Mark Moore Fine Art is very pleased to present an Exclusive ARTSY Online Exhibition of six new works by Southern California artist JIMI GLEASON titled “Amor Fati”.
“In Gleason’s deliciously unnatural abstractions, the devil is not in the details only because diabolical beauty spills so profusely from every nook and cranny. His densely textured surfaces are a cornucopia of unimaginable delights.” – Art Critic DAVID PAGEL (Los Angeles Times)
Gleason is now the subject of considerable curatorial and critical applause. His work is exhibited in significant public institutions, including the Armand Hammer Museum, the Long Beach Museum of Art, the Seattle Art Museum, the Tucson Museum of Art and the Frederick R. Weisman Art Foundation. The artist’s paintings are actively collected by a growing number of major public and private collections around the world.
Mark Moore Fine Art is very pleased to present an Exclusive ARTSY Online Exhibition by artist BETH LIPMAN featuring selections available for the first time from her recent exhibition at the Wichita Art Museum, “All in Time”, a mid-career retrospective of the artist featuring her work from the mid-2000s through today.
Beth Lipman is an American artist whose sculptural practice explores aspects of material culture and deep time through still lives, site-specific installations, and photographs. Ephemeral and intricate, the work addresses mortality, materiality, and temporality. Lipman is also known for site responsive installations that activate the specific history of objects, individuals, and institutions. ReGift, a site-specific installation investigating Florence Scott Libbey, will be on view at the Toledo Museum of Art in the summer of 2023.
The work generates from the “Still Life” genre, symbolizing the splendor and excess of the Anthropocene and the stratigraphic layer humanity will leave on earth. Assemblages of inanimate objects and domestic interiors, inspired by private spaces and public collections, propose portraits of individuals, institutions, and societies. The collision of sacred and profane artifacts with aspects of the natural world focuses attention on the evolving set of beliefs stemming from the narrative power of objects. Referencing both tangible and digital archives further unravel socially constructed hierarchies as the installations invite the viewers to step into uncanny webs of association.
She has received numerous awards including a USA Berman Bloch Fellowship, Pollock Krasner Grant, Virginia Groot Foundation Grant, and a Louis Comfort Tiffany Foundation Grant. Recent works include Living History, a large-scale site-specific sculpture that explores the dual concepts of deep maps and deep time and Belonging(s) a sculptural response to the life of Abigail Levy Franks for the Crystal Bridges Museum of American Art (AR).
Lipman has exhibited her work internationally at such institutions as the Ringling Museum of Art (FL), ICA/MECA (ME), RISD Museum (RI), Milwaukee Art Museum (WI), Gustavsbergs Konsthall (Sweden) and the Renwick Gallery of the Smithsonian American Art Museum (DC). Her work has been acquired by numerous museums including the North Carolina Museum of Art, Brooklyn Museum of Art (NY), Kemper Museum for Contemporary Art (MO), Smithsonian American Art Museum (DC), Jewish Museum (NY), Norton Museum of Art, (FL), and the Corning Museum of Glass (NY).
Mark Moore Gallery is pleased to announce the release of a new major wall sculpture work by gallery artist YORAM WOLBERGER. The first of this series is now available for presale at this time.
Of this work, Wolberger writes:
“A commonly used, mass-produced shopping bag, stamped with the iconic graphic of a red Poppy and “Thank You”, escaped an overloaded trash bin near a Mall’s food court. It has been lifted high up into the air, following us on our way back home, floating over the city’s buildings, highways, and bridges. We watch it struggling to transform its beaten and wrinkled form, as if it is trying to elevate its existence, from a utilitarian by-product of consumerism to a featherlike, translucent spectacle with a new destiny.”
“My art strives to manipulate and challenge perceptions of the familiar through a variety of sculptural interventions. I often choose to work with everyday, culturally familiar iconic objects to which we attach deep-seated and often unconscious meanings. Transformed beyond their original context, these objects suggest new associations and provoke fresh insights into their larger societal relevance and influence.”
