Monthly Archives: January 2020

Mark Moore Fine Art is now taking appointments for a very special private viewing of work by artist Daniel Canogar in his new Los Angeles Studio near Downtown L.A. for the weekend of the Frieze Los Angeles Art Fair. 

Viewing are available by appointment only, so please contact us as soon as possible if you are interested at: mark@markmoorefineart.com

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.

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.

For additional information on this artist, please reference our website at:

https://www.markmoorefineart.com/artists/daniel-canogar

#markmoorefineart #danielcanogar #friezela #artla

Mark Moore Fine Art and Houston Art Advisory is pleased to announce “Altered Aurus“, a solo show from California artist, Joshua Dildine, of works selected spanning over the last decade, connecting the origins of his relationship with abstract painting and photography.

You can view this body of work now at:  http://bit.ly/2NRsSL9

While the aura of something describes the atmosphere or quality that surrounds it, “aurus” is a latin word describing something of or related to gold. A family photo that captures a memory can be like a treasure more valuable than gold if it holds meaning for a person. Dildine expertly alters imagery from his own family archive of photographs as a jumping off point for most of his paintings, making them both grounded and familiar, yet somehow other worldly through his painting style. They strike a balance between captured representation and dimensional abstraction, as an act of destruction and rebirth in one stroke, weaving the immediacy of the present with the nostalgia of the past. “Altered Aurus” brings together these works painted over large scale photographs with abstract paintings derived from photo + paint sketches and studies.

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.

On View Now At:

HOUSTON ART ADVISORY

3420 Rusk St. Houston, Texas 77003

For more information contact: mark@markmoorefineart.com

#markmoorefineart #houstonartadvisory #joshdildine

Mark Moore Fine Art presents an exclusive ARTSY Online Exhibition of a new body of work by artist KARA MARIA. “Cloud Crystals” is a collaborative monotype project between artist Kara Maria and artist/master printmaker Kathryn Kain. In November 2019 Maria and Kain worked together for four days at Kain’s press Atelier Blu Rose in San Francisco to produce 33 unique, handmade monotypes that celebrate winter.

YOU CAN VIEW THIS SHOW NOW AT: http://bit.ly/37lyRPa

In this exhibition we survey 29 monotypes from San Francisco-based painter Kara Maria. Her 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.

These works were inspired by the 1864 book Cloud Crystals: A Snow-Flake Album. It documents the work of Frances Chickering—who used a cut-out method based on her direct observation of individual snowflakes under magnification to record more than 200 shapes. Maria and Kain utilized stencils they made based on Chickering’s original illustrations to create their Cloud Crystals series.

Maria and Kain began working together while Kain was Master Printer for Smith Andersen Editions (SAE) in Palo Alto, CA. Founded by Paula Kirkeby in 1969, the small fine arts press encouraged experimentation with the monoprint and monotype until its closure in 2016. After completing several projects published by SAE between 2002 and 2010 in the more traditional artist/master printmaker relationship, Maria and Kain decided to try something new. They made their first collaborative monotype project (Arcadian Duet) published by SAE in 2015—meaning that the two worked together equally as both artists and printmakers for the project. Cloud Crystals marks their second such collaborative effort, and the first published by Atelier Blu Rose.

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.

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

Mark Moore Fine Art presents a new body of work by Jason Salavon titled, “Narrative Frame (Illuminated Manuscripts)”. Works from this series are on concurrently on view as part of the show “Direct Message: Art, Language, and Power” at the Museum of Contemporary Art Chicago.

VIEW THIS WORK HERE NOW:  http://bit.ly/365wlMW

In his work from “Little Infinities” Series – of which this series is a part – Jason Salavon’s continues pioneering a multi-decade use of data and algorithms in the creation of visual art. Throughout this time, his work has unearthed unseen pattern, habit, and structure within our culture and daily life. The works in this exhibition broaden this exploration, critically probing the proliferation of image data, the historical structures of narrative, and the creative potential of the current Artificial Intelligence revival.

In this series of suites of prints, real-time videos, and wallpapers, collectively titled “Narrative Frame”, Salavon addresses three primary historical structures used for the propagation of narrative: illuminated manuscripts, newspapers, and websites. Produced using self-authored neural network software, the works provide insight into the literal shapes and structure we’ve used to tell one another stories through time. In this particular piece from this body of work, we are focused on Salavon’s Illuminated Manuscript works.

