Monthly Archives: July 2019

Closing Soon: Yoram Wolberger, Kim Rugg, and Josh Azzarella Featured in “GENERATION W(ar)”

Wolberger_SOLDIER_Back_Side.082714

Featured Work by YORAM WOLBERGER

Torrance Art Museum (TAM) presents a bold summer exhibition exploring the intersection between art and warfare, enlisting 16 artists who reflect a world of increased military engagement across the globe. Utilizing a wide range of media in its artistic arsenal, deftly maneuvers through the defining trait of our conflicted times to investigate the invisibility of things in plain sight and the daily relationship to war that underlies the culture at large.

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Featured Work by JOSH AZZARELLA

Internationally renowned contemporary artists Vanessa Beecroft and Shaun Gladwell are among the assembled artists who focus their art practice toward political expression and social critique of the institutionalization of war into the fabric of society.

21-year olds have never lived during a time when the US was NOT at war. How and where can we see this reflected in the art works of our time? Where does patriotism end and nationalism begin? How much militarism in a democracy is too much?

Curated by Ichiro Irie and Max Presneill.

PPOW_Rugg_DMTW_Gallery2_Install_email.114633

Featured Work by KIM RUGG

Featured artists: Shusuke Ao, Josh Azzarella, Vanessa Beecroft, Dan VanClapp, Melanie Friend, Shaun Gladwell, Ben Jackel, Jerome Lagarrigue, Dinh Q. Lê, Hillary Mushkin, Simon Norfolk, Isabel Rocamora, Kim Rugg, Joaquín Segura, Allison Stewart, and Yoram Wolberger.

GENERATION W(ar) will be on view from June 15, 2019 – August 24, 2019 at the Torrance Art Museum.

The opening reception will be held on Saturday, June 15th from 6 pm – 9 pm

For more information visit www.TorranceArtMuseum.com or call 310-618-6388.

Museum Hours:
Tuesday – Saturday, 11:00 a.m. to 5:00 p.m.
Admission to the Torrance Art Museum is Free.

Torrance Art Museum
3320 Civic Center Drive
Torrance, CA 90503

TorranceArtMuseum.com
TAMAdvocates.com/
facebook.com/TorranceArtMuseum
Instagram: @torranceartmuseum
Twitter: @TorranceArt

#GENERATIONWar #TorranceArtMuseum #markmoorefineart #yoramwolberger #kimrugg #joshazzarella

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Opening Today: OUT OF CONTEXT – An Exclusive ARTSY Online Group Exhibition

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Image: Ed Ruscha

“There are things that I’m constantly looking at that I feel should be elevated to greater status, almost to philosophical status or to a religious status. That’s why taking things out of context is a useful tool to an artist. It’s the concept of taking something that’s not subject matter and making it subject matter.” —Ed Ruscha

In Out of Context we look at seven contemporary artists that have made the incorporation of text and language a cornerstone for their art – both conceptually and visually. Each artist approaches the subject from their own unique perspective. Artists featured are: Ed Ruscha; Mark Bennett; Kim Rugg; Vernon Fisher; Kay Rosen; Feodor Voronov; and, Ken Craft.

VIEW THIS SHOW NOW AT: http://bit.ly/2YyOcb7

Texts—writings, readings, signs, titles, guides, catalogues, blog posts like this one—are part and parcel of how art is presented in museums. Curious visitors come hungry for enlightening information, for tidbits to connect the dots or stories that humanize the work on view. Art historians act as writers, readers, and investigators whose success can be measured in published output. For those who work with art and appreciate it, language and art are endlessly intertwined.

The history of text and language in contemporary art encompasses most of the last 60 years. Language was an important tool for Conceptual artists in the 1960s. Many used language in place of more traditional materials like brushes and canvas, and words played a primary role in their emphasis on ideas over visual forms. Though text had been used in art long before this, artists like Joseph Kosuth and John Baldesarri were among the first to give words such a central role.

Conceptual artists also used language in the form of instructions detailing how an artwork should be made. Sol LeWitt was among the principal originators of this strategy, which his peers widely embraced. Arguing that ideas alone can be art, he allowed for a measure of separation between the artist and the physical execution of his or her artwork. His work exemplifies this: he would generate ideas for artworks and write instructions on how to make them, which other people—sometimes whole teams working days or weeks—would then carry out.

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Image: Vernon Fisher

At about the same time, a cultural revolution was underway, led by activists, thinkers, and artists who sought to change, and even overturn, what was, in their eyes, a stifling social order ruled by conformity. The Vietnam War incited mass protests, the Civil Rights Movement sought equality for African Americans, and the women’s liberation movement gained momentum.

