We are delighted and honored that Dirk Staschke‘s work, “Vanitas Vase Number 5” has been taken into the Permanent Collection of the Everson Museum through the Kottler Endowment. Dirk first visited the Everson in the mid-nineties as a graduate student and was in awe of their ceramics collection. He never imagined that one day my work would join it. Thank you to everyone @eversonmuseum !
Originally opening in 1897 as the Syracuse Museum of Fine Art, the Everson is a museum of firsts. It was the first museum to dedicate itself to the collection of American art, to create a permanent collection of ceramics, to collect video art, to create a docent program and to hire the now internationally-known architect I.M. Pei to design its building, a sculptural work of art in its own right. The Everson is home to approximately 11,000 works of art: American paintings, sculpture, drawings, video, graphics and one of the largest holdings of international ceramics in the nation.
Though formally varied, these artists and thier works frequently manipulate the roles of individual elements arranged in diverse visual populations. This often unearths unexpected patterns as the relationship between the part and the whole, the individual and the group, is explored.
Reflecting a natural attraction to popular culture and the day-to-day, their work regularly incorporates the use of common references and source material – the internet, Google, television, Flickr, catalogs, books, eBay, and Craigslist have all been the source of the data used in these artists works. The final compositions are exhibited as art objects, such as photographic prints and video installations, while others exist in a real-time software context.
All in all, these artist harvest this data as their palette to generate and reconfigure masses of communal material to present new perspectives on the familiar.
Though formally varied, these artists and thier works frequently manipulate the roles of individual elements arranged in diverse visual populations. This often unearths unexpected patterns as the relationship between the part and the whole, the individual and the group, is explored.
Reflecting a natural attraction to popular culture and the day-to-day, their work regularly incorporates the use of common references and source material – the internet, Google, television, Flickr, catalogs, books, eBay, and Craigslist have all been the source of the data used in these artists works. The final compositions are exhibited as art objects, such as photographic prints and video installations, while others exist in a real-time software context.
All in all, these artist harvest this data as their palette to generate and reconfigure masses of communal material to present new perspectives on the familiar.
Mark Moore Fine Art is pleased to present an exclusive ARTSY online exhibition of twelve new works by acclaimed artist and naturalist JOSEPH ROSSANO. In his work, Rossano engages and challenges the viewer to reflect upon humankind’s impact on our planet and its varied ecosystems.
“The EDNA Silhouettes” are provoked by the events of 2020. Collective angst prompted by a global pandemic, it’s associated shutdowns, quarantine, and travel restrictions, have resulted in a cloistering of ourselves and our families. It has engendered near monastic isolation — visits occurring in the ethers — cybernetically — as if our lives have become virtual realities.
For those in urban locales, confronting societal issues connected to race, gender, and economic inequality, organized demonstration, and rebellion have served as a counterpoint to others isolating themselves from the world. Such extremes in human behavior have, no doubt, resulted from prolonged introspection and rumination, a function of too much time alone.
As unrest has swept across the world, global climate change has not relented — forests — photosynthetic carbon sinks — have been ablaze. Creatures emblematic of the wild places that bring us hope have experienced another type of jeopardy. Their homes have been in question. And, as we come to understand why, the mirror turns on ourselves.
How will we conduct our lives moving forward to reverse an annual season of ash-filled skies? The silhouettes of these works portray animals as shadows moving through the ash of our time. The animal’s opaque outlines, rendered in tar, stand out against a turbid atmosphere — sine waves of our time over which they have no control. Their undiminished forms offer a hope that together, we will stand with an atmosphere over which we can take action.
Joseph Rossano, born to clinicians and research scientists, graduated from Louisiana State University as an artist. His path joined him, via mentorship, collaboration, and exhibition, with renowned artists and institutions including Dale Chihuly, Judy Pfaff, The Pilchuck Glass School, Waterford Crystal, Museum of Glass, the South Australia Museum, and Google. Integrating cutting edge technology and science with his art, Rossano engages and challenges the viewer to reflect upon mankind’s impact on our planet and its varied ecosystems. Much of Rossano’s youth was spent in New York’s Hudson Valley and Catskill Mountains, formative years that evolved a life focused on creating environmental awareness through Art. Rossano now lives and works 65 miles north of Seattle, his home and studio nestled in the temperate rain forests of the Pacific Northwest.
Though formally varied, these artists and thier works frequently manipulate the roles of individual elements arranged in diverse visual populations. This often unearths unexpected patterns as the relationship between the part and the whole, the individual and the group, is explored.
Reflecting a natural attraction to popular culture and the day-to-day, their work regularly incorporates the use of common references and source material – the internet, Google, television, Flickr, catalogs, books, eBay, and Craigslist have all been the source of the data used in these artists works. The final compositions are exhibited as art objects, such as photographic prints and video installations, while others exist in a real-time software context.
All in all, these artist harvest this data as their palette to generate and reconfigure masses of communal material to present new perspectives on the familiar.
