Monthly Archives: March 2020

New KARA MARIA painting currently featured at the San Francisco State School of Art

km_Every Murmur Becomes a Wave, (gray wolf)_prs

Artist KARA MARIA has a painting currently featured in the San Francisco State School of Art Faculty Exhibition until April 2. The show was reviewed (from a safe distance) by Davis M. Roth at Squarecylinder.com. The painting included in the show is a new one (had never been shown before): Every Murmur Becomes a Wave, gray wolf, 46 x 56 inches, acrylic on canvas, 2019, — image above.

For more information on the work of Kara Maria, go to: https://www.artsy.net/mark-moore-gallery/artist/kara-maria

#markmoorefineart #karamaria

ARTSY Show of The Week: RARE EARTH – A Survey of Contemporary Ceramics

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From raw textures and meticulous details to glazes bursting with color, the works on view in the new exhibition RARE EARTH: A SURVEY OF CONTEMPORARY CERAMICS at Mark Moore Fine Art provide fascinating insight into the experimental nature of the medium and the diversity that will shape its future. This exhibition features important works by talents like Jeffry Mitchell, Zemer Peled, Meghan Smythe, and Dirk Staschke.

Although the artists pursue a great variety of approaches and techniques, each embraces the experimental and playful sensibility this versatile medium engenders. Spanning two decades of studio practice, this exhibition celebrates the ground-breaking achievements of those artists who today continue to reimagine the possibilities of working in clay.

As an important patron of this gallery, I wanted to offer you the first look at this exclusive online ARTSY exhiibition opening this Thursday. Please follow the link below to preview this fascinating look at some of the of the most influencial figures in the medium today.

VIEW THIS EXHIBITION NOW AT: http://bit.ly/2U5ks4N

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JEFFRY MITCHELL’S primary medium is ceramic and he is well versed in its traditions around the globe (references to Early American glazes, Pennsylvania Dutch pickle jars, asymmetrical Japanese aesthetic decisions and Chinese Foo Dogs abound). Mitchell takes a very direct approach to working, often eschewing refinements that commonly accompany many ceramic processes. The resulting pieces radiate an exuberant, unbridled immediacy. He feels that this unfettered approach is essentially relatable to our shared human experience. To explain this idea Mitchell talks about a fundamental familiarity with clay that we all carry with us from our formative years. Perhaps we came to it through playing as children making mud pies or maybe it was making pinch pots in elementary school, regardless he feels that clay is a material that is universally relatable at a very basic level. The imagery that he uses is also very accessible. Bears, elefants (he prefers ‘f’ to ‘ph’), bunnies and flowers appear over and over in his work and though they can be definitely be related to his own personal story he feels that these too spring from an early and universally familiar place. Throughout the work Mitchell seeks to tap into and broadcast a sense of vitality whether it be joyful or colored with more a complex mix of emotions. This through line can been seen in the thick, dripping glazes, the unabashed appropriation of decorative motifs and an unmistakable suffusion of playfulness.

Notable solo exhibitions of Mitchell’s work include: Like a Valentine: The Art of Jeffry Mitchell, 2012-2013, Henry Art Gallery; Some Things and Their Shadows, 2009, Kittredge Gallery, University of Puget Sound, Tacoma, WA; Shiny Happy Pretty (with Tina Hoggatt), 2008, Missoula Art Museum; Hanabuki, 2001, Henry Art Gallery; My Spirit, 1992, New Museum of Contemporary Art, NY; and Documents Northwest: The Poncho Series, 1990, Seattle Art Museum.

Mitchell’s work can be found in numerous private and public collections including the Smithsonian American Art Museum, Seattle Art Museum, Philadelphia Art Museum, Museum of Fine Arts, Boston, Philadelphia Art Museum, Fogg Art Museum (Harvard University), Honolulu Museum of Art, Tacoma Art Museum, and the Portland Art Museum.

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ZEMER PELED’S work examines the beauty and brutality of the natural world. Her sculptural language is formed by her surrounding environment and landscapes, and engages with themes of memories, identity, and place. The association of porcelain with grace, refinement, and civilization is turned on itself when we are confronted with this material in another state. When a porcelain form is broken down into shards, the brutality of its jagged edges is juxtaposed with its insistent fragility. The material becomes both violent and beautiful, hard yet breakable. When seen in the organic formations of Peled’s structures, a whole from the shards is recreated, this time estranged from its original context of neatness, tradition, and cultivation, but nonetheless unified by an overall cohesiveness of movement and composition.

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 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.