It was in this climate of turbulence, experimentation, and increased consumerism that a new generation of artists emerged in Britain and America in the mid- to late-1950s. These artists began to look for inspiration and materials in their immediate environment. They made art that mirrored, critiqued, and, at times, incorporated everyday items, consumer goods, and mass media messaging and imagery. In reference to its intended popular appeal and its engagement with popular culture, it was called Pop art.

Pop artists strove for straightforwardness in their work, using bold swaths of primary colors, often straight from the can or tube of paint. They adopted commercial advertising methods like silkscreening, or produced multiples, downplaying the artist’s hand and subverting the idea of originality and preciousness—in marked contrast to the highly expressive, large-scale abstract paintings of the Abstract Expressionists, whose work had dominated postwar American art. Pop artists favored realism, everyday (even mundane) imagery, and heavy doses of irony and wit.

But many Pop artists, including Andy Warhol and Roy Lichtenstein, were very aware of the past. They sought to connect the traditions of fine art with the mass culture of television, advertising, film, and cartoons. At the same time, they challenged traditional boundaries between mediums and techniques, merging painting with photography and printmaking, combining handmade and readymade or mass-produced elements, and bringing together objects, images, and sometimes text to make new meaning.

It is out of this convergence of Pop Art and Conceptual Art from the Sixties that artists like Ed Ruscha and Vernon Fisher were born and influenced generation of artists to follow, like Mark Bennett; Kim Rugg; Kay Rosen; Feodor Voronov; and, Ken Craft. From this collision of pop culture and high art, we find that some of the most interesting art and ideas born of this period are nothing more than our own lives taken Out of Context.

For more information: http://www.markmoorefineart.com

#markmoorefineart #edrusha #markbennett #kimrugg #vernonfisher #kayrosen #feodorvoronov #kencraft

Previewed: Kara Maria “Nevertheless” – An Exclusive ARTSY Online Career Survey Exhibition

3 km_Afternoon Delight, African penguin, 2014, 46 x 46 inchers, acrylic on canvas, $8,500

Mark Moore Fine Art presents the first ARTSY Online Exclusive Career Survey of the works of painter KARA MARIA. The show, titled “Nevertheless” features twelve paintings scanning nearly two decades from the artist’s private collection Opening August 2, 2019.

In this exhibition we survey 12 painting from the career of the San Francisco-based painter. Maria’s work reflects on political topics – feminism, war, and the environment. She borrows from the broad vocabulary of contemporary painting; blending geometric shapes, vivid hues, and abstract marks, with representational elements.

VIEW THIS SHOW NOW AT: http://bit.ly/32kcQ1g

Kara Maria produces paintings and work on paper that reflect on political themes such as feminism, war, and the environment.  She borrows from the broad vocabulary of contemporary painting; blending geometric shapes, vivid hues, and abstract marks, with representational elements. Maria received her BA and MFA from the University of California, Berkeley. She has exhibited in solo and group exhibitions throughout the United States at venues including the San Francisco Museum of Modern Art; the Cantor Arts Center at Stanford University; the Contemporary Arts Museum in Houston, Texas; the San Jose Institute of Contemporary Art; and the Katonah Museum of Art in New York; among others.

7 km_Constellation, 2011, 56 x 46 inches, acrylic on canvas, $10,500

In 2016, Maria’s work was featured in a solo exhibition, Head Over Heels, at the University Art Gallery at California State University, Chico, which included an accompanying monograph.  Her work has garnered critical attention in the Los Angeles Times, the San Francisco Chronicle, and Art in America. Maria has completed residencies at the Montalvo Arts Center, Recology Artist in Residence Program, Djerassi Resident Artists Program, and at the de Young’s Artist Studio. She is recipient of multiple awards and honors, including a grant from Artadia and an Eisner Prize in Art from the University of California, Berkeley. Maria lives and works in San Francisco.

For more information, contact: mark@markmoorefineart.com

#karamaria #markmoorefineart

Featured Show of the Week: Okay Mountain “Staycation 2019” – An Exclusive ARTSY Online Exhibition

OKM_meditations_zen061

Mark Moore Fine Art is pleased to present “Staycation 2019,” the gallery’s third solo show from Texas-based art collective Okay Mountain. Parodying the American tradition of stay-at-home vacations and the consumerist promises of an escape from the mundane, the nine-member group has created a series photographic works, an installation, and a sound collage for the exhibition.   