Jason Salavon (born 1970, Indianapolis, IN) received a BA in Art and Computer Science from the University of Texas at Austin (1993) and an MFA from the School of the Art Institute of Chicago (1997). Salavon has exhibited his work extensively for the last twenty years, including recent solo exhibitions at Museum of Contemporary Art Cleveland, OH (2017), Mark Moore Gallery, Los Angeles, CA (2016); the Haggerty Museum of Art, Milwaukee, WI (2016); TAI Modern, Santa Fe, NM (2016); and the Public Trust, Dallas, TX (2016). In collaboration with Microsoft Research, where he was a Visiting Artist in 2014, he exhibited at the Seattle Art Museum, Seattle, WA (2015). He has completed numerous large-scale commissions including for the Merchandise Mart, Chicago, IL (2018) and the United States Census Bureau, Washington, D.C. (2013).

His work is included in many public collections including The Museum of Modern Art, New York, NY; the Whitney Museum of American Art, New York, NY; The Metropolitan Museum of Art, New York NY; the National Portrait Gallery, Smithsonian Institution, Washington, D.C.; the Art Institute of Chicago, Chicago, IL; the Museum of Contemporary Art, Chicago, IL; the Los Angeles County Museum of Art, Los Angeles, CA; and the Museum of Fine Arts, Houston.

A short video excerpt from “Narrative Walk (Illuminated Manuscripts)” can be viewed here:  https://vimeo.com/337862420

#jasonsalavon #markmoorefineart #littleinfinities #narrativewalk #directmessage

ARTFORUM REVIEW
January 2020

Amy Myers
MALIN GALLERY
NEW YORK

”Daughter Universes,” the title of Amy Myers’s first solo show with Malin Gallery (formerly Burning in Water), aptly connotes a kind of cosmic femininity. Google-dig a little deeper and one learns that the term also refers to a hypothetical offshoot of quantum mechanics, which postulates that all material and energetic encounters spawn separate spheres of possibility. At this point, it might help to know that Myers’s father was an aviator and physicist who apparently suffused his daughter’s universe (sorry) with a lofty perspective and an enduring fascination for invisible, elemental forces and their diagrammatic representation. That perhaps accounts for the cosmic part. As for the feminine aspect, the obvious, and not unrelated, influence at work here is botanical taxonomy, commonly manifesting in the artist’s output as dahliaesque, bio-geometric patterning and, more to the point, swooping, orchidlike vulval forms. In each of the five large canvases and half-dozen smaller pieces on display, the artist’s fondness for scientific illustration was as palpable as her facility for pictorial synthesis was impressive.

All but one of the large paintings featured an off-center cynosure of intricately enmeshed, schematically organized lines and diaphanous masses, imperfectly mirrored, like exquisitely assisted Rorschach tests, held in weightless suspension as if by some celestial centripetal force. The effect was transfixing, even mesmerizing. Fiercely pretty—radiant ornamentation, gossamer lacework, and Art Nouveau–y arabesques float within rippling, aquatic-hued fields—these works are not shy in their solicitations. Veering breezily into trippy decor, they’re delightful to behold, exuding a transcendent calm via the luxuriant marriage of loosely mathematic constellations and gestural elegance. Known for more than a decade for her fluid and precise drawings, Myers here presented her first serious foray into oil paint. That it took her so long to come to this medium is surprising, since its pliability and luminous translucence would seem ideally suited to the rendering of her coalescent cartographies in ethereal negative space. Drawing still provides the underlying architecture, but the use of paint lends dimension and sensuality. Symmetry—and its subtle negation—is clearly pivotal to Myers’s work, as it is for that of many pattern-based painters. The artful interruption of the dominant, bilateral duplication of line and liquescent form is the beating heart that vivifies all her compositions. And the artist’s very deliberate, somewhat counterintuitive placement of her focal entanglements slightly, or at times dramatically, off to one side of the picture’s central vertical axis serves to emphasize the existence, and potential infinitude, of the atmospheric ground into which these spectral whorls are skillfully woven.

