena, California, and a Master’s in Fine Arts at University of Nevada, Las Vegas in 1990. While he is best known for his work in painting, Bavington has also explored large-scale sculptures, including a recent commission at Victory Park in Dallas. His work is part of collections at the Albright-Knox Art Gallery, Buffalo; Denver Art Museum; Honolulu Art Museum; McNay Art Museum, San Antonio; The Museum of Contemporary Art, San Diego; The Museum of Fine Arts, Houston; The Museum of Modern Art, New York; and the Portland Art Museum, Portland, Oregon. He has also received multiple GSA Art in Architecture Awards for his public commissions. Bavington currently lives in Las Vegas where he is an associate professor of art at the University of Nevada, Las Vegas.

Talley Dunn Gallery is open to the public Tuesday through Saturday from 10:00 a.m. to 5:00 p.m. and by appointment. For more information about the exhibition, please contact Meredith Leyendecker at the gallery (meredith@talleydunn.com or 214-521-9898) for visuals and a checklist. Concurrently with this exhibition, War Garden: United States of America, 1917-2017, an exhibition of work by Cynthia Mulcahy, will be on view in the Project Gallery.

Talley Dunn Gallery
5020 Tracy Street
Dallas, Texas 75205

#timbavington #markmoorefineart #talleydunngallery

Amy Elkins, From the series Wallflower, Kevin, Brooklyn, NY, 2006

Amy Elkins: Photographs of Contemporary Masculinity
September 20-December 1, 2018

Frank M. Doyle Arts Pavilion  
Orange Coast College

2701 Fairview Rd, Costa Mesa, CA 92626-5563

Amy Elkins’ first survey of photographs and first solo exhibition in the Western States, approaches various subjects such as male athleticism, whether as dancers or rugby players, as well as men serving life and death row sentences, as a way of exploring the many facets of male identity, masculinity, and vulnerability.

Amy Elkins (b. 1979 Venice, CA) is a photographer currently based in the Greater Los Angeles area.  She received her BFA in Photography from the School of Visual Arts in New York City. She has been exhibited and published both nationally and internationally, including at The High Museum of Art in Atlanta, GA; Kunsthalle Wien in Vienna, Austria; the Center for Creative Photography in Tucson, AZ; the Minneapolis Institute of Arts; North Carolina Museum of Art; Light Work Gallery in Syracuse, Aperture Gallery and Yancey Richardson Gallery in New York, De Soto Gallery in Los Angeles, the Houston Center for Photography in Houston, TX among others. Elkins has been awarded The Lightwork Artist-in-Residence in Syracuse, NY in 2011, the Villa Waldberta International Artist-in-Residence in Munich, Germany in 2012, the Aperture Prize and the Latitude Artist-in-Residence in 2014 and The Peter S. Reed Foundation Grant in 2015.

Elkins’ first book Black is the Day, Black is the Night won the 2017 Lucie Independent Book Award.  It was Shortlisted for the 2017 Mack First Book Award and the 2016 Paris Photo-Aperture Foundation Photobook Prize as well as listed as one of the Best Photobooks of 2016 by TIME, Humble Arts Foundation, Photobook Store Magazine and Photo-Eye among others.

Her work stems out of an exploration of masculinity and male identity often within constructed or impermanent environments.  Elkins’ earlier work, Wallflower (2004-2008), looks into the nuances of gender identity, vulnerability and the female gaze.  She later went on to investigate aspects of male identity and athleticism through projects Elegant Violence (2010),  where she documented young Ivy League rugby players moments after a game and Danseur (2012), looking to young male ballet dancers moments after intensive training.   In 2016 Elkins returned to the Wallflower portrait.  Though unlike the original series, which aimed the lens at cisgender men almost entirely photographed within her personal space, Wallflower II explores a much broader sense of masculine identity- shot in the personal space of strangers in urban and rural Georgia upon first meeting and found through online calls / searches surrounding ideas of masculinity and gender in the American South. The work aims to confront socially constructed ideas and standards surrounding both gender and masculinity, vulnerability and beauty.

The Frank M. Doyle Arts Pavilion presents transformative experiences through the arts by focusing on contemporary visual culture and creates dynamic programming that inspires interaction and dialogue between artists, students, scholars, and local and international communities, and offers free admission in order to make these experiences accessible for everyone.

#occ #amyelkins #doyleartspavillion #markmoorefineart

Jean Shin: Collections at the Philadelphia Museum of Art 

Contemporary artist Jean Shin (American, born South Korea 1971) transforms everyday objects—worn-out shoes, fashion remnants, military uniforms—to create dynamic works about connection and belonging. Her installations, often made from donated and discarded materials, raise provocative questions about what, and how, we consume.

On view in this exhibition are six large-scale installations and a video that tell powerful stories about the military, the fashion industry, and Shin’s own Asian American community.

Jean Shin currently lives and works in Brooklyn, New York. Her works have been shown at more than 150 museums and cultural institutions, including in solo exhibitions at the Museum of Modern Art, New York; the Fabric Workshop and Museum, Philadelphia; and the Smithsonian American Art Museum, Washington, DC. In 2016 she completed a landmark commission, Elevated, for New York City’s Second Avenue subway

Thank you for all the support and embrace. In case you missed it, here are the reviews of this highly-acclaimed exhibition:

• Hyperallergic review: “The Secret Lives of Discarded Objects”
• Philadelphia The Inquirer: “How 400 Broken Shoes Become Art? Inside Philly’s Newest Installation”
• ABC News: Visions 2018: Jean Shin Collections
• WHYY.org “At Philly museum, the art of old clothes embraces individual connections”
• Previews: New York Times Women in the Spotlight at Museums, Interview Eight Spring Art Shows You Can’t Wait to See, BLOUIN ArtInfo, Art Fix Daily

#markmoorefineart #jeanshin #philadelphiamuseumofart #pma

Please find below a very insightful interview between MMFA Artist DIRK STASCHKE and Garth Clark, the Preeminent Scholar on Ceramic Art.

Dirk Staschke is best known for his exploration of Dutch Vanitas still life themes in the medium of ceramics. His current body of work explores the space in between sculpture and painting. His work often uses meticulous representation as foil for examining skill and craft. It is a real pleasure to introduce you to this work at this time.

Mark Moore Fine Art recently presented an exclusive ARTSY online Exhibition of the work of Dirk Staschke, which can be viewed now at: 

https://www.artsy.net/show/mark-moore-fine-art-dirk-staschke

“I make sculptures based on paintings in what is traditionally considered a craft medium. In this translation, the sculptural representation of still life painting creates abstract forms. The results are beautifully made objects that simultaneously expose the crude structures of their creation.The pieces are both a simple exploration of residual forms derived from representation and a question regarding the merits of an Art object.” – Dirk Staschke

Staschke received his BFA from the University of Montevallo followed by an MFA from Alfred University and has maintained an ongoing studio practice and extensive exhibition record for the last twenty years. During this time, he has taught at many notable universities, including Alfred University and New York University. His work has been shown internationally and resides in the permanent collections of several museums including the Smithsonian Museum in Washington (DC); Icheon Museum, World Ceramic Center (Gwango-dong) South Korea; Portland Art Museum (OR); Birmingham Museum of Art;  Museum of Fine Arts, Houston;. He has received various artist’s grants including grants from The Virginia Groot Foundation and the Canada Council on the Arts. He Currently resides in Portland Oregon where he is a full time studio artist.

For additional information please go to: 

http://www.markmoorefineart.com/artists/dirk-staschke 

#markmoorefineart #dirkstaschke