Peled was born and raised in Israel. She earned her MA at the Royal College  of Art (UK). In recent years, her work has been exhibited internationally at venues including Sotheby & and Saatchi Gallery (London), Nelson Atkins Museum of Art (Kansas City) among others. She has been features in Vogue, O Magazine, Elle and other international publications. 

Her work is found in many private collections around the world and Museum Collections such as Fuller Craft Museum, The Crocker Art Museum and Frederick R Weisman Art Foundation Museum. The artist lives and works in the United States.

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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.

Smythe (b. 1984, Kingston, ON) received her MFA from the Alfred University School of Art and Design (NY). Her work has been shown at the Arizona State University Art Museum (AZ) and the Gardiner Museum, Toronto (ON). She was the Visiting Artist in Residence at California State University, Long Beach (CA) from 2012-2014, where she continues to teach Ceramic Arts. The artist lives and works in Long Beach, CA.

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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. 

 

He 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). He has received various artist’s grants including grants from The Virginia Groot Foundation and the Canada Council on the Arts.

For more information on these artists or additional press materials, please visit http://www.markmoorefineart.com, or contact us at: info@markmoorefineart.com

#markmoorefineart #rebeccamanson #jeffrymitchell #zemerpeled #meghansmythe #dirkstaschke #rareearth #ceramics

New San Francisco mural by Kara Maria

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Kara Maria, Blue into Black, vaquita, 2020, 10 x 45 feet, acrylic and acrylic spray paint on stucco

MMFA Artist KARA MARIA has just completed her first mural—a 10 x 45 foot, hand-painted mural sponsored by the San Francisco Arts Commission’s StreetSmARTs program.

The mural Blue into Black celebrates the vaquita porpoise—the world’s smallest and most endangered cetacean, found only in Mexico’s northern Gulf of California.

Mural location:
1330 Polk Street at Frank Norris Street
(between Pine and Bush)
San Francisco, CA 94109

8956c56c-66b1-40fd-a67c-27f5b82be7a8Kara Maria, detail of: Blue into Black, vaquita, 2020, 10 x 45 feet, acrylic and acrylic spray paint on stucco

Huge thanks to: Craig Corpora of SFAC for facilitating this project; to Sal Garcia, Mark Maglaty, Enrique Chagoya, and Diane Andrews Hall for production assistance; to Johanna Poethig, and Jason Jagel for advice and support; and to the good people at Precita Eyes Mural Arts Center and Action Rentals.

#markmoorefineart #karamaria

 

On View Now: Joseph Rossano “Artifacts of the Feed”

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In this exclusive ARTSY online exhibition, “Artifacts of the Feed“, artist JOSEPH ROSSANO presents 23 man-made manifestations of reality that represent how the process of documentation has evolved throughout a career of observation with camera, film, and now cellphone. 

VIEW THIS SHOW NOW AT: http://bit.ly/38PIg2A

Today we view our lives through an endless feed of computer-generated images. Our modern global community records life through use of the cellphone and social media, tools provided by technology. The continuous feed of data comprises digital artifacts — excerpts of our lives, our reality — that we feed to the world. An artifact is an object or work that has been manufactured by humans; it is not something from nature, but a signal of the presence and influence of man. The term “feed” refers not only to the act of giving or receiving food, but also to a channel through which matter passes and can be accessed. “Artifacts of the Feed” presents man-made manifestations of reality that represent how the process of documentation has evolved throughout a career of observation with camera, film, and now cellphone. Analog and digital means of chronicling the world will result in two very different records of the moment of exposure or capture — one which you can hold in your hand, the other requiring a computer to view. Both are intended to record reality.

Although transiently, monochrome photography has been a part of my process since first developing a roll of film as a fourteen-year-old. To me, photography is transient because making pictures with the camera has come in and out of my daily activities: sometimes picture making is an all-consuming endeavor, while at other times many months can pass without me reaching for the camera. Yet whenever I do pick up the camera, I am guided by the works of naturalist Edward A. Samuels (1836–1908) — embodied in his book “With Fly-Rod and Camera” (1890) — and Darius Kinsey, who more than a century ago spent his life documenting the virgin forests of the Pacific Northwest and those who harvested them. The images of both photographers appear a combination of silver and charcoal, ultra-high contrast, otherworldly. Leafing through the pages of their books, I find myself transported back in time by the images. In their conscientious documentation of a natural world undergoing great change, I find also a model for my own work.