YOU CAN VIEW THIS EXHIBITION NOW AT: http://bit.ly/2JnJtDP

Formed in 2006 as an artist-run alternative gallery space, Okay Mountain has since gone on to create installations and multi media assemblages that riff on the American reverence for commerce. Repackaging our consumerist desires with a sardonic edge, the installations mimic the stock vernacular of our communal materialism, yet tweak them just enough to reveal our superficial insecurities and convictions. 

OKM_meditations_zen071

In “Staycation 2019” the group plays on the iconography of the Zen Garden, as seen through the eyes of western popular culture. Creating a purposely-mediated experience of “Zen,” the installation poses as a pre-packaged version of what could have been a meaningful experience, if the consumer had bothered to leave the house. Like the screensaver images of peaceful monuments floating across a laptop, the imagery plays on a desire for escape, but also immediacy—one desire ruling out the other. The result is a razor sharp wit interpretation of a very American mixture of banality and good intentions — an eagerness for a respite from the mundane, without the will to see it through.

While most artists in Okay Mountain 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).

For further information, contact us at: info@markmoorefineart.com

#markmoorefineart #OKM #okaymountain

Previewed: OUT OF CONTEXT – An Exclusive ARTSY Online Group Exhibition

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Image: Ed Ruscha

“There are things that I’m constantly looking at that I feel should be elevated to greater status, almost to philosophical status or to a religious status. That’s why taking things out of context is a useful tool to an artist. It’s the concept of taking something that’s not subject matter and making it subject matter.” —Ed Ruscha

In Out of Context we look at seven contemporary artists that have made the incorporation of text and language a cornerstone for their art – both conceptually and visually. Each artist approaches the subject from their own unique perspective. Artists featured are: Ed Ruscha; Mark Bennett; Kim Rugg; Vernon Fisher; Kay Rosen; Feodor Voronov; and, Ken Craft.

VIEW THIS SHOW NOW AT: http://bit.ly/2YyOcb7

Texts—writings, readings, signs, titles, guides, catalogues, blog posts like this one—are part and parcel of how art is presented in museums. Curious visitors come hungry for enlightening information, for tidbits to connect the dots or stories that humanize the work on view. Art historians act as writers, readers, and investigators whose success can be measured in published output. For those who work with art and appreciate it, language and art are endlessly intertwined.

The history of text and language in contemporary art encompasses most of the last 60 years. Language was an important tool for Conceptual artists in the 1960s. Many used language in place of more traditional materials like brushes and canvas, and words played a primary role in their emphasis on ideas over visual forms. Though text had been used in art long before this, artists like Joseph Kosuth and John Baldesarri were among the first to give words such a central role.

Conceptual artists also used language in the form of instructions detailing how an artwork should be made. Sol LeWitt was among the principal originators of this strategy, which his peers widely embraced. Arguing that ideas alone can be art, he allowed for a measure of separation between the artist and the physical execution of his or her artwork. His work exemplifies this: he would generate ideas for artworks and write instructions on how to make them, which other people—sometimes whole teams working days or weeks—would then carry out.

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Image: Vernon Fisher

At about the same time, a cultural revolution was underway, led by activists, thinkers, and artists who sought to change, and even overturn, what was, in their eyes, a stifling social order ruled by conformity. The Vietnam War incited mass protests, the Civil Rights Movement sought equality for African Americans, and the women’s liberation movement gained momentum.

It was in this climate of turbulence, experimentation, and increased consumerism that a new generation of artists emerged in Britain and America in the mid- to late-1950s. These artists began to look for inspiration and materials in their immediate environment. They made art that mirrored, critiqued, and, at times, incorporated everyday items, consumer goods, and mass media messaging and imagery. In reference to its intended popular appeal and its engagement with popular culture, it was called Pop art.

Pop artists strove for straightforwardness in their work, using bold swaths of primary colors, often straight from the can or tube of paint. They adopted commercial advertising methods like silkscreening, or produced multiples, downplaying the artist’s hand and subverting the idea of originality and preciousness—in marked contrast to the highly expressive, large-scale abstract paintings of the Abstract Expressionists, whose work had dominated postwar American art. Pop artists favored realism, everyday (even mundane) imagery, and heavy doses of irony and wit.

But many Pop artists, including Andy Warhol and Roy Lichtenstein, were very aware of the past. They sought to connect the traditions of fine art with the mass culture of television, advertising, film, and cartoons. At the same time, they challenged traditional boundaries between mediums and techniques, merging painting with photography and printmaking, combining handmade and readymade or mass-produced elements, and bringing together objects, images, and sometimes text to make new meaning.

