Art Critic Leah Ollman Reviews The Work Of Kim Rugg on ARTSY

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Image: Kim Rugg, What The Duke Did Next, 2007 / Mark Moore Fine Art

Check out the review of the work on Kim Rugg on ARTSY at the following link:

https://www.artsy.net/mark-moore-gallery/article/mark-moore-fine-art-art-critic-leah-ollman-reviews-work-kim-rugg

Kim Rugg received her MFA in Sculpture from the Royal College of Art (London). Her work can be seen in the permanent collections of the National Gallery of Art (D.C.) and the Frederick R. Weisman Foundation (CA), the Museum of Contemporary Art, San Diego (CA), Honolulu Museum of Art, the Norton Museum (FL), and the Museum of Fine Arts Houston (TX) among others. She has been included in exhibitions at the San Jose Institute of Contemporary Art (CA), Elizabeth Foundation for the Arts (NY), Galerie Schmidt Maczollek (Cologne), and Nettie Horn Gallery (Manchester), P.P.O.W. Gallery (NYC), and was the recipient of the Thames and Hudson Prize from the Royal College of Art Society in 2004. She lives and works in London (UK).

#markmoorefineart #kimrugg

Previewed: John Bauer Exclusive Online Exhibition on ARTSY

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JOHN BAUER, Untitled (#1308), 2016; Oil and enamel on linen; 20 × 16 in (50.8 × 40.6 cm)

Mark Moore Fine Art presents an exclusive online ARTSY exhibition from September 12 through October 8, 2017 by Los Angeles painter JOHN BAUER. Marrying digital manipulation with traditional stenciling, spraying, rolling, brushing, and printing, John Bauer revisits the intimacy of Abstract Expressionist mark-making from a mediated postmodern distance.

Fueled by the Southern California surf culture of his youth, as well as the history and contemporary practices of abstraction, John Bauer creates paintings that channel the infinite potential of both the Pacific Ocean and gestural articulation. Inspired by purists like Ad Reinhardt and Mark Rothko, and also postmodernists like Andy Warhol and Albert Oehlen, Bauer paints using both traditional and unconventional means. His more traditional works are generated by a process of daily interactions with his mid to large scale canvases, using brushes to build up, erase, and rework layers of gestural, exuberant marks. For his more experimental works, Bauer pulls from what he calls his “image bank” of Photoshop files. Using his computer, he crafts these images into an arrangement, which he then screen-prints in layers onto the canvas; creating works situated tantalizingly between the digital and the handmade.

While John Bauer’s canvasses, as large as 90 x 102 inches, contain hints of abstract expressionism, his creative process marries digital manipulation with traditional stenciling, spraying, rolling, brushing and printing, much of the hand work influenced by German post-war painting.

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JOHN BAUER, Nautilus, 2016; Oil and enamel on linen; 57 × 45 in (144.8 × 114.3 cm)

John Bauer (b. 1971 San Diego, California) received a BA in Studio Art in 1993 from the University of California in Santa Barbara, California. Selected solo exhibitions include: Perry Rubenstein Gallery, Los Angeles, CA (2013); Patricia Low Contemporary, Geneva, Switzerland (2010); Galleri SE, Bergen, Norway (2009); Gallery Van Bau, Vestfossen, Norway (2009); Maruani & Noirhomme, Knokke, Belgium (2008); solo presentation Art Brussels with Patricia Low Contemporary, Brussels, Belgium (2008); Patricia Low Contemporary in Gstaad, Switzerland (2007); John Bauer at Bellwether Gallery in New York (2007); Free-Floating Anxiety at Bellwether Gallery in New York (2003); and New Oils at Clementine Gallery in New York (1998).

Selected group exhibitions include Abstract America: New Art from the US, Saatchi Gallery, London, England (2009); New York’s Finest at Canada Gallery in New York (2005); Grotto II at Jessica Murray Projects in Brooklyn (2004); and Hello Chelsea at Bellwether Gallery in New York. He is represented by Patricia Low Contemporary, Switzerland. John Bauer lives and works in Los Angeles, CA.

If you would like to have a Special Private Viewing of this exclusive online exhibition by this very exciting and telented artists, please take a look on our ARTSY website now and you can review everything available at this time. To view this work, go to the following special link I have set up for you:

https://www.artsy.net/mark-moore-gallery/shows

For more information on this artist and the Mark Moore Fine Art program please check out our website: www.markmoorefineart.com

You can find additional available works by this artist and prices on our ARTSY website: www.artsy.net/mark-moore-gallery

Please note that 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.