Both Samuels and Kinsey employed field cameras to make monochrome analog images. These field cameras consisted of a simple box, bellows, and lens, into which was placed a sheet of film. Then, onto the film was exposed an image composed by the photographer. Experience with light, camera, and the chemistry of the day informed what would be the appropriate exposure and development for these photographers. The quality of the negative, which was on glass plate or acetate, would dictate the quality of the final image. The negative would be placed in intimate contact with photographic paper and exposed to light. The result, a contact print ranging in size from 6″ x 7″ to 14″ x 17″ and receiving no additional manipulation, was referred to as “straight photography.”

The images comprising “Artifacts of the Feed”, however, are anything but straight photographs. While these images borrow from the aesthetic of Samuels and Kinsey, they are created using a machine that houses high-tech sensors and conducts advanced mathematical processes: the cellphone. Nevertheless, as was the case for both Samuels and Kinsey, I have spent many countless hours in the forests of the Northeast and the Northwest. I have done so with vintage cameras at my side — some identical to Kinsey’s. Conveniently, both view camera and cellphone employ composing the image on a plate of glass, the outcomes — though similar in appearance — are in reality quite different. Then, in this transfer between processes, it is the action of making the image that becomes most poignant. “Artifacts of the Feed” presents contemporary documentation with digital capturing as its core — one might even say it is “With Fly-Rod and Camera 2020”. These images, manufactured through digital technology and by their nature slaves to big data, are artifacts of man. And, just as Samuels and Kinsey fed a world of people hungry for documentation of their world, their lives, and their homes, this series continues in the same vein, feeding the desire for records that present reality.

Joseph Rossano is a multidisciplinary artist who actively collaborates with prominent scientists and conservationists to create large-scale installations that explore the impact of humankind on the natural world. His work has been featured in exhibitions throughout the Seattle area and beyond, including Museum of Glass, Tacoma, WA; Google, Palo Alto, CA; San Diego Natural History Museum, San Diego, CA; Sagamore Hill National Historic Site, home and library of President Theodore Roosevelt, Oyster Bay, NY; The Cold Spring Harbor Laboratory, responsible for nine Nobel laureates, Cold Spring Harbor, NY, among others. He is based in Arlington, WA.

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.

For additional information or hi-resolution images of these works, please contact: info@markmoorefineart.com

#markmoorefineart #josephrossano #artifactsofthefeed

Opening Tomorrow: RARE EARTH – A Survey of Contemporary Ceramics

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From raw textures and meticulous details to glazes bursting with color, the works on view in the new exhibition RARE EARTH: A SURVEY OF CONTEMPORARY CERAMICS at Mark Moore Fine Art provide fascinating insight into the experimental nature of the medium and the diversity that will shape its future. This exhibition features important works by talents like Jeffry Mitchell, Zemer Peled, Meghan Smythe, and Dirk Staschke.

Although the artists pursue a great variety of approaches and techniques, each embraces the experimental and playful sensibility this versatile medium engenders. Spanning two decades of studio practice, this exhibition celebrates the ground-breaking achievements of those artists who today continue to reimagine the possibilities of working in clay.

As an important patron of this gallery, I wanted to offer you the first look at this exclusive online ARTSY exhiibition opening this Thursday. Please follow the link below to preview this fascinating look at some of the of the most influencial figures in the medium today.

VIEW THIS EXHIBITION NOW AT: http://bit.ly/2U5ks4N

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JEFFRY MITCHELL’S primary medium is ceramic and he is well versed in its traditions around the globe (references to Early American glazes, Pennsylvania Dutch pickle jars, asymmetrical Japanese aesthetic decisions and Chinese Foo Dogs abound). Mitchell takes a very direct approach to working, often eschewing refinements that commonly accompany many ceramic processes. The resulting pieces radiate an exuberant, unbridled immediacy. He feels that this unfettered approach is essentially relatable to our shared human experience. To explain this idea Mitchell talks about a fundamental familiarity with clay that we all carry with us from our formative years. Perhaps we came to it through playing as children making mud pies or maybe it was making pinch pots in elementary school, regardless he feels that clay is a material that is universally relatable at a very basic level. The imagery that he uses is also very accessible. Bears, elefants (he prefers ‘f’ to ‘ph’), bunnies and flowers appear over and over in his work and though they can be definitely be related to his own personal story he feels that these too spring from an early and universally familiar place. Throughout the work Mitchell seeks to tap into and broadcast a sense of vitality whether it be joyful or colored with more a complex mix of emotions. This through line can been seen in the thick, dripping glazes, the unabashed appropriation of decorative motifs and an unmistakable suffusion of playfulness.