It is out of this convergence of Pop Art and Conceptual Art from the Sixties that artists like Ed Ruscha and Vernon Fisher were born and influenced generation of artists to follow, like Mark Bennett; Kim Rugg; Kay Rosen; Feodor Voronov; and, Ken Craft. From this collision of pop culture and high art, we find that some of the most interesting art and ideas born of this period are nothing more than our own lives taken Out of Context.

For more information: http://www.markmoorefineart.com

#markmoorefineart #edrusha #markbennett #kimrugg #vernonfisher #kayrosen #feodorvoronov #kencraft

Featured Show of the Week: Okay Mountain “Staycation 2019” – An Exclusive ARTSY Online Exhibition

OKM_meditations_zen061

Mark Moore Fine Art is pleased to present “Staycation 2019,” the gallery’s third solo show from Texas-based art collective Okay Mountain. Parodying the American tradition of stay-at-home vacations and the consumerist promises of an escape from the mundane, the nine-member group has created a series photographic works, an installation, and a sound collage for the exhibition.   

YOU CAN VIEW THIS EXHIBITION NOW AT: http://bit.ly/2JnJtDP

Formed in 2006 as an artist-run alternative gallery space, Okay Mountain has since gone on to create installations and multi media assemblages that riff on the American reverence for commerce. Repackaging our consumerist desires with a sardonic edge, the installations mimic the stock vernacular of our communal materialism, yet tweak them just enough to reveal our superficial insecurities and convictions. 

OKM_meditations_zen071

In “Staycation 2019” the group plays on the iconography of the Zen Garden, as seen through the eyes of western popular culture. Creating a purposely-mediated experience of “Zen,” the installation poses as a pre-packaged version of what could have been a meaningful experience, if the consumer had bothered to leave the house. Like the screensaver images of peaceful monuments floating across a laptop, the imagery plays on a desire for escape, but also immediacy—one desire ruling out the other. The result is a razor sharp wit interpretation of a very American mixture of banality and good intentions — an eagerness for a respite from the mundane, without the will to see it through.

While most artists in Okay Mountain 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).

For further information, contact us at: info@markmoorefineart.com

#markmoorefineart #OKM #okaymountain

Zemer Peled in “Cool Clay” at the Crocker Art Museum featured in ART DAILY

I thought you might be interested to know that Cool Clay currently on view at the Crocker Art Museum is featured on the front page of today’s ArtDaily.com, and includes an image of Zemer Peled’s work (scroll down and you’ll see it on the right hand side):

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The link to the full press release is: http://artdaily.com/news/115413/-Cool-Clay–acquisitions-highlight-experimental-nature-of-ceramics#.XTXpefJKhph

Zemer Peled utilizes a process of creation and destruction to make sculptures consisting of thousands of handcrafted porcelain shards resulting in works that can be read in relation to art historical tradition, outsider art, and natural phenomena.

The sculpture’s narrative impulses lean to encounters with the otherworldly—like complex topiaries marking a not-so-distant land–yet they remain distinctly tied to earth’s patterns. This conflation of the foreign and familiar creates a frenzied dislocation in the work. Inspired by migratory habits of birds, a sweep of feathers, and cycles of change, the works spiral outwardly in rhythmic patterns, interpreting not only the dynamism of nature, but also the startling strangeness of a life lived in transition.

Peled’s work examines the beauty and brutality of the natural world. Her sculptural language is formed by her surrounding landscapes and nature, and engages with themes of memories, identity, and place. Her sculptures and installations consist of thousands of hand-crafted porcelain shards; a technique that yields a texture both delicate and severe. In some works, large scale-like ceramic pieces appear airy, delicate, and fluffy, as if one’s breath might break it. In others, Peled’s fragments are geometric barbs that mysteriously take on an alluring form – offering a sense of softness despite a sharp actuality. She has recently been featured in Hi-Fructose Magazine, Colossal, National Public Radio, MIND Magazine, O Magazine, and Ceramics Monthly (which featured her on the cover of the May 2015 issue).

Zemer Peled (b. 1983) was born and raised in a Kibbutz in the northern part of Israel. After completing her BFA from the Bezalel Academy of Art and Design (Jerusalem), she earned her MA at the Royal College of Art (UK). In recent years, her work has been exhibited internationally, including such venues as Sotheby’s and Saatchi Gallery (London), Eretz Israel Museum (Tel Aviv), the Henry Moore Gallery at the Royal College of Art (London), and the Orangerie du Senate (Paris), among others. The artist currently lives and works at the Archie Bray Foundation Residency (Helena, MT). Additional information on this incredible artist can be found on our website at: www.markmoorefineart.com

ARTSY website: www.artsy.net/mark-moore-gallery

#markmoorefineart #zemerpeled #crockerartmuseum #coolclay