Monthly Archives: April 2019

Don’t Miss: Amy Elkins “Black is the Day, Black is the Night” + “Parting Words” at Vita Arts Center

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AMY ELKINS acclaimed exhibitions titled Black is the Day, Black is the Night and Parting Words will be opening at Vita Arts Center on March 30th.

Black is the Day, Black is the Night & Parting Words
Vita Arts Center | Ventura, CA
March 30th- April 20th, 2019
Reception March 30th

In “Black is the Day, Black is the Night”, a project that spanned seven years from 2009-2016, Amy Elkins explores how the notion of passing time can affect an individual’s psychology, sense of self, and perception of reality.

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

Awards and Praise for BITDBITN include:  Lightwork Residency, Latitude Residency, Aperture Portfolio Prize, Diane Merek Visiting Artist Series and more.  BITDBITN (book) shortlisted for the Paris Photo-Aperture Foundation PhotoBook Awards and the MACK First Book Awards and Winner of the Lucie Independent Book Prize.  Work from BITDBITN in permanent collections at The High Museum, Lightwork and Aperture Foundation.  BITDBITN (book) is in collections at SFMoMA Research Library, The National Art Library, Victoria & Albert Museum, The Special Collections at the School of the Art Institute of Chicago, The HAAS Arts Special Collections Yale University and many more.

#markmoorefineart #amyelkins #blackisthedayblackisthenight #bitdbitn #vitaartscenter

Special Preview: Daniel Canogar “The Amalgama Series Multiples” opening April 9th

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Mark Moore Fine Art is proud to present the first exhibition of “The Amalgama Series Multiples” by New Media artist DANIEL CANOGAR on view through June 16, 2019. This is Canogar’s debut of this new series of prints based on his acclaimed video works and his first works on paper.

View the show now at: https://www.artsy.net/show/mark-moore-fine-art-daniel-canogar-the-amalgama-series-multiples

The “Amalgama” series is composed of prints created with images of significant visual artists, both from the present and the past. These images have been downloaded from the Internet, and transformed through an algorithm created by the artist’s studio. The algorithm liquefies these images into a mercurial blend that partially abstracts the original images.

“Amalgama” is an attempt to understand how digital media is filtering our experience of art, perhaps updating Malraux’s musée imaginaire to the electronic age. The swirling effects that have transformed the original artworks evoke the ceaseless flow of information that courses through the Internet, transforming how artworks are consumed, processed and circulated online. “Amalgama” above all addresses the challenge of making, viewing and circulating art in our liquid modernity.

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Daniel Canogar (Madrid, 1964) received an M.A. from NYU and the International Center for Photography in 1990. His work as a visual artist focuses on photography, video, and installation art. Daniel Canogar has created numerous public art pieces, including Waves, a permanent sculptural LED screen for the atrium of 2 Houston Center, Houston; Travesías, a sculptural LED screen commissioned for the atrium of the European Union Council in Brussels during the Spanish Presidency of the European Union in 2010; Constelaciones, the largest photo-mosaic in Europe created for two pedestrian bridges over the Manzanares River, in MRío Park, Madrid; Helix, a permanent LED sculptural screen made for Quantum of the Seas, a Royal Caribbean cruise ship andClandestinos, a video-projection presented on various emblematic monuments including the Arcos de Lapa in Rio de Janeiro, the Puerta de Alcalá in Madrid and the church of San Pietro in Montorio in Rome.

His recent work includes Storming Times Square, screened on 47 of the LED billboards in Times Square, New York; “Small Data”, a solo exhibition at bitforms, New York, and Max Estrella Gallery in Madrid; “Quadratura”, a solo exhibition at Espacio Fundación Telefónica in Lima; “Vórtices”, an exhibition exploring issues of water and sustainability at the Fundación Canal Isabel II in Madrid;Synaptic Passage, an installation commissioned for the exhibition “Brain: The Inside Story” at the American Museum of Natural History in New York and two installations at the Sundance Film Festival 2011 in Park City, Utah.