Much was made in the press release of the artist’s familial immersion in scientific and cosmological theory, the inference being that the paintings embody or encrypt such lore for the viewer to experience or decode, as though proffering enlightenment through the conveyance of legends or keys to universal truths. Claims as to the paintings’ abilities to transmit sacred qualities or to function as conduits to metaphysical realms get piled onto the aura-enhancing heap, too, as do assertions that the profoundly feminine character of the works might channel—nay, rectify and reawaken—the eternal spirit of creativity. To wit, this zinger: “[These paintings] may therefore be construed as reformulations of Courbet’s L’Origine du monde for a post-quantum, multiphasic, and intersectional age.” In casting the artist as mystic or seer, long-discredited roles given credence in recent times by the understandably rapturous embrace of artists such as Forrest Bess and Hilma af Klint, these mythologizing encomiums strike me as a stretch. The works certainly make reference to, and thereby reasonably endorse, the questing for totalizing accounts and suppositional speculations, but they’re aesthetic statements, not theological or scientific theses. And besides, Myers’s oeuvre comports just as comfortably with a variety of pop-cultural pictorial genres such as sci-fi book covers and prog-rock album sleeves as it does with the trajectory of so-called spiritual art. While for some this show may have provided a path to the Absolute, for me it led, happily, to the crystal-purveying head shop, where one might partake of a little transcendental medication and groove to the work’s simultaneously uplifting and tranquilizing beauty.

— Jeff Gibson

#markmoorefineart #amymyers

Amy Myers Exclusive ARTSY Online Exhibition Opening Today

AMY MYERS

Selected Works 2003-2019

View Now on ARTSY at: http://bit.ly/2D9m9Ga

Amy Myers (b. 1965, Austin, TX) is a New York-based artist whose large-scale abstract drawings and paintings simultaneously reference particle physics, biology, philosophy, the human mind, and the mechanics of the universe.

Myers has received numerous grants and fellowships, including The Pollock-Krasner Foundation Grant; Elizabeth Foundation for the Arts; Ellen S. Kaminsky Family Foundation Studio Residency and Award at MANA Contemporary; and The Marie Walsh Sharpe Art Foundation Studio Grant. Past residencies include Yaddo Artist Residency (Saratoga Springs, NY); Dora Maar House (Menerbes, France); and The American Academy in Rome.

Previous solo exhibitions include Mike Weiss Gallery (New York, NY); Mary Boone Gallery (New York, NY);  Suzanne Vielmetter Los Angeles Projects (Los Angeles, CA); Danese Gallery (New York, NY); Rhona Hoffman Gallery (Chicago, IL); and Dunn and Brown Contemporary (Dallas, TX).

Amy Myers

Past museum exhibitions include The Sweeney Art Museum at California State University (Riverside, CA); Pomona College, Montgomery Art Center (Claremont, CA); and University Art Museum, California State University (Long Beach, CA).

Myers has artworks in the permanent collections of the Solomon R.Guggenheim Museum (New York, NY); Pérez Art Museum Miami (Miami, FL); California State University Art Museum (Long Beach, CA); Fort Wayne Museum of Art (Fort Wayne, IN); Greenville County Museum of Art (Greenville, SC); Hudson Valley Center for Contemporary Art (Peekskill, NY); Laguna Art Museum (Laguna Beach, CA); Museum of Fine Arts (Houston, TX); Nerman Museum of Contemporary Art (Overland Park, KS); and the American Express Corporate Collection.

Myers’ artworks have been cited in numerous publications, including The New York Times, Hyperallergic, Artnews, Art in America, and BOMB.

View the short video interview with the artist titled “Inside the Artist’s Studio: Amy Myers”  at this link: https://youtu.be/QZtKNb97qzk

Mark Moore Fine Art on ARTSY

#markmoorefineart #amymyers

Mark Moore Fine Art and Houston Art Advisory is pleased to announce “Altered Aurus“, a solo show from California artist, Joshua Dildine, of works selected spanning over the last decade, connecting the origins of his relationship with abstract painting and photography.

You can view this body of work now at:  http://bit.ly/2NRsSL9

While the aura of something describes the atmosphere or quality that surrounds it, “aurus” is a latin word describing something of or related to gold. A family photo that captures a memory can be like a treasure more valuable than gold if it holds meaning for a person. Dildine expertly alters imagery from his own family archive of photographs as a jumping off point for most of his paintings, making them both grounded and familiar, yet somehow other worldly through his painting style. They strike a balance between captured representation and dimensional abstraction, as an act of destruction and rebirth in one stroke, weaving the immediacy of the present with the nostalgia of the past. “Altered Aurus” brings together these works painted over large scale photographs with abstract paintings derived from photo + paint sketches and studies.

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.