Notable solo exhibitions of Mitchell’s work include: Like a Valentine: The Art of Jeffry Mitchell, 2012-2013, Henry Art Gallery; Some Things and Their Shadows, 2009, Kittredge Gallery, University of Puget Sound, Tacoma, WA; Shiny Happy Pretty (with Tina Hoggatt), 2008, Missoula Art Museum; Hanabuki, 2001, Henry Art Gallery; My Spirit, 1992, New Museum of Contemporary Art, NY; and Documents Northwest: The Poncho Series, 1990, Seattle Art Museum.

Mitchell’s work can be found in numerous private and public collections including the Smithsonian American Art Museum, Seattle Art Museum, Philadelphia Art Museum, Museum of Fine Arts, Boston, Philadelphia Art Museum, Fogg Art Museum (Harvard University), Honolulu Museum of Art, Tacoma Art Museum, and the Portland Art Museum.

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ZEMER PELED’S work examines the beauty and brutality of the natural world. Her sculptural language is formed by her surrounding environment and landscapes, and engages with themes of memories, identity, and place. The association of porcelain with grace, refinement, and civilization is turned on itself when we are confronted with this material in another state. When a porcelain form is broken down into shards, the brutality of its jagged edges is juxtaposed with its insistent fragility. The material becomes both violent and beautiful, hard yet breakable. When seen in the organic formations of Peled’s structures, a whole from the shards is recreated, this time estranged from its original context of neatness, tradition, and cultivation, but nonetheless unified by an overall cohesiveness of movement and composition.

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 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.

Peled was born and raised in Israel. She earned her MA at the Royal College  of Art (UK). In recent years, her work has been exhibited internationally at venues including Sotheby & and Saatchi Gallery (London), Nelson Atkins Museum of Art (Kansas City) among others. She has been features in Vogue, O Magazine, Elle and other international publications. 

Her work is found in many private collections around the world and Museum Collections such as Fuller Craft Museum, The Crocker Art Museum and Frederick R Weisman Art Foundation Museum. The artist lives and works in the United States.

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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.

Smythe (b. 1984, Kingston, ON) received her MFA from the Alfred University School of Art and Design (NY). Her work has been shown at the Arizona State University Art Museum (AZ) and the Gardiner Museum, Toronto (ON). She was the Visiting Artist in Residence at California State University, Long Beach (CA) from 2012-2014, where she continues to teach Ceramic Arts. The artist lives and works in Long Beach, CA.

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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. 

 

He 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). He has received various artist’s grants including grants from The Virginia Groot Foundation and the Canada Council on the Arts.

For more information on these artists or additional press materials, please visit http://www.markmoorefineart.com, or contact us at: info@markmoorefineart.com

#markmoorefineart #rebeccamanson #jeffrymitchell #zemerpeled #meghansmythe #dirkstaschke #rareearth #ceramics

Previewed: RARE EARTH – A Survey of Contemporary Ceramics

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From raw textures and meticulous details to glazes bursting with color, the works on view in the new exhibition RARE EARTH: A SURVEY OF CONTEMPORARY CERAMICS at Mark Moore Fine Art provide fascinating insight into the experimental nature of the medium and the diversity that will shape its future. This exhibition features important works by talents like Jeffry Mitchell, Zemer Peled, Meghan Smythe, and Dirk Staschke.

Although the artists pursue a great variety of approaches and techniques, each embraces the experimental and playful sensibility this versatile medium engenders. Spanning two decades of studio practice, this exhibition celebrates the ground-breaking achievements of those artists who today continue to reimagine the possibilities of working in clay.

As an important patron of this gallery, I wanted to offer you the first look at this exclusive online ARTSY exhiibition opening this Thursday. Please follow the link below to preview this fascinating look at some of the of the most influencial figures in the medium today.

VIEW THIS EXHIBITION NOW AT: http://bit.ly/2U5ks4N

large-11

JEFFRY MITCHELL’S primary medium is ceramic and he is well versed in its traditions around the globe (references to Early American glazes, Pennsylvania Dutch pickle jars, asymmetrical Japanese aesthetic decisions and Chinese Foo Dogs abound). Mitchell takes a very direct approach to working, often eschewing refinements that commonly accompany many ceramic processes. The resulting pieces radiate an exuberant, unbridled immediacy. He feels that this unfettered approach is essentially relatable to our shared human experience. To explain this idea Mitchell talks about a fundamental familiarity with clay that we all carry with us from our formative years. Perhaps we came to it through playing as children making mud pies or maybe it was making pinch pots in elementary school, regardless he feels that clay is a material that is universally relatable at a very basic level. The imagery that he uses is also very accessible. Bears, elefants (he prefers ‘f’ to ‘ph’), bunnies and flowers appear over and over in his work and though they can be definitely be related to his own personal story he feels that these too spring from an early and universally familiar place. Throughout the work Mitchell seeks to tap into and broadcast a sense of vitality whether it be joyful or colored with more a complex mix of emotions. This through line can been seen in the thick, dripping glazes, the unabashed appropriation of decorative motifs and an unmistakable suffusion of playfulness.

