Monthly Archives: September 2020

Opening October 1, 2020: Ben Weiner “Petals” –  An Exclusive ARTSY Online Exhibition

View This Show Now at: https://bit.ly/3kqQmE5

Mark Moore Fine Art presents “Ben Weiner: Petals” The exhibition presents a group of 18 new drawings of abstracted flowers made using the artist’s unique process of soaking ink-coated paper in drugs and household chemicals. The entire body of work was made at the artist’s home in New York City during its lockdown at the height of the pandemic there. 

As the artist states: “During the lockdown here in New York, my practice became a safe space for me to process my emotions amid the surrounding chaos. My process of soaking drawings in household chemicals gained meaning when we were trapped in our homes, and supplies for basic living such as Advil and alcohol– many in short supply at that time– came into sharp focus. Obviously we were scared for our lives and loved ones, and the motif of flowers seemed to embody all of these concerns and more: as a fixture of the home in traditional still life, a proxy for human connection, an embodiment of beauty, and a symbol of mortality, flowers gave me a simple formal motif into which I could pour the many intense emotions I was experiencing. “

To create the works in “Petals,” Weiner first made ink drawings of flowers, and then soaked them in solutions of drugs including Viagra, Advil, MDMA, and Opium. In the resulting drawings, flowers seem to explode with color and mutate beyond their physical forms, evoking apocalyptic visions, sunsets, and the cosmos. Aptly, such imagery feels simultaneously of the moment, and eternal.

The historical references in this series run accordingly deep, from Dutch still lifes of flowers, to Rothko’s dark color fields, to Damian Hirst’s medical cabinets, to Gehard Richter’s blurred bouquets. A particular source to which Weiner returned throughout the series was the “Unpainted Pictures” series Emil Nolde made in secret after the Nazis prohibited him from painting. In a hidden room in his house, Nolde created watercolors on tiny scraps of paper, his wildly expressive command of color embodying the tumultuous emotions of his inner world. Nolde’s use of color is an evident influence on Weiner’s flower drawings. Less obvious but equally relevant is their shared use of paper as a support. As with Nolde’s “Unpainted Pictures,” the fragility of paper physically embodies the vulnerability Weiner felt at the time he made his flower drawings. 

Indeed, Weiner has stated that the title “Petals” is itself a reference to the thin sheets of paper on which these works were made. Separated from the flower itself, petals can symbolize both passion– as when lovers scatter rose petals on the ground– and the ephemerality of a dying flower, its petals falling away. Weiner has stated that this is how he wants his flower drawings to function: acknowledging our frailty but also emanating emotion, to ultimately create human connection in a time of adversity. 

Ben Weiner (b. 1980, Burlington, VT) received his BA from Wesleyan University (CT). He also studied under Mexican muralist José Lazcarro at Universidad de las Americas (Mexico) and has worked closely with artists Jeff Koons, Kim Sooja and Amy Yoes as an assistant. He has exhibited his work widely across the United States and in Mexico with solo shows in Los Angeles, New York and Puebla, and group exhibitions in Chicago, New York, Miami, New Haven, Ridgefield, Los Angeles and Riverside. His paintings can be found in the Sammlung/Collection (Germany), the Progressive Collection (OH), and the Frederick R. Weisman Foundation Collection (CA). The artist lives and works in New York City.

For more information, visit our website at: https://www.markmoorefineart.com/artists/ben-charles-weiner

#contemporaryart #contemporarypainting #abstractart #abstractpainting #artcurator #studioisolation #artstudio #studioview #painting #painter #artist #markmoorefineart #benweiner #bencharlesweiner

Vernon Fisher “Angel Face”: An Exclusive ARTSY Online Exhibition

View Now at: https://bit.ly/3i94elS

VERNON FISHER’s new paintings are typically enigmatic; at first they seem humorous, yet on further study they reveal deeper subtext and irony. The predominant images are from Otto Preminger’s largely forgotten 1952 film Angel Face, starring Robert Mitchum and Jean Simmons. As FISHER states:

It’s not a great movie, but I was interested in its generic film noir qualities, its “atmosphere,” and the fact that it wasn’t popular enough to be available on video – therefore there would be a minimum of nostalgic misreading. The actors and the genre provide a set of expectations for my misadventures with them in the paintings.