#markmoorefineart #johnbauer

 

A Call to Action: Kelli Scott Kelley on Julie Heffernan

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Image: JULIE HEFFERNAN, Self Portrait as Luminous Body, 2004

Check out the essay on the work of Julie Heffernan titled “A Call to Action” by Kelli Scott Kelly on ARTSY at: 

https://www.artsy.net/mark-moore-gallery/article/mark-moore-fine-art-call-action-kelli-scott-kelley-julie-heffernan

Kelli Scott Kelley is a professor of painting at Louisiana State University. Kelley received her MFA from the University of Massachusetts, Amherst. She authored a book featuring her narrative artwork, entitled Accalia and the Swamp Monster, in 2014. Her work as been exhibited both nationally and internationally is featured in the permanent collections of the LSU Museum of Art, Tyler Museum of Art, and the Eugenia Summer Gallery.

This essay appears in the exhibition catalogue, When the Water Rises: Recent Paintings by Julie Heffernan, to accompany a exhibition of Heffernan’s work organized by the LSU Museum of Art with LSU School of Art and LSU College of Art + Design. When the Water Rises will travel to several venues through early 2019. More information can be found at: http://www.lsumoa.org/julie-heffernan/

Julie Heffernan (b. 1956, Illinois) received her MFA from Yale School of Art (CT), and has been exhibiting widely for the past two decades. Selected exhibitions include those at The Korean Biennial (Korea), Weatherspoon Art Gallery (NC), Tampa Museum Of Art (FL), Knoxville Museum Of Art (TN), Columbia Museum Of Art (SC), Milwaukee Art Museum (WI), The New Museum (NY), The Norton Museum (FL), The American Academy Of Arts And Letters (NY), Kohler Arts Center (WI), The Palmer Museum Of Art (PA), National Academy Of Art (NY), Mcnay Art Museum (TX), Herter Art Gallery (MA), Mint Museum (NC) and Virginia Museum of Fine Art (VA), Oklahoma City Museum of Art (OK) among numerous others. Her work has also been acquired by many of the institutions listed above.

#markmoorefineart #julieheffernan

 

 

 

 

 

Highly Recommended: Mark Bennett: Dream Houses – The Blueprint Drawings 1992-2017

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Image: Mark BennettTown of Mayberry, 1997 / Mark Moore Fine Art

ON VIEW NOW: “Mark Bennett: Dream Houses – The Blueprint Drawings 1992-2017” – an exclusive online ARTSY exhibition focusing on the Mark Bennett unique original “SitCom” drawings of the last two decades just recently released from the artist studio. This presentation ends on September 25th.

You can view this exclusive ARTSY online exhibition of these works now by clicking on the follwing link below:

https://www.artsy.net/show/mark-moore-fine-art-mark-bennett-dream-houses-the-blueprint-drawings-1992-2017

For additional information on this work or this artist please visit the website at www.markmoorefineart.com or contact Mark Moore Fine Art at: info@markmoorefineart.com

#markmoorefineart #markbennett

Yoram Wolberger Previews New “Trophy” Sculpture

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Yoram Wolberger, TROPHY #2 (Baseball), 2017; Cast and Polished Stainless Steel; 78 x 36 x 36 inches (approximate dimensions); Edition of 3 (+ 2 Artist Proofs) – Price Upon Request

Mark Moore Fine Art is pleased to announce the release of a new major sculpture work by MMFA artist YORAM WOLBERGER on September 7, 2017.

Yoram Wolberger uses childhood toys and everyday domestic items to create his large scale sculptures, foregrounding the latent symbolism and cultural paradigms of these objects that so subtly inform Western culture. By enlarging this ephemera to life size, Wolberger emphasizes the distortions of their original manufacture disallowing any real illusion and conceptually forcing the viewer to reconsider their meanings. When enlarged beyond any possibility of dismissal, we see that toy soldiers create lines between Us and Them, plastic cowboys and Indians marginalize and stereotype the Other, even wedding cake bride and groom figurines dictate our expected gender roles.

The artist has just finished a major new work in his series of TROPHY TOPPER sculptures that he began in 2008. Please note that Edition 1/3 and 2/3 have already been sold in each of these editions. The artist still has one example that remains available in the edition of three, as does one Artist Proof.

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As the artist states:

My art manipulates and challenges our perceptions of the familiar through a variety of sculptural interventions. I often choose to work with everyday, culturally iconic, objects to which we attach deep-seated and often unconscious meanings. Transformed beyond their expected context, these evolved objects suggest new associations and provoke fresh insights into their larger meaning and relevance.

For this project, I am interested in examining the contrast between the symbolic and the material dimensions of what I refer to as “common sports trophies”. Specifically, these are the small silver or gold-colored figurines typically awarded in recreational sport. With their idealized figures, such trophies are awarded to represent essential qualities of greatness in a participant. As cultural artifacts, however, our common trophies epitomize values that are intrinsic not only to sport, but to American society and community as well.

