Mark Moore Fine Art Blog

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

Mark Moore Fine Art in partnership with Traver Gallery is proud to present an exclusive ARTSY online exhibition titled “IVORY.125” by artist Joseph Rossano which is on view now at The Pilchuck Gallery in Seattle through the Summer.

VIEW THIS SHOW NOW AT: https://bit.ly/3jKZ00R

ABOUT IVORY.125

Using an artistic rendering of the fossil record, past, present, and future, the exhibition reveals how our legacy as a species is inexorably tied to a value system designed to insure familial survival. Towards the transmission of this reality, Ivory exposes viewers to the global trade in illegal animal parts, it’s flawed connection to power, and its devastating effects.

THE PILCHUCK GALLERY

240 Second Avenue South, Suite 100,

Seattle WA, 98104

https://www.pilchuck.org/exhibitions

PRESENTED IN PARTNERSHIP WITH TRAVER GALLERY

ABOUT THE ARTIST

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.

Learn more at rossanostudio.com

#markmoorefineart #markmooregallery #artexhibition #artshow #painting #contemporarypainting #contemporaryart #artcollector #artcurator #artconsultant #artadvisor #josephrossano #ivory125

Michael Batty: Traces – Opening September 10, 2020

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 

Mark Moore Fine Art in partnership with Traver Gallery is proud to present an exclusive ARTSY online exhibition titled “IVORY.125” by artist Joseph Rossano which is on view now at The Pilchuck Gallery in Seattle through the Summer.

VIEW THIS SHOW NOW AT: https://bit.ly/3jKZ00R

ABOUT IVORY.125

Using an artistic rendering of the fossil record, past, present, and future, the exhibition reveals how our legacy as a species is inexorably tied to a value system designed to insure familial survival. Towards the transmission of this reality, Ivory exposes viewers to the global trade in illegal animal parts, it’s flawed connection to power, and its devastating effects.

THE PILCHUCK GALLERY

240 Second Avenue South, Suite 100,

Seattle WA, 98104

https://www.pilchuck.org/exhibitions

PRESENTED IN PARTNERSHIP WITH TRAVER GALLERY

ABOUT THE ARTIST

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.

Learn more at rossanostudio.com

#markmoorefineart #markmooregallery #artexhibition #artshow #painting #contemporarypainting #contemporaryart #artcollector #artcurator #artconsultant #artadvisor #josephrossano #ivory125

Mark Moore Fine Art in partnership with Traver Gallery is proud to present an exclusive ARTSY online exhibition titled “IVORY.125” by artist Joseph Rossano which is on view now at The Pilchuck Gallery in Seattle through the Summer.

VIEW THIS SHOW NOW AT: https://bit.ly/3jKZ00R

ABOUT IVORY.125

Using an artistic rendering of the fossil record, past, present, and future, the exhibition reveals how our legacy as a species is inexorably tied to a value system designed to insure familial survival. Towards the transmission of this reality, Ivory exposes viewers to the global trade in illegal animal parts, it’s flawed connection to power, and its devastating effects.

THE PILCHUCK GALLERY

240 Second Avenue South, Suite 100,

Seattle WA, 98104

https://www.pilchuck.org/exhibitions

PRESENTED IN PARTNERSHIP WITH TRAVER GALLERY

ABOUT THE ARTIST

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.

Learn more at rossanostudio.com

#markmoorefineart #markmooregallery #artexhibition #artshow #painting #contemporarypainting #contemporaryart #artcollector #artcurator #artconsultant #artadvisor #josephrossano #ivory125

ROBERT STANDISH

Chaos and Control

July 23, 2020 – November 8, 2020

An Exclusive ARTSY Online Exhibition

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

In Standish’s latest series, given the moniker Anti-Sporadic, combines oil and acrylic paints, the latter substance laid down first and the former last. In fact, the basis for each composition is a pour of acrylic onto the canvas. Standish enhances the resulting impasto with a highly gestural application of palette knives. The resulting topography is then modified with oil-based pigments, applied with brushes, so that the often volcanic-seeming features of the acrylic pour are amplified into patterns and visual structures. This is no mere exercise in decorating high-profile surfaces: Standish intervenes deeply into the acrylic with the oils, coaxing bursts of color and swaths of texture out of the superficial and into the visible. 

Standish may seem to leave certain Anti-Sporadic works – smaller ones in particular – free of his “oil intervention.” But that is an illusion right there; his hand has indeed intervened, however invisibly. Standish has “touched up” these weighty monochromatic froths with the same carefully applied enhancement he’s visited upon more extravagantly colored canvases, only here, the goal has been to bring forth shadows rather than rainbows. 

Standish had already been working in a non-objective idiom for several years when he developed the techniques that led to the Anti-Sporadic series. As so many painters discover, the pleasures and mysteries of smearing substances on surfaces reveal themselves not only during the process of painting, but afterwards as well – and in many more different and unanticipated ways. Indeed, this is what makes abstract art appealing to its audience as well as to its practitioners. Standish avers that he began thinking abstractly even while painting recognizable images. (Notably, while painting streetlights at night, he became fascinated by the effects of light on the camera he was trying to emulate; from there, he became engaged with the effects of light on the human eye itself).

The Anti-Sporadic paintings constitute a realm of experimentation for an accomplished and yet restless artist. Each painting is a new, and arguably unanticipated, experience for him. But they are for us, too. And that’s where these paintings truly succeed: they commute that sense of experimentation, of unpredictability, to those who behold them.

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.

#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 #robertstandish #markmoorefineart #markmooregallery