FISHER disrupts the atmosphere evoked by the film’s imagery with the addition of text and his familiar vignettes. There is a discrepancy between how each painting looks and what the added writing says. The text mimics typewriting, with numerous handwritten notations and corrections added, and is situated on each painting like a film subtitle. This serves to confuse the reading of the image and to further distance it from the cinematic source. The viewer is also engaged by the addition of the smaller, hovering vignettes, which may suggest anything from cartoon thought balloons to desktop icons.

Vernon Fisher was born in 1943 in Fort Worth, Texas. He studied English literature at the Hardin-Simmons University, where he received a BA in 1967. Vernon got his MFA in 1969, from the University of Illinois. As a true Fort Worth child, Fisher was raised and is still living in his hometown, where he enjoys appreciation as one of the Texas’s most internationally recognized artists.

The art of Vernon Fisher is included in the collections of more than 40 museums across the globe, such as the Hirshhorn Museum, Washington, D.C., Art Institute of Chicago, Modern Art Museum of Fort Worth, Phoenix Art Museum, Museum of Fine Arts, Houston, San Francisco Museum of Modern Art, Solomon R. Guggenheim Museum in New York and the Museum of Contemporary Art Chicago. The most important museum installation is in the collection of the famous Museum of Modern Art in New York.

#markmoorefineart #vernonfisher #artexhibition #artshow #painting #contemporarypainting #contemporaryart #artcollector #artcurator #artconsultant #artadvisor 

Opening October 1, 2020: Ben Weiner “Petals” –  An Exclusive ARTSY Online Exhibition

View This Show Now at: https://bit.ly/3kqQmE5

Mark Moore Fine Art presents “Ben Weiner: Petals” The exhibition presents a group of 18 new drawings of abstracted flowers made using the artist’s unique process of soaking ink-coated paper in drugs and household chemicals. The entire body of work was made at the artist’s home in New York City during its lockdown at the height of the pandemic there. 

As the artist states: “During the lockdown here in New York, my practice became a safe space for me to process my emotions amid the surrounding chaos. My process of soaking drawings in household chemicals gained meaning when we were trapped in our homes, and supplies for basic living such as Advil and alcohol– many in short supply at that time– came into sharp focus. Obviously we were scared for our lives and loved ones, and the motif of flowers seemed to embody all of these concerns and more: as a fixture of the home in traditional still life, a proxy for human connection, an embodiment of beauty, and a symbol of mortality, flowers gave me a simple formal motif into which I could pour the many intense emotions I was experiencing. “

To create the works in “Petals,” Weiner first made ink drawings of flowers, and then soaked them in solutions of drugs including Viagra, Advil, MDMA, and Opium. In the resulting drawings, flowers seem to explode with color and mutate beyond their physical forms, evoking apocalyptic visions, sunsets, and the cosmos. Aptly, such imagery feels simultaneously of the moment, and eternal.

The historical references in this series run accordingly deep, from Dutch still lifes of flowers, to Rothko’s dark color fields, to Damian Hirst’s medical cabinets, to Gehard Richter’s blurred bouquets. A particular source to which Weiner returned throughout the series was the “Unpainted Pictures” series Emil Nolde made in secret after the Nazis prohibited him from painting. In a hidden room in his house, Nolde created watercolors on tiny scraps of paper, his wildly expressive command of color embodying the tumultuous emotions of his inner world. Nolde’s use of color is an evident influence on Weiner’s flower drawings. Less obvious but equally relevant is their shared use of paper as a support. As with Nolde’s “Unpainted Pictures,” the fragility of paper physically embodies the vulnerability Weiner felt at the time he made his flower drawings. 

Indeed, Weiner has stated that the title “Petals” is itself a reference to the thin sheets of paper on which these works were made. Separated from the flower itself, petals can symbolize both passion– as when lovers scatter rose petals on the ground– and the ephemerality of a dying flower, its petals falling away. Weiner has stated that this is how he wants his flower drawings to function: acknowledging our frailty but also emanating emotion, to ultimately create human connection in a time of adversity. 