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He has exhibited in the Reina Sofia Contemporary Art Museum, Madrid; the Palacio Velázquez, Madrid; Max Estrella Gallery, Madrid; bitforms Gallery, New York; Filomena Soares Gallery, Lisbon; Guy Bärtschi Gallery, Geneva; Mimmo Scognamiglio Artecontemporanea, Milano; the Santa Mónica Art Center, Barcelona; the Alejandro Otero Museum, Caracas; the Wexner Center for the Arts, Ohio; the Offenes Kulturhaus Center for Contemporary Art, Linz; the Kunstsammlung Nordrhein Westfallen, Düsseldorf; Hamburger Banhof Museum, Berlin; Borusan Contemporary Museum, Istanbul; the American Museum of Natural History, New York; the Andy Warhol Museum, Pittsburgh and the Mattress Factory Museum, Pittsburgh.

#markmoorefineart #danielcanogar #amalgama

Rebecca Manson “Come Closer” at Tribeca Park NYC

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The artist Rebecca Manson invites viewers to “Come Closer and the View Gets Wider” with her installation in Tribeca Park in New York City.

https://www.artsy.net/artwork/rebecca-manson-come-closer-and-the-view-gets-wider-1

Come Closer and the View Gets Wider” is a monument to collective consciousness and an invitation for viewers to look, touch, feel, and perhaps shift perspectives. The sculpture is composed of thousands of bone-like ceramic pieces, each hand-made and uniquely glazed. From a distance, the large textured globe evokes unity and delicacy. Up close, the sculpture mimics the sensation of peeking through a hole in a wall and catching a glimpse of an intimate moment.

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REBECCA MANSON’s work stretches the limits of ceramics, challenging preconceived notions regarding fragility. “My work uses ceramics as a metaphor for the individual and societal body,” says Manson. “This sculpture was informed by the process of working with clay, a nature that wants to collapse. For me, ceramics is tied to personal resilience and rebuilding in the face of adversity.”

Rebecca Manson graduated with a BFA from Rhode Island School of Design in 2011. She received a Windgate Project Grant in 2016 and a Windgate Fellowship Award in 2011 from The Windgate Foundation and the Center for Craft Creativity and Design in Asheville, NC. She served as artist-in-residence at Zentrum Fur Keramik (Berlin, Germany) and California State University (Long Beach, CA). Manson has exhibited at galleries and institutions including Hard and Soft at ACME Gallery, Line Describing a Cone at the Katonah Museum of Art and Fun House at 520 W. 28th by Zaha Hadid Architects. Her first exhibition of public art, “Come Closer and the View Gets Wider”  is currently on display in Tribeca Park in New York City. Manson lives and works in Brooklyn.

For additional information, go to:

https://www.artsy.net/show/mark-moore-fine-art-rebecca-manson-come-closer-and-the-view-gets-wider-at-tribeca-park

For images of available works, or pricing inquiries, please email: info@markmoorefineart.com

www.markmoorfineart.com

#markmoorefineart #rebeccamanson #comecloser

Opening Today: KIM RUGG “News / Paper” – An Exclusive ARTSY Online Exhibition

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Mark Moore Fine Art proudly presents “News / Paper”, an exclusive online ARTSY survey of the artist’s most acclaimed body of work by artist Kim Rugg. With the precision of a surgeon, Rugg dismantles and reassembles printed objects that relay information rendering their original content meaningless. 

View this exhibition now at:

https://www.artsy.net/show/mark-moore-fine-art-kim-rugg-news-slash-paper

What really interests me is how when I remove the message – the news – I am left with the messenger. The process brings this messenger to the foreground. The “personality” and character of the paper is therefore amplified. – Kim Rugg (2003)

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British artist Kim Rugg has gained recognition and acclaim for her work that altered and “re-ordered” the average daily newspaper in a strange, obsessive pursuit of purity and order. Rugg uses everyday materials such as stamps, sweaters, wallpaper, comic books, and newspapers to examine meaning in relation to construction, by taking apart and dissecting existing objects into their components in an incredible obsessive process, her reordering highlights systems of information and questions their content.

In this exclusive online ARTSY exhibition we focus on these classic “Newspaper” and “Magazine” works that put the artist at the vanguard of the conceptual art scene in her commentary of the the role of the media in society nearly two decades ago.

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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.

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 additional information on this artist and exhibition, please visit our website at markmoorefineart.com or contact us directly at: info@markmoorefineart.com

#markmoorefineart #kimrugg

Allison Schulnik in SAN DIEGO SURREAL at the Oceanside Museum of Art – On View Now!

