Timothy Bavington, Associate Professor of Art, College of Fine Arts
April 7, 2017
(Josh Hawkins/UNLV Creative Services)
Mark Moore Fine Art is pleased to announce our new video channel on Youtube and the addition of several new short video interviews that have just been added to this site for your reference.
We would invite you to check out the MARK MOORE FINE ART VIDEO CHANNEL and encourage you to subscribe to future videos at the following link: https://bit.ly/3bKCPVg
In total we have nearly fifty new or recent videos featuring nearly 100 artists posted there for you to view – and that list grows weekly. In these interviews, the artist each discuss their backgrounds, the development of their work, the concepts and ideas behind it, and we look at some of the artist’s most acclaimed and recent pieces.
For additional information on our artist program and available work, please go to our website at http://www.markmoorefineart.com or check out their artist page on ARTSY at the following link:
@MarkMooreGallery presents an exclusive ARTSY Online Exhibition of twenty benchmark works by artist KIM RUGG on view June 2 – August 7, 2022. View KIM RUGG: IN RETROSPECT at: https://bit.ly/3LoLgFC
With surgical blades and a meticulous hand, Kim Rugg (b. 1963, Canada) dissects and reassembles newspapers, stamps, comic books, cereal boxes and postage stamps in order to render them conventionally illegible. The front page of the LA Times becomes neatly alphabetized jargon, debunking the illusion of its producers’ authority as much as the message itself. Through her re-appropriation of medium and meaning, she effectively highlights the innately slanted nature of the distribution of information as well as its messengers. Rugg has also created hand-drawn works alongside wallpaper installations, both of which toy with authenticity and falsehood through subtle trompe l’oeil. In her maps, Rugg re-envisions the topography of various states, countries, continents, and even the world without borders, featuring a staggeringly precise hand-drawn layout with only city names and regions as reference points. In own sense of abstracted cartography, Rugg redistributes traditional map colors (or eliminates them entirely) in order to nullify the social preeminence given to constructed territories, and highlight the idea that our attention is manipulated to focus on the powerful few instead of the physical many.
ON VIEW NOW: @markmooregallery is pleased to introduce the work of artist Kurt Lightner in an exclusive ARTSY online exhibition of New Paintings. You can view this work now at this link: https://bit.ly/3IpxK30
Lightner has been a recipient of the Pollock-Krasner Foundation Grant, and The Headlands Center for the Arts Project Studio Residency in San Fransisco. Lightner’s works are included in many private and public collections both nationally and internationally.
On View Now: @MarkMooreGallery presents an exclusive ARTSY Online Exhibition of twelve recent paintings by artist DENNIS EKSTEDT. View this show now at: https://bit.ly/3ITPGCY
In Ekstedt’s latest paintings he depicts human populations as web-like networks of light particles spun over the landscape. In these paintings, clusters of undulating lights populate vast and dramatic terrains that are literally electrified by human habitation. Ekstedt is interested in depicting populations in movement that represent the uncontrolled growth of human habitation on the global landscape. In some of his paintings he depicts masses of people, represented by particles of light, that are engaged in spectacle, celebration, and ritual. Ekstedt has long been intrigued by how networks of lights can physically mark a landscape while at the same time ethereally transcending it, resembling a schematic plan that depicts a kind of celestial order.
Dennis Ekstedt is an artist who lives and works in Montreal, Canada. He received his Diploma in Fine Arts in 1986 from Emily Carr Institute of Art and Design in Vancouver B.C and his M.F.A in 1993 from Concordia University in Montreal. He was the Eastern Canada winner of the RBC Canadian Painting Competition in 2002 and his paintings are included in many international public, corporate and private collections. He has exhibited in Canada, France, and the U.S.
ON VIEW NOW: @markmooregallery is pleased to introduce the work of artist Kurt Lightner in an exclusive ARTSY online exhibition of New Paintings. You can view this work now at this link: https://bit.ly/3IpxK30
Lightner has been a recipient of the Pollock-Krasner Foundation Grant, and The Headlands Center for the Arts Project Studio Residency in San Fransisco. Lightner’s works are included in many private and public collections both nationally and internationally.
For twenty years, Los Angeles painter Robert Standish had been abstracting reality by altering his own powerful and moving photorealistic paintings of daily life. Seven years ago, Standish shifted away from constructing lifelike replicas of the world, and into an investigation of the unconscious unknown through abstraction. His move into an Abstract Expressionist “wet-on-wet” technique developed in tandem with his interests in cosmology and topography, in addition to psychological theory – namely, Dr. Carl Jung’s notion and analysis of the human psyche.
In his newest work, Standish revisits the essential element of his early style of photorealistic painting, namely, a photo reference, but through his more recent lens of abstraction. Fed up with biased news reporting, Standish sources his imagery from top U.S. and world news stories; often selecting photos from the Internet and various social media platforms associated with polarizing content. By unifying his disparate techniques, he gradually manipulates the palette and texture of the original image to change the representation of its featured subject – and subsequently, the viewer’s interpretation of it. Transcendence being a consistent theme of his practice, Standish’s newest work is true to his rejection of the finite, and his proclivity for the universal.