Ben Weiner (b. 1980, Burlington, VT) received his BA from Wesleyan University (CT). He also studied under Mexican muralist José Lazcarro at Universidad de las Americas (Mexico) and has worked closely with artists Jeff Koons, Kim Sooja and Amy Yoes as an assistant. He has exhibited his work widely across the United States and in Mexico with solo shows in Los Angeles, New York and Puebla, and group exhibitions in Chicago, New York, Miami, New Haven, Ridgefield, Los Angeles and Riverside. His paintings can be found in the Sammlung/Collection (Germany), the Progressive Collection (OH), and the Frederick R. Weisman Foundation Collection (CA). The artist lives and works in New York City.

For more information, visit our website at: https://www.markmoorefineart.com/artists/ben-charles-weiner

#contemporaryart #contemporarypainting #abstractart #abstractpainting #artcurator #studioisolation #artstudio #studioview #painting #painter #artist #markmoorefineart #benweiner #bencharlesweiner

Mark Moore Fine Art is proud to present the first ARTSY online exclusive exhibition of work by Canadian-painter MICHAEL BATTY.

VIEW THIS SHOW NOW AT: https://bit.ly/3jprqfX

Michael Batty is a painter and a printmaker that operates with a formal language arising from a microcosm of the particle world. The minimalist pieces speak with geometry and line, and explores the balance between order and chaos by introducing random elements to the tightly rendered surfaces.

The artists builds up a webbed network of intersecting lines by cutting into the surface of the painting with a knife; creating thin ridges and minute grooves. The incised lines catch and divert the paint, creating a random ground of pigment with a shifting depth of color to create quantum imagery. 

In these works, the artistic creation is an open-ended play of traces in which the work gives up to a new kind of beauty, one that is mobile and elusive. Each image with its cicatrix seems to deal with the physical world, but give no easy name to their places. In a poststructuralist mode, using a non-traditional tool of a knife rather than a brush, Batty explores a tension, juxtaposing the hard edge of the knife with the soft flow of the paint, evoking a sense of infinity.

Also detectable in the work is a similar sensibility to the work of the Futurists, in their attempt to capture movement depicting it so as to convey a sense of dynamism of the contemporary world. These works allow the artist to remain open to the effects of chance, thereby facing his void – activating it with incisions that now mark him, as much as the work he produces. This discovery process is ongoing and non-linear. One edits only to find that the trace of what has been erased has reappeared, indeed, given rise to the eternal return. 

Michael Batty graduated from Emily Carr College of Art and Design in Vancouver in 1989 with a major in painting. He attended the renowned artist workshops in Emma Lake, Saskatchewan, and studied printmaking at The Art Institute at Capilano College in Vancouver. Batty’s paintings can be found in collections around the world, including the Waldorf Astoria in Beijing, China, W Guangzhou, China, Four Seasons, Dubai, UAE, and Bank of Montreal in Calgary and Toronto.

#artexhibition #artshow #painting #contemporarypainting #contemporaryart #artcollector #artcurator #artconsultant #artadvisor #laart #laartist #losangelesart #losangelesartist #losangelesartists #abstractart #modernart #contemporaryart #dailyart #instaart #artcollectors #artcollector #artcritic #collector #modernartist #contemporaryartist #abstractartist #artcollective #arte #kunst #michaelbatty #markmoorefineart #markmooregallery 

Image: Mark Bennett, The Pritchett Family Plans (Modern Family), 2017 / Lithograph on Rives BFK paper / 29 × 40 in / Edition of 20 + 2AP

Named Best Documentary at the New York Shorts International Film Festival!

Capturing what feels like a lifetime in only 15-minutes, Matt Pizzano’s The Grass Is Always Greener On TV charts the life of Mark Bennett, who became famous for blueprinting every detail of the homes in the 1950s television shows he religiously watched as a child. An incredibly moving artist profile doc, the film’s glossy production and rich narrative arc echo much of the charm of the classic Hollywood that Bennett himself adored. In exploring one man’s attempt to escape into a fantasy world, Pizzano beautifully encapsulates the essence of an artist who must overcome his demons.

VIEW THIS FILM AT THE FOLLOWING LINK: https://youtu.be/_5UGXThye7M

The Grass Is Always Greener On TV uncannily juxtaposes the dark parts of Bennett’s life with the surreally perfect lives within the television shows he obsessed over. Using a combination of home video, talk show appearances, and interview footage (along with a bit of re-staging), Pizzano, alongside producer Nic Wehmeyer, build a story that feels like it should play on one of the old television screens where Bennett found so much comfort.