Wolberger’s (b. 1963, Tel Aviv, Israel) works have been acquired for the permanent collections of the Brooklyn Museum of Art (NY), Frederick R. Weisman Foundation (CA), the Orange County Museum of Art (CA), Sweeney Art Gallery, University of California Riverside (CA) and the McNay Art Museum (TX). The artist lives and works in San Francisco, CA.
Mark Moore Fine Art is very pleased to present an Exclusive ARTSY Online Exhibition by artist BETH LIPMAN featuring selections available for the first time from her recent exhibition at the Wichita Art Museum, “All in Time”, a mid-career retrospective of the artist featuring her work from the mid-2000s through today.
Beth Lipman is an American artist whose sculptural practice explores aspects of material culture and deep time through still lives, site-specific installations, and photographs. Ephemeral and intricate, the work addresses mortality, materiality, and temporality. Lipman is also known for site responsive installations that activate the specific history of objects, individuals, and institutions. ReGift, a site-specific installation investigating Florence Scott Libbey, will be on view at the Toledo Museum of Art in the summer of 2023.
The work generates from the “Still Life” genre, symbolizing the splendor and excess of the Anthropocene and the stratigraphic layer humanity will leave on earth. Assemblages of inanimate objects and domestic interiors, inspired by private spaces and public collections, propose portraits of individuals, institutions, and societies. The collision of sacred and profane artifacts with aspects of the natural world focuses attention on the evolving set of beliefs stemming from the narrative power of objects. Referencing both tangible and digital archives further unravel socially constructed hierarchies as the installations invite the viewers to step into uncanny webs of association.
She has received numerous awards including a USA Berman Bloch Fellowship, Pollock Krasner Grant, Virginia Groot Foundation Grant, and a Louis Comfort Tiffany Foundation Grant. Recent works include Living History, a large-scale site-specific sculpture that explores the dual concepts of deep maps and deep time and Belonging(s) a sculptural response to the life of Abigail Levy Franks for the Crystal Bridges Museum of American Art (AR).
Lipman has exhibited her work internationally at such institutions as the Ringling Museum of Art (FL), ICA/MECA (ME), RISD Museum (RI), Milwaukee Art Museum (WI), Gustavsbergs Konsthall (Sweden) and the Renwick Gallery of the Smithsonian American Art Museum (DC). Her work has been acquired by numerous museums including the North Carolina Museum of Art, Brooklyn Museum of Art (NY), Kemper Museum for Contemporary Art (MO), Smithsonian American Art Museum (DC), Jewish Museum (NY), Norton Museum of Art, (FL), and the Corning Museum of Glass (NY).
PREVIEWED: @MarkMooreGallery is pleased to present nine new works from Cassandras C. Jones‘ acclaimed LIGHTNING DRAWINGS in an exclusive ARTSY online exhibition opening September 14, 2022.
Cassandra C. Jones is a remix artist and storyteller. She uses digital photography to create collage works, large-scale installations, and videos that spin a narrative and present a prismatic reflection of our contemporary, consumerist, technology-based lifestyles. Jones does this to offer a space of possibility, discovery, and growth.
In a nod to traditional mark-making techniques, the series entitled “Lightning Drawings” connects photographs of lightning bolts, end to end, to create continuous lines that are distinctively wavy, tapered, scribbled, delicate, dashed, etc. (referring to the circles). I also use this approach of “line quality” to make large-scale drawings of urban animals in mid-air. Existing within a pile of photographs, dogs and rabbits appear to be leaping through time, space, and different rural and suburban locals. This has become an analogy for the way I navigate through the sea of photos that I collect and utilize.
Cassandra C. Jones received her BFA from California College of Art and her MFA from Carnegie Mellon University. Her work has shown in venues throughout the US and Europe, including Mass MoCA in North Adams, MA, and Prix Ars Electronica in Linz, Austria. Jones has taken part in Invitational Only residencies at The Drake Hotel in Toronto, ON, the Egon Schiele Art Centrum in Český Krumlov, CZ, Virginia Common Wealth University in Richmond, VA, and Taft Gardens Nature Preserve in Ojai, CA. Recently, her video work was purchased and included in three exhibitions at the Museum of Fine Arts in Houston, TX. And nominated by the Museum of Contemporary Art in Santa Barbara, Jones received a commission to design two tile murals at Paseo Nuevo Mall that went up in 2020.
