Highlighted: Daniel Canogar’s Major Installation Work JACKPOT (2009)

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Highlighted: Daniel Canogar’s Major Installation Work JACKPOT (2009)

Video link: http://www.danielcanogar.com/work/jackpot

Medium: Slot machine screens,projector, multimedia player, USB, 4 min. video projection loop / Dimensions: 400 x 300cm/157,48″ x 118,11″  / Edition: 1/3 available

Mark Moore Fine Art is pleased to make available JACKPOT (2009), one of Daniel Canogar’s most important major works for the first time.

JACKPOT consists of a collaged panel formed by broken fragments of slot machines brings to mind the stained-glass windows of cathedrals. A projection back-lights the panel with flashing lights that recall those used to entice people to play on the slot machines. The piece looks at our fascination with media screens, the extolling of money as the new religion of late capitalism, and indirectly alludes to the financial system as a game.

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Daniel Canogar (Madrid, 1964) received an M.A. from NYU and the International Center for Photography in 1990. His work as a visual artist focuses on photography, video, and installation art.

Daniel Canogar has created numerous public art pieces, including Waves, a permanent sculptural LED screen for the atrium of 2 Houston Center, Houston; Travesías, a sculptural LED screen commissioned for the atrium of the European Union Council in Brussels during the Spanish Presidency of the European Union in 2010; Constelaciones, the largest photo-mosaic in Europe created for two pedestrian bridges over the Manzanares River, in MRío Park, Madrid; Helix, a permanent LED sculptural screen made for Quantum of the Seas, a Royal Caribbean cruise ship andClandestinos, a video-projection presented on various emblematic monuments including the Arcos de Lapa in Rio de Janeiro, the Puerta de Alcalá in Madrid and the church of San Pietro in Montorio in Rome.

His recent work includes Storming Times Square, screened on 47 of the LED billboards in Times Square, New York; “Small Data”, a solo exhibition at bitforms, New York, and Max Estrella Gallery in Madrid; “Quadratura”, a solo exhibition at Espacio Fundación Telefónica in Lima; “Vórtices”, an exhibition exploring issues of water and sustainability at the Fundación Canal Isabel II in Madrid;Synaptic Passage, an installation commissioned for the exhibition “Brain: The Inside Story” at the American Museum of Natural History in New York and two installations at the Sundance Film Festival 2011 in Park City, Utah.

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He has exhibited in the Reina Sofia Contemporary Art Museum, Madrid; the Palacio Velázquez, Madrid; Max Estrella Gallery, Madrid; bitforms Gallery, New York; Filomena Soares Gallery, Lisbon; Guy Bärtschi Gallery, Geneva; Mimmo Scognamiglio Artecontemporanea, Milano; the Santa Mónica Art Center, Barcelona; the Alejandro Otero Museum, Caracas; the Wexner Center for the Arts, Ohio; the Offenes Kulturhaus Center for Contemporary Art, Linz; the Kunstsammlung Nordrhein Westfallen, Düsseldorf; Hamburger Banhof Museum, Berlin; Borusan Contemporary Museum, Istanbul; the American Museum of Natural History, New York; the Andy Warhol Museum, Pittsburgh and the Mattress Factory Museum, Pittsburgh.

For additional information, please contact us at: info@markmoorefineart.com

#markmoorefineart #danielcanogar 

On View Now: Dennis Ekstedt “Cosmicities” – A Survey of Recent Work

Burning Man # 1, oil on canvas, 60 x 66 inches, 2019

Mark Moore Fine Art presents an exclusive ARTSY Online Exhibition of twelve recent paintings by artist DENNIS EKSTEDT.  This show, titled “Cosmicities” – which marks the first exhibition with MMFA and the artist’s first online show to date – is on view from February 20 – April 29, 2020.

Burning Man # 2, oil on canvas,,, 60 x 74 inches,, 2019

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.

VIEW THIS EXHIBITION AT THE FOLLOWING SITE:  http://bit.ly/3buEmxI

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. 

For additional information, please contact: info@markmoorefineart.com

#markmoorefineart #dennisekstadt

Opening Tomorrow: Joseph Rossano Debuts His Recent Photographs in “Artifacts of the Feed”

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In this exclusive ARTSY online exhibition, “Artifacts of the Feed“, artist JOSEPH ROSSANO presents 23 man-made manifestations of reality that represent how the process of documentation has evolved throughout a career of observation with camera, film, and now cellphone. 

VIEW THIS SHOW NOW AT: http://bit.ly/38PIg2A

Today we view our lives through an endless feed of computer-generated images. Our modern global community records life through use of the cellphone and social media, tools provided by technology. The continuous feed of data comprises digital artifacts — excerpts of our lives, our reality — that we feed to the world. An artifact is an object or work that has been manufactured by humans; it is not something from nature, but a signal of the presence and influence of man. The term “feed” refers not only to the act of giving or receiving food, but also to a channel through which matter passes and can be accessed. “Artifacts of the Feed” presents man-made manifestations of reality that represent how the process of documentation has evolved throughout a career of observation with camera, film, and now cellphone. Analog and digital means of chronicling the world will result in two very different records of the moment of exposure or capture — one which you can hold in your hand, the other requiring a computer to view. Both are intended to record reality.