Accentuating the ironic comparison, the film was shot in the classic 4:3 aspect ratio, with a musical score that sounds just like something from decades past. As various clips from I Love Lucy and Leave It To Beaver play over Bennett’s confessions of a traumatic childhood, the effects of which would continue to plague him well into adulthood, Pizzano chillingly reveals the dangers of living in fantasy.

Pizzano’s greatest challenge was finding a way to bring to life both Bennett’s internal struggle and his vivid imagination, in a way that didn’t distract from the story. Motion graphics were therefore employed to illustrate Bennett’s work, with the help of the director’s creative partner and producer of the film Nic Wehmeyer.

As Bennett’s blueprints animate over the shows he studied so meticulously, Pizzano was able to translate the artist’s thought process to the screen. Coupled with stylish editing techniques, The Grass Is Always Greener On TV transcends the traditional profile doc and strikingly depicts a journey of a man who must overcome deep trauma and abuse.

Delightfully empowering and one of the most compelling real-life character arcs we’ve seen in a documentary, The Grass Is Always Greener On TV reminds us all how important it is to accept ourselves and others, flaws and all.

For more information on Mark Bennett, please contact: info@markmoorefineart.com

#laart #laartist #losangelesart #losangelesartist #losangelesartists #abstractart #modernart #contemporaryart #dailyart #instaart #artcollectors #artcollector #artcritic #collector #modernartist #contemporaryartist #abstractartist #artcollective #arte #kunst

Vernon Fisher “Angel Face”: An Exclusive ARTSY Online Exhibition

View Now at: https://bit.ly/3i94elS

VERNON FISHER’s new paintings are typically enigmatic; at first they seem humorous, yet on further study they reveal deeper subtext and irony. The predominant images are from Otto Preminger’s largely forgotten 1952 film Angel Face, starring Robert Mitchum and Jean Simmons. As FISHER states:

It’s not a great movie, but I was interested in its generic film noir qualities, its “atmosphere,” and the fact that it wasn’t popular enough to be available on video – therefore there would be a minimum of nostalgic misreading. The actors and the genre provide a set of expectations for my misadventures with them in the paintings.

FISHER disrupts the atmosphere evoked by the film’s imagery with the addition of text and his familiar vignettes. There is a discrepancy between how each painting looks and what the added writing says. The text mimics typewriting, with numerous handwritten notations and corrections added, and is situated on each painting like a film subtitle. This serves to confuse the reading of the image and to further distance it from the cinematic source. The viewer is also engaged by the addition of the smaller, hovering vignettes, which may suggest anything from cartoon thought balloons to desktop icons.

Vernon Fisher was born in 1943 in Fort Worth, Texas. He studied English literature at the Hardin-Simmons University, where he received a BA in 1967. Vernon got his MFA in 1969, from the University of Illinois. As a true Fort Worth child, Fisher was raised and is still living in his hometown, where he enjoys appreciation as one of the Texas’s most internationally recognized artists.

The art of Vernon Fisher is included in the collections of more than 40 museums across the globe, such as the Hirshhorn Museum, Washington, D.C., Art Institute of Chicago, Modern Art Museum of Fort Worth, Phoenix Art Museum, Museum of Fine Arts, Houston, San Francisco Museum of Modern Art, Solomon R. Guggenheim Museum in New York and the Museum of Contemporary Art Chicago. The most important museum installation is in the collection of the famous Museum of Modern Art in New York.

#markmoorefineart #vernonfisher #artexhibition #artshow #painting #contemporarypainting #contemporaryart #artcollector #artcurator #artconsultant #artadvisor 

Eric Orr Film Documentary

I hold these works of Eric Orr very dear to my heart as I had the honor and the pleasure of representing and exhibiting the artist from 1984 until 1994, when I moved my gallery to Santa Monica. Eric Orr was an incredible artist and his works are vastly underappreciated in the context of both Light and Space works from the West Coast and his painting and sculpture of the Eighties and Nineties. I would highly recommend that you view the excellent film on his life and work recently released by his daughter, Elizabeth Orr. 