On View Now At:

HOUSTON ART ADVISORY

3420 Rusk St. Houston, Texas 77003

For more information contact: mark@markmoorefineart.com

#markmoorefineart #houstonartadvisory #joshdildine

Mark Moore Fine Art presents an exclusive ARTSY Online Exhibition of a new body of work by artist KARA MARIA. “Cloud Crystals” is a collaborative monotype project between artist Kara Maria and artist/master printmaker Kathryn Kain. In November 2019 Maria and Kain worked together for four days at Kain’s press Atelier Blu Rose in San Francisco to produce 33 unique, handmade monotypes that celebrate winter.

YOU CAN VIEW THIS SHOW NOW AT: http://bit.ly/37lyRPa

In this exhibition we survey 29 monotypes from San Francisco-based painter Kara Maria. Her 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.

These works were inspired by the 1864 book Cloud Crystals: A Snow-Flake Album. It documents the work of Frances Chickering—who used a cut-out method based on her direct observation of individual snowflakes under magnification to record more than 200 shapes. Maria and Kain utilized stencils they made based on Chickering’s original illustrations to create their Cloud Crystals series.

Maria and Kain began working together while Kain was Master Printer for Smith Andersen Editions (SAE) in Palo Alto, CA. Founded by Paula Kirkeby in 1969, the small fine arts press encouraged experimentation with the monoprint and monotype until its closure in 2016. After completing several projects published by SAE between 2002 and 2010 in the more traditional artist/master printmaker relationship, Maria and Kain decided to try something new. They made their first collaborative monotype project (Arcadian Duet) published by SAE in 2015—meaning that the two worked together equally as both artists and printmakers for the project. Cloud Crystals marks their second such collaborative effort, and the first published by Atelier Blu Rose.

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.

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

Mark Moore Fine Art presents a new body of work by Jason Salavon titled, “Narrative Frame (Illuminated Manuscripts)”. Works from this series are on concurrently on view as part of the show “Direct Message: Art, Language, and Power” at the Museum of Contemporary Art Chicago.

VIEW THIS WORK HERE NOW:  http://bit.ly/365wlMW

In his work from “Little Infinities” Series – of which this series is a part – Jason Salavon’s continues pioneering a multi-decade use of data and algorithms in the creation of visual art. Throughout this time, his work has unearthed unseen pattern, habit, and structure within our culture and daily life. The works in this exhibition broaden this exploration, critically probing the proliferation of image data, the historical structures of narrative, and the creative potential of the current Artificial Intelligence revival.

In this series of suites of prints, real-time videos, and wallpapers, collectively titled “Narrative Frame”, Salavon addresses three primary historical structures used for the propagation of narrative: illuminated manuscripts, newspapers, and websites. Produced using self-authored neural network software, the works provide insight into the literal shapes and structure we’ve used to tell one another stories through time. In this particular piece from this body of work, we are focused on Salavon’s Illuminated Manuscript works.

Jason Salavon (born 1970, Indianapolis, IN) received a BA in Art and Computer Science from the University of Texas at Austin (1993) and an MFA from the School of the Art Institute of Chicago (1997). Salavon has exhibited his work extensively for the last twenty years, including recent solo exhibitions at Museum of Contemporary Art Cleveland, OH (2017), Mark Moore Gallery, Los Angeles, CA (2016); the Haggerty Museum of Art, Milwaukee, WI (2016); TAI Modern, Santa Fe, NM (2016); and the Public Trust, Dallas, TX (2016). In collaboration with Microsoft Research, where he was a Visiting Artist in 2014, he exhibited at the Seattle Art Museum, Seattle, WA (2015). He has completed numerous large-scale commissions including for the Merchandise Mart, Chicago, IL (2018) and the United States Census Bureau, Washington, D.C. (2013).

His work is included in many public collections including The Museum of Modern Art, New York, NY; the Whitney Museum of American Art, New York, NY; The Metropolitan Museum of Art, New York NY; the National Portrait Gallery, Smithsonian Institution, Washington, D.C.; the Art Institute of Chicago, Chicago, IL; the Museum of Contemporary Art, Chicago, IL; the Los Angeles County Museum of Art, Los Angeles, CA; and the Museum of Fine Arts, Houston.

A short video excerpt from “Narrative Walk (Illuminated Manuscripts)” can be viewed here:  https://vimeo.com/337862420

#jasonsalavon #markmoorefineart #littleinfinities #narrativewalk #directmessage