Although transiently, monochrome photography has been a part of my process since first developing a roll of film as a fourteen-year-old. To me, photography is transient because making pictures with the camera has come in and out of my daily activities: sometimes picture making is an all-consuming endeavor, while at other times many months can pass without me reaching for the camera. Yet whenever I do pick up the camera, I am guided by the works of naturalist Edward A. Samuels (1836–1908) — embodied in his book “With Fly-Rod and Camera” (1890) — and Darius Kinsey, who more than a century ago spent his life documenting the virgin forests of the Pacific Northwest and those who harvested them. The images of both photographers appear a combination of silver and charcoal, ultra-high contrast, otherworldly. Leafing through the pages of their books, I find myself transported back in time by the images. In their conscientious documentation of a natural world undergoing great change, I find also a model for my own work.

Both Samuels and Kinsey employed field cameras to make monochrome analog images. These field cameras consisted of a simple box, bellows, and lens, into which was placed a sheet of film. Then, onto the film was exposed an image composed by the photographer. Experience with light, camera, and the chemistry of the day informed what would be the appropriate exposure and development for these photographers. The quality of the negative, which was on glass plate or acetate, would dictate the quality of the final image. The negative would be placed in intimate contact with photographic paper and exposed to light. The result, a contact print ranging in size from 6″ x 7″ to 14″ x 17″ and receiving no additional manipulation, was referred to as “straight photography.”

The images comprising “Artifacts of the Feed”, however, are anything but straight photographs. While these images borrow from the aesthetic of Samuels and Kinsey, they are created using a machine that houses high-tech sensors and conducts advanced mathematical processes: the cellphone. Nevertheless, as was the case for both Samuels and Kinsey, I have spent many countless hours in the forests of the Northeast and the Northwest. I have done so with vintage cameras at my side — some identical to Kinsey’s. Conveniently, both view camera and cellphone employ composing the image on a plate of glass, the outcomes — though similar in appearance — are in reality quite different. Then, in this transfer between processes, it is the action of making the image that becomes most poignant. “Artifacts of the Feed” presents contemporary documentation with digital capturing as its core — one might even say it is “With Fly-Rod and Camera 2020”. These images, manufactured through digital technology and by their nature slaves to big data, are artifacts of man. And, just as Samuels and Kinsey fed a world of people hungry for documentation of their world, their lives, and their homes, this series continues in the same vein, feeding the desire for records that present reality.

Joseph Rossano is a multidisciplinary artist who actively collaborates with prominent scientists and conservationists to create large-scale installations that explore the impact of humankind on the natural world. His work has been featured in exhibitions throughout the Seattle area and beyond, including Museum of Glass, Tacoma, WA; Google, Palo Alto, CA; San Diego Natural History Museum, San Diego, CA; Sagamore Hill National Historic Site, home and library of President Theodore Roosevelt, Oyster Bay, NY; The Cold Spring Harbor Laboratory, responsible for nine Nobel laureates, Cold Spring Harbor, NY, among others. He is based in Arlington, WA.

All work is available subject to prior sale and prices are subject to change without notice. All taxes, tariffs, shipping and/or viewing expenses, if any, would be additional.

For additional information or hi-resolution images of these works, please contact: info@markmoorefineart.com

#markmoorefineart #josephrossano #artifactsofthefeed

Special Preview: Joseph Rossano Debuts His Recent Photographs in “Artifacts of the Feed” Opening March 5th

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In this exclusive ARTSY online exhibition, “Artifacts of the Feed“, artist JOSEPH ROSSANO presents 23 man-made manifestations of reality that represent how the process of documentation has evolved throughout a career of observation with camera, film, and now cellphone. 

VIEW THIS SHOW NOW AT: http://bit.ly/38PIg2A

Today we view our lives through an endless feed of computer-generated images. Our modern global community records life through use of the cellphone and social media, tools provided by technology. The continuous feed of data comprises digital artifacts — excerpts of our lives, our reality — that we feed to the world. An artifact is an object or work that has been manufactured by humans; it is not something from nature, but a signal of the presence and influence of man. The term “feed” refers not only to the act of giving or receiving food, but also to a channel through which matter passes and can be accessed. “Artifacts of the Feed” presents man-made manifestations of reality that represent how the process of documentation has evolved throughout a career of observation with camera, film, and now cellphone. Analog and digital means of chronicling the world will result in two very different records of the moment of exposure or capture — one which you can hold in your hand, the other requiring a computer to view. Both are intended to record reality.