The film is called “Crazy Wisdom,” in honor of the kind of holy madness that Orr admired in Buddhist thought, and that he lived every moment of his life. Peggy Orr says that her husband was “a showman, a personality, a genius…” His friends, interviewed by Elizabeth for her film, concur, and have a few more comments on top of that. For your reference, you can view a two-minute trailer for this film online at the following link:

https://www.youtube.com/watch?v=9H77cb2ZrEI&feature=youtu.be

ERIC ORR (1939-1998)
Without Red, 1983
Oil, blood, and chinese hair on canvas with lead frame and gold leaf
29 × 24 × 1 1/2 in / 73.7 × 61 × 3.8 cm

In both his installations, sculpture and paintings, Eric Orr worked with elemental qualities of natural materials; stone, metal, water, and fire, gold leaf, lead, blood, human skull, and AM/FM radio parts. Orr worked with the phenomenological exploration of perception. His body of work also includes monochromatic paintings, and large-scale fountains (with water & fire). His work was influenced by a religio-philosophical conceptualization of space icons found in ancient religions and cultures, such as Egyptian symbolism and Buddhist Spiritualism. Orr is associated with Light and Space, a group of mostly West Coast artists whose work is primarily concerned with perceptual experience stemming from the viewer’s interaction with their work. “The space itself changes you, instead of an object.”

He was “an outlaw,” says Kent Hodgetts, “a raconteur,” says Larry Bell, “terrifically literate,” says Maurice Tuchman. Susan Kaiser Vogel remembers his “unconditional friendship,” and that he provided “adventures in the crazy zone.” Orr was, in fact, California’s version of Yves Klein, a metaphysical adventurer who was unafraid of limits and who saw potential where others saw impediments and voids.

By his death in 1998, Eric Orr had fearlessly taken his experiential art in an astonishing range of directions, while at the same time remaining interested in essential experiences and elements. He might have been surprised to find that his work has had a kind of reincarnation through the efforts of his children. “I also relate to early Buddhism in that I have no sense of the afterlife,” he once told me. “I think we’re like television sets, and when we die, the off button is pushed and the show is over.”

#laart #laartist #losangelesart #losangelesartist #losangelesartists #abstractart #modernart #contemporaryart #dailyart #instaart #artcollectors #artcollector #artcritic #collector #modernartist #contemporaryartist #abstractartist #artcollective #arte #kunst #markmoorefineart #markmooregallery #ericorr #crazywisdom

Vernon Fisher “Angel Face”: An Exclusive ARTSY Online Exhibition

View Now at: https://bit.ly/3i94elS

VERNON FISHER’s new paintings are typically enigmatic; at first they seem humorous, yet on further study they reveal deeper subtext and irony. The predominant images are from Otto Preminger’s largely forgotten 1952 film Angel Face, starring Robert Mitchum and Jean Simmons. As FISHER states:

It’s not a great movie, but I was interested in its generic film noir qualities, its “atmosphere,” and the fact that it wasn’t popular enough to be available on video – therefore there would be a minimum of nostalgic misreading. The actors and the genre provide a set of expectations for my misadventures with them in the paintings.

FISHER disrupts the atmosphere evoked by the film’s imagery with the addition of text and his familiar vignettes. There is a discrepancy between how each painting looks and what the added writing says. The text mimics typewriting, with numerous handwritten notations and corrections added, and is situated on each painting like a film subtitle. This serves to confuse the reading of the image and to further distance it from the cinematic source. The viewer is also engaged by the addition of the smaller, hovering vignettes, which may suggest anything from cartoon thought balloons to desktop icons.

Vernon Fisher was born in 1943 in Fort Worth, Texas. He studied English literature at the Hardin-Simmons University, where he received a BA in 1967. Vernon got his MFA in 1969, from the University of Illinois. As a true Fort Worth child, Fisher was raised and is still living in his hometown, where he enjoys appreciation as one of the Texas’s most internationally recognized artists.