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Allison Schulnik, Centaurette, 2017; cast bronze on unique stone base; Unique work from a series of eight 29″ H x 8″ x 20″ overall (19″ H  x 20″ x 5″ bronze, attached to base 10″ H x 13″ x 8″)

San Diego Surreal reveals the ways in which Surrealism’s range of artistic strategies and visual vocabulary have seeped into our culture while probing the impact the movement has had on artists in San Diego County. Featuring over 50 works of art in a variety of media created over several decades, the exhibition focuses on the work of contemporary artists including Hugo Crosthwaite, Marianela de la Hoz, Einar and Jamex de la Torre, Charles Glaubitz, Jeff Irwin, Cliff McReynolds, Lynn Schuette, Allison Schulnik, Walter Sutin, Jen Trute, and Perry Vasquez, and also includes earlier 20th-century Modernists who drew upon Surrealism such as Dorr Bothwell, Ethel Greene, Harry Sternberg, and Jean Swiggett. Organized by guest curator Susan M. Anderson, San Diego Surreal goes beyond making overt comparisons between the work of the historical Surrealists and these artists, to explore broader more idiosyncratic connections.

Expanding on her language that traditionally highlights misfits, outcasts, and the misunderstood – Schulnik introduces a wild new cast of mythological creatures replete with centaurettes, unicorns, and otherworldly outsiders in various stages of liberation. Continuing her exploration of selfhood through diverse and rich allegories, her new subjects radiate gracefulness that is both vulnerable and stoic—a type of synthesis that is a hallmark in Schulnik’s work.

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Not contented by cut and dry narratives that portray notions of empowerment, her characters are complex. Delving into the intricate web of sexuality, Schulnik takes a Henry Darger approach to Disney’s “Fantasia”- with centaurettes reimagining strength and femininity, as well as humanity. In order to create an honest portrait of contemporary liberation, she provides her mythic beings with fear, angst, sadness, and even weakness. Glorious unicorns of questionable gender are imbued with an aura of disheveled majesty — and a new type of hero emerges. Each protagonist is granted their individual physicality, strength, baggage, and personhood – as they also reflect the bewildering concepts of ego and identity. As fictional as these creatures may be, their personification of the untamed make us long for the best, unapologetic versions of our true selves.

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The entire series of these extraordinary works can be viewed now on our ARTSY website at:

https://www.artsy.net/show/mark-moore-fine-art-allison-schulnik-the-centaurette-bronzes

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Born in 1978 (San Diego, CA), Schulnik earned her BFA in Experimental Animation from the California Institute of the Arts, Valencia (CA). She has had solo exhibitions at the Wadsworth Atheneum Museum of Art (CT), Laguna Art Museum (CA), Oklahoma City Museum of Art (OK), Nerman Museum of Contemporary Art (KS), ZieherSmith Gallery (NY), Rokeby Gallery (London), Unosunove Arte Contemporanea (Rome), and Division Gallery (Montreal). In addition to her inclusion in prestigious film festivals around the world, her films have garnered multiple awards, including Best Experimental Animation at Ottawa International Animation Festival in 2014. Her work has also been shown at the Royal Scottish Academy of Art and Architecture (Scotland), Garage Center for Contemporary Culture (Moscow), Hammer Museum (CA), Los Angeles County Museum of Art (CA), Santa Barbara Museum of Art (CA), San Diego Museum of Art (CA), Contemporary Arts Museum (LA), German Institute for Animated Film (Germany), Canada (NY), Lehman Maupin (NY), The Hole (NY), Acme (CA), and Hangar-7 (Salzburg), among many others. Allison Schulnik’s work is in the public collections of the Los Angeles County Museum of Art (CA), Nerman Museum of Contemporary Art (KS), Museum of Contemporary Art, San Diego (CA), Santa Barbara Art Museum (CA), Museé de Beaux Arts (Montreal), Farnsworth Art Museum (ME), Laguna Art Museum (CA), Montreal Contemporary Art Museum (Canada), Wadsworth Atheneum Museum of Art (CT), and Montreal Museum of Fine Arts (Canada). The artist lives and works in Los Angeles, CA.

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Check out the featured rave review on Allison Schulnik’s recent exhibition titled “Hoof” on ARTSY by Torey Akers at the following link:

https://writer.artsy.net/articles/59f8c806e1b675001debb9fb/edit

#markmoorefineart #allisonschulnik