ROBERT STANDISH Streams of an Alternating Current, 2016 Acrylic on canvas 48 x 60 inches Collection of the Crocker Art Museum (Sacremento)
Mark Moore Fine Art is pleased to announce the Crocker Art Museum’s acquisition of a major work by Robert Standish, “Streams of an Alternating Current” from2016 for it’s permanent collection.
Robert Standish is an American painter living and working in Los Angeles whose organic process reveals the emotive effects of color, shape, 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, The Weisman Foundation, 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 and solo show at the Museum of Art and History, Lancaster.
The Crocker Art Museum, formerly the E. B. Crocker Art Gallery, founded in 1885, is the oldest art museum west of the Mississippi River. Located in Sacramento, California, the Museum holds one of the state’s premier collections of Californian art.
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.
Amy Elkins (b. 1979 Venice, CA) is a photographer currently based in the Greater Los Angeles area. She received her BFA in Photography from the School of Visual Arts in New York City. She has been exhibited and published both nationally and internationally, including at The High Museum of Art in Atlanta, GA; Kunsthalle Wien in Vienna, Austria; the Center for Creative Photography in Tucson, AZ; the Minneapolis Institute of Arts; North Carolina Museum of Art; Light Work Gallery in Syracuse, Aperture Gallery and Yancey Richardson Gallery in New York, De Soto Gallery in Los Angeles, the Houston Center for Photography in Houston, TX among others.
Elkins has been awarded The Lightwork Artist-in-Residence in Syracuse, NY in 2011, the Villa Waldberta International Artist-in-Residence in Munich, Germany in 2012, the Aperture Prize and the Latitude Artist-in-Residence in 2014 and The Peter S. Reed Foundation Grant in 2015.
Elkins’ first book Black is the Day, Black is the Night won the 2017 Lucie Independent Book Award. It was Shortlisted for the 2017 Mack First Book Award and the 2016 Paris Photo-Aperture Foundation Photobook Prize as well as listed as one of the Best Photobooks of 2016 by TIME, Humble Arts Foundation, Photobook Store Magazine and Photo-Eye among others.
Her work stems out of an exploration of masculinity and male identity often within constructed or impermanent environments. Elkins’ earlier work, Wallflower (2004-2008), looks into the nuances of gender identity, vulnerability and the female gaze. She later went on to investigate aspects of male identity and athleticism through projects Elegant Violence (2010), where she documented young Ivy League rugby players moments after a game and Danseur (2012), looking to young male ballet dancers moments after intensive training.
In 2016 Elkins returned to the Wallflower portrait. Though unlike the original series, which aimed the lens at cisgender men almost entirely photographed within her personal space, Wallflower II explores a much broader sense of masculine identity- shot in the personal space of strangers in urban and rural Georgia upon first meeting and found through online calls / searches surrounding ideas of masculinity and gender in the American South. The work aims to confront socially constructed ideas and standards surrounding both gender and masculinity, vulnerability and beauty.
In 2009 Elkins began working on Black is the Day, Black is the Night, which stretched over a span of 8 years. The project explores how memory and notions of self are impacted by isolation and long term imprisonment. This work was made directly through correspondence with men serving life and death row sentences in some of the most maximum security prisons in the US. It is often shown side by side with Parting Words, a visual and macabre archive created out of state sourced material of the 500+ prisoners to date executed in the state of Texas.
Check out the feature on artist AMY ELKINS’ Project “Black is the Day, Black is the Night” featured in WSI Magazine currently on view as on exclusive online exhibition on ARTSY:
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.
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). 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.
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.
The Eric Orr documentary archive and papers are now part of Getty Special Collections
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.
Heidi Schwegler works in the interstitial ruins of Beijing, Los Angeles, New York City and suburban America. She rescues haphazardly disused scraps from the bowels of the megalopolis: chicken bones, Big Gulps, broken signs, lost shoes, crumpled pylons, take out containers. Plastic, fiber, and bone: these materials decay but never decompose. A peerless craftsperson, she resynthesizes her sources into facsimiles with cast glass, gold, silver, wax, resulting in artwork that persists in a “living death.” Recent exhibition venues include WBG London Projects (London), Asphodel (New York), Sheldon Museum (Lincoln, NE), and the Portland Art Museum (Portland, Oregon). Schwegler is a Ford Family Fellow, a MacDowell Colony Fellow, and a Yaddo Artist-in- Resident. Reviews of Schwegler’s work have appeared in Art in America, Daily Serving, ArtNews, Modern Painters, and the Huffington Post. Schwegler is the founder of the Yucca Valley Material Lab, a platform for making and thinking.
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). 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.
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