The art of Vernon Fisher is included in the collections of more than 40 museums across the globe, such as the Hirshhorn Museum, Washington, D.C., Art Institute of Chicago, Modern Art Museum of Fort Worth, Phoenix Art Museum, Museum of Fine Arts, Houston, San Francisco Museum of Modern Art, Solomon R. Guggenheim Museum in New York and the Museum of Contemporary Art Chicago. The most important museum installation is in the collection of the famous Museum of Modern Art in New York.

#markmoorefineart #vernonfisher #artexhibition #artshow #painting #contemporarypainting #contemporaryart #artcollector #artcurator #artconsultant #artadvisor 

Mark Moore Fine Art is proud to present the first ARTSY online exclusive exhibition of work by Canadian-painter MICHAEL BATTY.

VIEW THIS SHOW NOW AT: https://bit.ly/3jprqfX

Michael Batty is a painter and a printmaker that operates with a formal language arising from a microcosm of the particle world. The minimalist pieces speak with geometry and line, and explores the balance between order and chaos by introducing random elements to the tightly rendered surfaces.

The artists builds up a webbed network of intersecting lines by cutting into the surface of the painting with a knife; creating thin ridges and minute grooves. The incised lines catch and divert the paint, creating a random ground of pigment with a shifting depth of color to create quantum imagery. 

In these works, the artistic creation is an open-ended play of traces in which the work gives up to a new kind of beauty, one that is mobile and elusive. Each image with its cicatrix seems to deal with the physical world, but give no easy name to their places. In a poststructuralist mode, using a non-traditional tool of a knife rather than a brush, Batty explores a tension, juxtaposing the hard edge of the knife with the soft flow of the paint, evoking a sense of infinity.

Also detectable in the work is a similar sensibility to the work of the Futurists, in their attempt to capture movement depicting it so as to convey a sense of dynamism of the contemporary world. These works allow the artist to remain open to the effects of chance, thereby facing his void – activating it with incisions that now mark him, as much as the work he produces. This discovery process is ongoing and non-linear. One edits only to find that the trace of what has been erased has reappeared, indeed, given rise to the eternal return. 

Michael Batty graduated from Emily Carr College of Art and Design in Vancouver in 1989 with a major in painting. He attended the renowned artist workshops in Emma Lake, Saskatchewan, and studied printmaking at The Art Institute at Capilano College in Vancouver. Batty’s paintings can be found in collections around the world, including the Waldorf Astoria in Beijing, China, W Guangzhou, China, Four Seasons, Dubai, UAE, and Bank of Montreal in Calgary and Toronto.

#artexhibition #artshow #painting #contemporarypainting #contemporaryart #artcollector #artcurator #artconsultant #artadvisor #laart #laartist #losangelesart #losangelesartist #losangelesartists #abstractart #modernart #contemporaryart #dailyart #instaart #artcollectors #artcollector #artcritic #collector #modernartist #contemporaryartist #abstractartist #artcollective #arte #kunst #michaelbatty #markmoorefineart #markmooregallery 

Energy and Motion: Abstraction 2020

June 18, 2020 – September 13, 2020

VIEW THIS EXCLUSIVE ARTSY ONLINE EXHIBITION HERE: https://bit.ly/36X540b

“Abstraction is energy and motion made visible – memories arrested in space.”  – Jackson Pollock

Mark Moore Fine Art presents an exclusive ARTSY online exhibition including 15 artists focused on Abstraction in “Energy and Motion: Abstraction 2020” on view now through September 13, 2020.

Including the work of:

• Charles Arnoldi
• Michael Batty
• Tim Bavington
• Alex Blau
• Tony DeLap
• Joshua Dildine
• Amy Myers
• Meghan Smythe
• Lisa Stefanelli
• Feodor Voronov
• Ben Weiner
• Jimi Gleason
• Kara Maria
• Julie Oppermann
• Robert Standish
• Eric Orr

For additional information, please visit our website or contact us at: info@markmoorefineart.com

http://www.markmoorefineart.com

#artist #art #modernart #contemporaryart #dailyart #instaart #instagood #contemporaryartist #kunst #artcollectors #artcollector #artconsultant #abstractartist #painting #markmoorefineart #chuckarnoldi #michaelbatty #timbavington #alexblau #tonydelap #joshuadildine #amymyers #meghansmythe #losastefanelli #feodorvorovov #benweiner #jimigleason #karamaria #julieoppermann #robertstandish