Jeffry Mitchell has received critical acclaim for his mastery of painting, printmaking, sculpture, installation, and ceramics. He earned his Master of Fine Arts degree in printmaking from Temple University, Philadelphia in 1988. He has had one-person exhibitions at Henry Art Gallery, Seattle Art Museum, and the New Museum, New York. Mitchell has been artist-in-residence at the Pilchuck Glass School, Rhode Island School of Design, and Harvard University, and he has taught art at the Emily Carr Institute, the University of Washington, and Cornish School of the Arts. His work has been included in exhibitions at Portland Art Museum and the Philadelphia Museum of Art and will be the subject of a retrospective exhibition at Henry Art Gallery in 2012.
Heidi Schwegler Extinction Anxiety, 2017 Cast in white gold or rose gold (series of six – one each in 24k gold, white gold, rose gold, 18k gold, silver, and bronze) 1/2 × 1/2 × 1/2 in / 1.3 × 1.3 × 1.3 cm Edition of 1/1 (in a series of six)
Mark Moore Fine Art is proud to present the first ARTSY online exclusive exhibition of work by artist HEIDI SCHWEGLER. In this exhibition of recent work, we examine the artist’s examination of the lives of objects and the transference of memory. This show opens to the public on Thursday.
Heidi Schwegler (b. 1967 in San Antonio, TX) explores a wide range of materials in the service of her subject matter. She is drawn to the peripheral ruin, modifying discarded objects to give them a new sense of purpose. There is an equilibrium inherent in such things – they float between endurance and decay, a living death. In this exclusive ARTSY online exhibition, we survey the recent work of this fascinating artist.
Schwegler’s numerous shows include exhibitions at the Co/Lab Art Fari (CA), Raid Projects, (CA), Platform China (Beijing), Scope Art 2004 (NY), and the Hallie Ford Museum (OR). Schwegler is a recent Ford Family Fellow, received a 2010 MacDowell Colony Fellowship and several RACC Individual Project Grants. Reviews of Schwegler’s work have appeared in Art in America, Daily Serving, ArtNews and the Huffington Post. She earned her MFA from the University of Oregon and is Chair of the MFA in Applied Craft + Design, a joint program of Oregon College of Art and Craft, and the Pacific Northwest College of Art.
Jeffry Mitchell has received critical acclaim for his mastery of painting, printmaking, sculpture, installation, and ceramics. He earned his Master of Fine Arts degree in printmaking from Temple University, Philadelphia in 1988. He has had one-person exhibitions at Henry Art Gallery, Seattle Art Museum, and the New Museum, New York. Mitchell has been artist-in-residence at the Pilchuck Glass School, Rhode Island School of Design, and Harvard University, and he has taught art at the Emily Carr Institute, the University of Washington, and Cornish School of the Arts. His work has been included in exhibitions at Portland Art Museum and the Philadelphia Museum of Art and will be the subject of a retrospective exhibition at Henry Art Gallery in 2012.
Jeffry Mitchell has received critical acclaim for his mastery of painting, printmaking, sculpture, installation, and ceramics. He earned his Master of Fine Arts degree in printmaking from Temple University, Philadelphia in 1988. He has had one-person exhibitions at Henry Art Gallery, Seattle Art Museum, and the New Museum, New York. Mitchell has been artist-in-residence at the Pilchuck Glass School, Rhode Island School of Design, and Harvard University, and he has taught art at the Emily Carr Institute, the University of Washington, and Cornish School of the Arts. His work has been included in exhibitions at Portland Art Museum and the Philadelphia Museum of Art and will be the subject of a retrospective exhibition at Henry Art Gallery in 2012.
Mark Moore Fine Art is proud to present the first ARTSY online exclusive exhibition of work by artist HEIDI SCHWEGLER closing January 17th. In this exhibition of recent work, we examine the artist’s examination of the lives of objects and the transference of memory.
Heidi Schwegler (b. 1967 in San Antonio, TX) explores a wide range of materials in the service of her subject matter. She is drawn to the peripheral ruin, modifying discarded objects to give them a new sense of purpose. There is an equilibrium inherent in such things – they float between endurance and decay, a living death. In this exclusive ARTSY online exhibition, we survey the recent work of this fascinating artist.
Schwegler’s numerous shows include exhibitions at the Co/Lab Art Fari (CA), Raid Projects, (CA), Platform China (Beijing), Scope Art 2004 (NY), and the Hallie Ford Museum (OR). Schwegler is a recent Ford Family Fellow, received a 2010 MacDowell Colony Fellowship and several RACC Individual Project Grants. Reviews of Schwegler’s work have appeared in Art in America, Daily Serving, ArtNews and the Huffington Post. She earned her MFA from the University of Oregon and is Chair of the MFA in Applied Craft + Design, a joint program of Oregon College of Art and Craft, and the Pacific Northwest College of Art.
MMFA Presents An Exclusive ARTSY Online Group Exhibition titled LOOK TO THE SKIES featuring artists Lita Albuquerqu… twitter.com/i/web/status/1…1 day ago
On View Now: LOOK TO THE SKIES featuring artists Lita Albuquerque; Josh Azzarella; Mark Bennett; Dennis Ekstedt; Pe… twitter.com/i/web/status/1…3 days ago
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