Detail Image
Robert Standish is an American painter living and working in Los Angeles whose organic process reveals the emotive effects of color, line, and texture. Inspired by the color-field painters, Abstract Expressionism, and Abstract Spritualism, Standish’s free-flowing use of paint is his way of exploring abstraction, composition and transcendence. His works can be found in the permanent collections of the Los Angeles County Museum of Art, JP MORGAN CHASE, Weisman Foundation, Lancaster Museum of Art and History, Nora Eccles Harrison Museum of Art, Crocker Art Museum, Louis K. Meisel, Larry and Marilyn Fields, Patricia Arquette, Norwest Venture Partners, and BRYANT/ STIBEL, along with numerous other acclaimed collections. Standish’s paintings have been exhibited internationally in galleries and museums, including group shows at the Carnegie Art Museum, Frederick R Weisman Museum of Art, a duo show with Sam Francis at Martin Lawrence Gallery, and a solo show at the Museum of Art and History, Lancaster.
The photographs, slides, and negatives of paintings, sculptures, and fountains by contemporary artist Eric Orr have recently been acquired by the Getty Research Institute (GRI). The archive also includes schematic drawings and plans for Orr’s public works, as well as ephemera, clippings, and administrative files that detail his life and practice.
Eric Orr (1939-1998) is a key figure of the Light and Space movement in Southern California. Born in 1939 in Covington, Kentucky, Orr graduated from the Kentucky Military Institute in 1958 and spent his early years traveling across the United States and Cuba. He briefly attended the University of Cincinnati in the early 1960s, where he produced his first sculpture, Colt .45, a work later known as Saturday Night Special. The work featured a mounted pistol facing a chair; viewers could sit and control the pistol via a foot pedal. Orr participated in civil rights protests in Mississippi in 1964 before relocating to Los Angeles in 1965, where he began to produce performances, sound art, and perceptual installations, using the elemental qualities of silence, sound, darkness, and light as material. Among these works was Zero Mass (1972-1973), an immersive 38-foot-long installation made of paper, where up to five people could enter a dark oval chamber and, after 10 to 12 minutes, experience altered vision from the lack of spatial perception. Developing alongside both Southern California conceptual art and the perceptual-based installations commonly associated with Light and Space art, Orr’s work spanned a variety of artistic practices that challenged the definition of artmaking while also incorporating a broad range of cultural references, including space icons found in ancient religions and cultures, Egyptian symbolism, and Buddhist spiritualism. From the 1970s onward, Orr created a diverse body of atmospheric monochrome paintings using airbrushing and oil paint, wall-mounted sculptures, and public artworks which incorporated a variety of elements including fire, water, gold, volcanic ash, meteorite dust, and his own blood.Orr participated in a number of international exhibitions during his life, including documenta VII (1982), the Sydney Biennale (1986), and the Venice Biennale (1986). His work can be found in many public and private collections, including the Los Angeles County Museum of Art; the Whitney Museum of American Art, New York; the Solomon R. Guggenheim Museum, New York; the San Francisco Museum of Modern Art; and the Centre Pompidou, Paris; Orr died in Venice, California, in 1998.
The archive will be open to researchers and is among numerous archives at the GRI related to the Light and Space movement and Southern California artists and curators, making it the ideal home for his legacy.
ON VIEW NOW: @markmooregallery is pleased to introduce the work of artist Kurt Lightner in an exclusive ARTSY online exhibition of New Paintings. You can view this work now at this link: https://bit.ly/3IpxK30
Lightner has been a recipient of the Pollock-Krasner Foundation Grant, and The Headlands Center for the Arts Project Studio Residency in San Fransisco. Lightner’s works are included in many private and public collections both nationally and internationally.
ON VIEW NOW: @markmooregallery is pleased to introduce the work of artist Kurt Lightner in an exclusive ARTSY online exhibition of New Paintings. You can view this work now at this link: https://bit.ly/3IpxK30
Lightner has been a recipient of the Pollock-Krasner Foundation Grant, and The Headlands Center for the Arts Project Studio Residency in San Fransisco. Lightner’s works are included in many private and public collections both nationally and internationally.
@MarkMooreGallery presents an exclusive ARTSY Online Exhibition of twenty benchmark works by artist KIM RUGG on view June 2 – August 7, 2022. View KIM RUGG: IN RETROSPECT at: https://bit.ly/3LoLgFC
With surgical blades and a meticulous hand, Kim Rugg (b. 1963, Canada) dissects and reassembles newspapers, stamps, comic books, cereal boxes and postage stamps in order to render them conventionally illegible. The front page of the LA Times becomes neatly alphabetized jargon, debunking the illusion of its producers’ authority as much as the message itself. Through her re-appropriation of medium and meaning, she effectively highlights the innately slanted nature of the distribution of information as well as its messengers. Rugg has also created hand-drawn works alongside wallpaper installations, both of which toy with authenticity and falsehood through subtle trompe l’oeil. In her maps, Rugg re-envisions the topography of various states, countries, continents, and even the world without borders, featuring a staggeringly precise hand-drawn layout with only city names and regions as reference points. In own sense of abstracted cartography, Rugg redistributes traditional map colors (or eliminates them entirely) in order to nullify the social preeminence given to constructed territories, and highlight the idea that our attention is manipulated to focus on the powerful few instead of the physical many.
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