Although transiently, monochrome photography has been a part of my process since first developing a roll of film as a fourteen-year-old. To me, photography is transient because making pictures with the camera has come in and out of my daily activities: sometimes picture making is an all-consuming endeavor, while at other times many months can pass without me reaching for the camera. Yet whenever I do pick up the camera, I am guided by the works of naturalist Edward A. Samuels (1836–1908) — embodied in his book “With Fly-Rod and Camera” (1890) — and Darius Kinsey, who more than a century ago spent his life documenting the virgin forests of the Pacific Northwest and those who harvested them. The images of both photographers appear a combination of silver and charcoal, ultra-high contrast, otherworldly. Leafing through the pages of their books, I find myself transported back in time by the images. In their conscientious documentation of a natural world undergoing great change, I find also a model for my own work.

Both Samuels and Kinsey employed field cameras to make monochrome analog images. These field cameras consisted of a simple box, bellows, and lens, into which was placed a sheet of film. Then, onto the film was exposed an image composed by the photographer. Experience with light, camera, and the chemistry of the day informed what would be the appropriate exposure and development for these photographers. The quality of the negative, which was on glass plate or acetate, would dictate the quality of the final image. The negative would be placed in intimate contact with photographic paper and exposed to light. The result, a contact print ranging in size from 6″ x 7″ to 14″ x 17″ and receiving no additional manipulation, was referred to as “straight photography.”

The images comprising “Artifacts of the Feed”, however, are anything but straight photographs. While these images borrow from the aesthetic of Samuels and Kinsey, they are created using a machine that houses high-tech sensors and conducts advanced mathematical processes: the cellphone. Nevertheless, as was the case for both Samuels and Kinsey, I have spent many countless hours in the forests of the Northeast and the Northwest. I have done so with vintage cameras at my side — some identical to Kinsey’s. Conveniently, both view camera and cellphone employ composing the image on a plate of glass, the outcomes — though similar in appearance — are in reality quite different. Then, in this transfer between processes, it is the action of making the image that becomes most poignant. “Artifacts of the Feed” presents contemporary documentation with digital capturing as its core — one might even say it is “With Fly-Rod and Camera 2020”. These images, manufactured through digital technology and by their nature slaves to big data, are artifacts of man. And, just as Samuels and Kinsey fed a world of people hungry for documentation of their world, their lives, and their homes, this series continues in the same vein, feeding the desire for records that present reality.

Joseph Rossano is a multidisciplinary artist who actively collaborates with prominent scientists and conservationists to create large-scale installations that explore the impact of humankind on the natural world. His work has been featured in exhibitions throughout the Seattle area and beyond, including Museum of Glass, Tacoma, WA; Google, Palo Alto, CA; San Diego Natural History Museum, San Diego, CA; Sagamore Hill National Historic Site, home and library of President Theodore Roosevelt, Oyster Bay, NY; The Cold Spring Harbor Laboratory, responsible for nine Nobel laureates, Cold Spring Harbor, NY, among others. He is based in Arlington, WA.

All work is available subject to prior sale and prices are subject to change without notice. All taxes, tariffs, shipping and/or viewing expenses, if any, would be additional.

For additional information or hi-resolution images of these works, please contact: info@markmoorefineart.com

#markmoorefineart #josephrossano #artifactsofthefeed

Final Day: The Billboard Creative presents a 12 x 24 foot billboard by KARA MARIA at the corner of N. Fairfax Ave. and Santa Monica Blvd in L.A.

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Ending February 29th, The Billboard Creative will present a 12 x 24 foot billboard at the corner of North Fairfax Avenue and Santa Monica Blvd. with an image of Kara Maria‘s painting Kaleidoscope Eyes (green sea turtle – 2017) as part of their 2020 Billboard Art Show.

For more information, go to: www.thebillboardcreative.com

#karamaria #markmoorefineart #thebillboardcreative

Kara Maria Selected For Mural By The San Francisco Arts Commission

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KARA MARIA  is currently painting a 10 x 45 foot mural at 1330 Polk Street (at Frank Norris Street) in San Francisco. The mural was commissioned by the San Francisco Arts Commission as part of their StreetSmARTS mural program. The mural is expected to be completed in early March 2020.

For more information on Kara Maria and her work, go to: https://www.artsy.net/mark-moore-gallery/artist/kara-maria

#markmoorefineart #karamaria #StreetSmARTS

 

 

 

ARTSY Featured Show of the Week: Dennis Ekstedt “Cosmicities” – A Survey of Recent Work

LODESTAR # 32, oil on canvas, 35 x 70 inches, 2015, $ 5,300

Mark Moore Fine Art presents an exclusive ARTSY Online Exhibition of twelve recent paintings by artist DENNIS EKSTEDT.  This show, titled “Cosmicities” – which marks the first exhibition with MMFA and the artist’s first online show to date – is on view from February 20 – April 29, 2020.

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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.

VIEW THIS EXHIBITION AT THE FOLLOWING SITE:  http://bit.ly/3buEmxI

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. 

For additional information, please contact: info@markmoorefineart.com

#markmoorefineart #dennisekstadt