Notable solo exhibitions of Mitchell’s work include: Like a Valentine: The Art of Jeffry Mitchell, 2012-2013, Henry Art Gallery; Some Things and Their Shadows, 2009, Kittredge Gallery, University of Puget Sound, Tacoma, WA; Shiny Happy Pretty (with Tina Hoggatt), 2008, Missoula Art Museum; Hanabuki, 2001, Henry Art Gallery; My Spirit, 1992, New Museum of Contemporary Art, NY; and Documents Northwest: The Poncho Series, 1990, Seattle Art Museum.

Mitchell’s work can be found in numerous private and public collections including the Smithsonian American Art Museum, Seattle Art Museum, Philadelphia Art Museum, Museum of Fine Arts, Boston, Philadelphia Art Museum, Fogg Art Museum (Harvard University), Honolulu Museum of Art, Tacoma Art Museum, and the Portland Art Museum.

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ZEMER PELED’S work examines the beauty and brutality of the natural world. Her sculptural language is formed by her surrounding environment and landscapes, and engages with themes of memories, identity, and place. The association of porcelain with grace, refinement, and civilization is turned on itself when we are confronted with this material in another state. When a porcelain form is broken down into shards, the brutality of its jagged edges is juxtaposed with its insistent fragility. The material becomes both violent and beautiful, hard yet breakable. When seen in the organic formations of Peled’s structures, a whole from the shards is recreated, this time estranged from its original context of neatness, tradition, and cultivation, but nonetheless unified by an overall cohesiveness of movement and composition.

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 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.

Peled was born and raised in Israel. She earned her MA at the Royal College  of Art (UK). In recent years, her work has been exhibited internationally at venues including Sotheby & and Saatchi Gallery (London), Nelson Atkins Museum of Art (Kansas City) among others. She has been features in Vogue, O Magazine, Elle and other international publications. 

Her work is found in many private collections around the world and Museum Collections such as Fuller Craft Museum, The Crocker Art Museum and Frederick R Weisman Art Foundation Museum. The artist lives and works in the United States.

large-12

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.

Smythe (b. 1984, Kingston, ON) received her MFA from the Alfred University School of Art and Design (NY). Her work has been shown at the Arizona State University Art Museum (AZ) and the Gardiner Museum, Toronto (ON). She was the Visiting Artist in Residence at California State University, Long Beach (CA) from 2012-2014, where she continues to teach Ceramic Arts. The artist lives and works in Long Beach, CA.

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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. 

 

He 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). He has received various artist’s grants including grants from The Virginia Groot Foundation and the Canada Council on the Arts.

For more information on these artists or additional press materials, please visit http://www.markmoorefineart.com, or contact us at: info@markmoorefineart.com

#markmoorefineart #rebeccamanson #jeffrymitchell #zemerpeled #meghansmythe #dirkstaschke #rareearth #ceramics

Highlighted: Daniel Canogar’s Major Installation Work JACKPOT (2009)

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Highlighted: Daniel Canogar’s Major Installation Work JACKPOT (2009)

Video link: http://www.danielcanogar.com/work/jackpot

Medium: Slot machine screens,projector, multimedia player, USB, 4 min. video projection loop / Dimensions: 400 x 300cm/157,48″ x 118,11″  / Edition: 1/3 available

Mark Moore Fine Art is pleased to make available JACKPOT (2009), one of Daniel Canogar’s most important major works for the first time.

JACKPOT consists of a collaged panel formed by broken fragments of slot machines brings to mind the stained-glass windows of cathedrals. A projection back-lights the panel with flashing lights that recall those used to entice people to play on the slot machines. The piece looks at our fascination with media screens, the extolling of money as the new religion of late capitalism, and indirectly alludes to the financial system as a game.

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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.

Jackpot 1

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, please contact us at: info@markmoorefineart.com

#markmoorefineart #danielcanogar