Todd Hebert is known for his playful use of scale and focus in paintings and works on paper that depict objects within distilled outdoor settings. “This Way, That Way, Up, and Down” finds Hebert continuing his unique synthesis of still life and landscape traditions, as well as ushering in a new material direction for his work.
While Hebert has always employed a variety of materials in his works on paper, the illusionistic effects in his paintings have been achieved largely through the use of an airbrush. In recent years, he has turned to a more traditional method for developing the indistinctness and depth associated with his work: he applies brushy layers of paint over rough surfaces of hemp, jute, or linen canvas. The resulting interplay of color, shape, and texture characterizes the work in the show.
Those acquainted with Hebert’s work will notice familiar imagery throughout the exhibition. But instead of finding his subjects displayed before identifiable scenery, viewers will discover them set within monochromatic fields that seem at once vast, and very close.
The icebergs, snowmen, and plastic water bottles that populate the works are realistically rendered, yet they attain an abstract quality due to disparities in their scale and spatial position. In one work, an out-sized water bottle appears leaden, anchored to the bottom of a blue expanse. In another, a diminished iceberg hovers weightless atop a white plane. In compositions such as these, Hebert presents a world where figurative distinctions like heaviness and lightness; surface and depth; mundanity and monumentality; are suspended, primed for reconsideration.
For additional information, please contact: info@markmoorefineart.com
Todd Hebert is known for his playful use of scale and focus in paintings and works on paper that depict objects within distilled outdoor settings. “This Way, That Way, Up, and Down” finds Hebert continuing his unique synthesis of still life and landscape traditions, as well as ushering in a new material direction for his work.
While Hebert has always employed a variety of materials in his works on paper, the illusionistic effects in his paintings have been achieved largely through the use of an airbrush. In recent years, he has turned to a more traditional method for developing the indistinctness and depth associated with his work: he applies brushy layers of paint over rough surfaces of hemp, jute, or linen canvas. The resulting interplay of color, shape, and texture characterizes the work in the show.
Those acquainted with Hebert’s work will notice familiar imagery throughout the exhibition. But instead of finding his subjects displayed before identifiable scenery, viewers will discover them set within monochromatic fields that seem at once vast, and very close.
The icebergs, snowmen, and plastic water bottles that populate the works are realistically rendered, yet they attain an abstract quality due to disparities in their scale and spatial position. In one work, an out-sized water bottle appears leaden, anchored to the bottom of a blue expanse. In another, a diminished iceberg hovers weightless atop a white plane. In compositions such as these, Hebert presents a world where figurative distinctions like heaviness and lightness; surface and depth; mundanity and monumentality; are suspended, primed for reconsideration.
For additional information, please contact: info@markmoorefineart.com
Todd Hebert is known for his playful use of scale and focus in paintings and works on paper that depict objects within distilled outdoor settings. “This Way, That Way, Up, and Down” finds Hebert continuing his unique synthesis of still life and landscape traditions, as well as ushering in a new material direction for his work.
While Hebert has always employed a variety of materials in his works on paper, the illusionistic effects in his paintings have been achieved largely through the use of an airbrush. In recent years, he has turned to a more traditional method for developing the indistinctness and depth associated with his work: he applies brushy layers of paint over rough surfaces of hemp, jute, or linen canvas. The resulting interplay of color, shape, and texture characterizes the work in the show.
Those acquainted with Hebert’s work will notice familiar imagery throughout the exhibition. But instead of finding his subjects displayed before identifiable scenery, viewers will discover them set within monochromatic fields that seem at once vast, and very close.