In the archaeology of American cultural artifacts, common sports trophies are fitting symbols of personal achievement within a democratic society. Cast from non-precious materials to shine like silver and gold, they are at once common objects and personal treasures. Originally reserved for champions, they are now often awarded to recreational players in honor of a variety of achievements other than victory, including participation.

My intention is to design and construct life-size figurines, standing between 6 and 8 feet tall and meticulously replicating the smaller versions found on common sports trophies. Fabricated from stainless steel casts and polished to a chrome-like finish, they will magnify the humble grandeur of the familiar shiny figurines while exposing the typical casting seams, mass-production flaws and design shortcuts that normally escape our attention. Enlarged 20 times beyond their original size, the trophies’ imperfections become relevant and, it is my hope, intriguing.

For some, the sculptures will evoke personal memories, inspiring moments and achievements. For some, they will stand as noble monuments of the American Dream. And for others still, the contrast between the figures’ idealized poses and their structural imperfections, will provoke deeper contemplation of our cultures values of competition, achievement and the risks that accompany the rise to fame.

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Yoram Wolberger (b. 1963, Tel Aviv, Israel) earned his MFA from the San Francisco Art Institute’s (CA) New Genres Department. He has had solo exhibitions in New York, Los Angeles and San Francisco, and has been featured in group exhibitions at the Brooklyn Museum of Art (NY), deCordova Sculpture Park (MA), the Aldrich Contemporary Museum (CT), Orange County Museum of Art (CA), Museum of Contemporary Art (IL) and the Israeli Museum of Modern Art (Israel) among others. His 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.

For more information on this upcoming release and availability, please contact Mark Moore at: mark@markmoorefineart.com

#markmoorefineart #yoramwolberger

Jason Salavon Featured at Beall Center for Art + Technology (UC Irvine)

Jason Salavon’s work Rainbow Aggregator (detail image below) will be featured in the upcoming show titled “Drawn from a Score” at the Beall Center for Art + TechnologyBat the University of California Irvine.

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Real-time software, internet connection, computer, large display
Ed. 3 + 2 AP

Rainbow Aggregatoris a continuous, real-time representation of “trending topics” sourced from Twitter and Google.  The relentless conversion of global activity into a scrolling, over-saturated rainbow reflects our abundant data-stream through both literal (text) and abstract (color) means.

There are approximately 30 trends shown and they are updated every few minutes as the piece transitions.  This cycling from quiet color-solid to dense data to solid again composes the stream into visual stanzas reminiscent of orchestration while the colors themselves are derived directly from the tending data.
“Drawn from a Score”
Beall Center for Art + Technology
University of California, Irvine
712 Arts Plaza, Irvine, CA, 92697
949.824.6206

Opening Reception: Saturday, October 7, 2017, 2-5pm

On View Through: Saturday, February 3, 2018

Drawn from a Score features artists who produce art from a score, ranging from “event scores” – developed by John Cage and others in the late 1950s – to the contemporary uses of code as a score for computational works. In addition to traditional written scores, it will include drawings, sculptures, performances, video projections and computer-generated forms of art.

In Cage’s seminal course at the New School for Social Research, he taught young artists how to write visual “event scores” using chance operations, found sound, and everyday objects to produce live performances. “Drawn from a Score” will present some of these early scores by Cage and artists who took his New School course from 1956-58. It will also feature a reconstruction of Cage’s 1968 “Reunion”––his chess board that triggers sound while a game is being played––that underline his idea of how to produce “indeterminacy.”

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Real-time software, internet connection, computer, large display
Ed. 3 + 2 AP

Other historical examples in the exhibition will include score-based work by Conceptual and Fluxus artists from the 1960s. Sol Lewitt’s written “instructions” serve as scores to produce detailed, geometric line drawings that are made directly on the wall’s surface. Assorted event scores by Fluxus artists will be exhibited and performed live. Additionally, the exhibition will show the score and ephemera from “The House of Dust” (1971), a collaboration between Fluxus artist Alison Knowles and the composer James Tenney that yielded the first computer-generated poem created in the language Fortran. A few years later, German artist Manfred Mohr made Plotter prints also using Fortran that will also be on view.

Some of the more contemporary works in this exhibition also use computer generated or real-time animation in projections. Los Angeles-based Casey Reas expands on Sol Lewitt’s instructions by writing computational scores to make infinitely mutable projected images. Israeli artist Shirley Shor’s “Landslide” uses computationally generated imagery to project virtual on the physical surface of white sand, creating a constantly changing topography.

“Drawn from a Score” will be accompanied by a series of public events and/or performances. A publication with writing from guest essayists will examine the use of scores in the works in the exhibition from the historical and the analogue, to contemporary forms of digital production.

This exhibition is possible due to the generosity of the Beall Family Foundation.