The icebergs, snowmen, and plastic water bottles that populate the works are realistically rendered, yet they attain an abstract quality due to disparities in their scale and spatial position. In one work, an out-sized water bottle appears leaden, anchored to the bottom of a blue expanse. In another, a diminished iceberg hovers weightless atop a white plane. In compositions such as these, Hebert presents a world where figurative distinctions like heaviness and lightness; surface and depth; mundanity and monumentality; are suspended, primed for reconsideration.
For additional information, please contact: info@markmoorefineart.com
Todd Hebert is known for his playful use of scale and focus in paintings and works on paper that depict objects within distilled outdoor settings. “This Way, That Way, Up, and Down” finds Hebert continuing his unique synthesis of still life and landscape traditions, as well as ushering in a new material direction for his work.
While Hebert has always employed a variety of materials in his works on paper, the illusionistic effects in his paintings have been achieved largely through the use of an airbrush. In recent years, he has turned to a more traditional method for developing the indistinctness and depth associated with his work: he applies brushy layers of paint over rough surfaces of hemp, jute, or linen canvas. The resulting interplay of color, shape, and texture characterizes the work in the show.
Those acquainted with Hebert’s work will notice familiar imagery throughout the exhibition. But instead of finding his subjects displayed before identifiable scenery, viewers will discover them set within monochromatic fields that seem at once vast, and very close.
The icebergs, snowmen, and plastic water bottles that populate the works are realistically rendered, yet they attain an abstract quality due to disparities in their scale and spatial position. In one work, an out-sized water bottle appears leaden, anchored to the bottom of a blue expanse. In another, a diminished iceberg hovers weightless atop a white plane. In compositions such as these, Hebert presents a world where figurative distinctions like heaviness and lightness; surface and depth; mundanity and monumentality; are suspended, primed for reconsideration.
For additional information, please contact: info@markmoorefineart.com
Many may know Sterling Allen from his work over the last decade as one of the foiunders of the OKAY MOUNTAIN Art Collective. I am pleased now to introduce you to the work of Sterling Allen created outside of that collaboration in an exclusive ARTSY online exhibition titled, “Damage Control” – which you can view here now: https://bit.ly/3Cq2rWs
Sterling Allen holds a BFA from the University of Texas at Austin and an MFA in Sculpture from the Milton Avery Graduate School of Arts at Bard College. He is a co-founder of Okay Mountain, a collective and former gallery based in Austin, Texas. He has exhibited, organized, and completed projects at venues throughout the United States and received several residencies including the Artpace International Artist-In-Residence Program in San Antonio, TX and a residency at the Bemis Center for Contemporary Arts in Omaha, NE.
The works in this show were created for an exhibition in Austin, Texas with Partial Shade and Co-Lab Projects titled “A Pit Fire”. The first weekend consisted of a pit fire, followed by an exhibition of the resulting fired ceramic objects. The contents of the fire dictate the surface color and texture of the objects. The methods for creating different surfaces reframe domestic materiality as a series of chemical actions/reactions, compounds, and sensitivities. Vapors from burning sawdust, copper, newsprint, compost etc. enter the open pores of the objects, resulting in a pattern shaped by context and environment— residual evidence of contact.
The works were then presented in Sterling Allen’s project “Our New Room” – a series of temporary site-specific installations in unsanctioned spaces that address some of the issues inherent in thinking about objects, site, sculpture, and photography. This body of work is presented as a full-color publication, alongside a feature essay by art historian Sarah Hamill, a sequence of poems by Christopher Rey Pérez, a short essay by Emily Lee, and an interview conducted by fellow artist Ian Pedigo. Book design in collaboration with French & Michigan and M. Wright. (http://www.frenchandmichigan.com/store/sterling-allen).
Allen has exhibited at numerous venues including the Contemporary Arts Museum Houston, Utah Museum of Contemporary Art, the Southeastern Center for Contemporary Art, and VOLTA NY. He has been twice nominated for an Art Matters Grant and was recently awarded a Rauschenberg Foundation Residency. His work is in the permanent collections of the Museum of Fine Arts, Houston and the Jack S. Blanton Museum of Art. Sterling lives and works in Austin, TX and is currently an Associate Professor at Texas State University.
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