#markmoorefineart #jasonsalavon #beallcenter

New Works Available at MMFA

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LITA ALBUQUERQUE, SONUS, 1988 / mixed media and gold leaf on panel / 12 x 12 x 2 inches

I might suggest you review the Mark Moore Fine Art ARTSY page as I just updated it with some wonderful new works available. To check it out, please go to:

https://www.artsy.net/mark-moore-gallery 

Some highlights include works by: Lita Albuquerque; Mark Bennett; Tim Bavington; Sebastian Bremer; Deborah Butterfield; The Clayton Brothers; Mark Di Suvero; Chris Duncan; Julie Heffernan; Kris Kuksi; Annie Liebovitz; Julie Oppermann; Zemer Peled; Richard Prince; Andrew Schoultz; Christoph Schmidberger; Allison Schulnik; Ali Smith; Marc Swanson; Robert Therrien; Ryan Wallace; Andy Warhol; Kehinde Wiley; Yoram Wolberger; and, Kenichi Yokono.

Please note that 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.
I do hope this work is of interest. Please let me know if you have any questions at: mark@markmooregallery.com
#markmoorefineart

Check out the new MARK MOORE FINE ART VIDEO CHANNEL

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Check out the new MARK MOORE FINE ART VIDEO CHANNEL and subscribe at the following link HERE.

https://www.youtube.com/channel/UCGXgOaj_6Gp5gYH3zETamZg

Recently posted: New video interviews with John Bauer, Zemer Peled, and Andrew Schoultz – to name a few.

#markmoorefineart

Preview: Ken Craft ARTSY Online Exhibition Opening Tomorrow

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Image: KEN CRAFT, Ain’t Like I Thought, 2017 / watercolor, pen and ink / 17 X 14 inches

Mark Moore Fine Art is very pleased to be featuring the much-acclaimed works of artist KEN CRAFT in our upcoming exclusive online ARTSY exhibition titled “Cornbread Think Tank” opening August 29th. I wanted to preview this work to you first and formally introduce you to this very talented artist.

You can view this show today at the follwing link: https://www.artsy.net/mark-moore-gallery/shows

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KEN CRAFT
Too Far, 2016
Oil and India Ink on Canvas
45 × 60 in (114.3 × 152.4 cm)

Ken Craft (b. 1967 New Mexico), is an artist based in Dallas, TX. He and his wife, Carolyn, live just east of Dallas. His work reflects an interest in representational scene painting alongside cartoon story telling. He is creating original comics characters for his paintings. The work is meant to exist as both traditional easel painting and as a form of comics.

Craft himself has existed in two worlds for over 20 years now, maintaining a career as a professional firefighter while painting as often as he can. He has been in numerous group exhibits in Dallas and has had 3 solo exhibits there. He recently exhibited 3 paintings in a juried exhibit at Artspace 111 in Ft. Worth, TX and was awarded the Top Choice prize by juror Vernon Fisher.

In the words of the artist:

The work I’m doing these days features a combination of painting and cartooning. In some ways, I am a painter who sometimes wishes he could be cartoonist. I’ve been painting most of my adult life so I’m most comfortable with that part of the work. But I also have a great love for the long tradition of American cartooning and comics. From the tender melancholy of Charles Schulz’s Peanuts to the wild and grotesque beauty of Tony Millionaire’s Maakies- there is so much richness and diversity of tone and theme to be found in comics. And when combined with somewhat traditional scene painting done in oil, I have found that the possibilities for exploration are endless.

Flirty La Morte and Chief. These are the central characters and they serve as any comics character might. Through them, I may work out silly jokes or very real anxieties, loves and fears. There is occasionally a little philosophical meandering and also a steady sense of wonder at the natural world.

A cowboy and a Native American. These are visual tropes and stereotypes that are deeply infused in our consciousness as Americans. They are loaded images I suppose for some. But for me, Flirty and Chief are simply friends. Friends who sometimes help and sometimes antagonize each other as befitting the scene and story. Flirty is perhaps the heart of the story, being prone to emotional outburst and reactionary behavior. Chief (not his real name, it’s just what Flirty calls him) is a little more worldly and sophisticated. They both wear costumes that vaguely place them in late 19th century America but they exist in no particular time.

The painted image and the cartoon bounce off of each other. Sometimes they are directly relatable and sometimes not. It’s never random, though. I’m always aiming for either an intellectual or emotional connection between the two.

Ken Craft (April 23, 2016)

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KEN CRAFT
Desert Solitaire, 2016
Oil, India ink on canvas
10 × 26 in (25.4 × 66 cm)

This work is all available subject to a prior sale. Shipping, customs (if applicable), and/or viewing expenses, if any, would be additional.

Images, biography, reviews, on-line catalogs, video interviews, and general information on the artist and their work can be found on our website for your reference. Please double-click the link below or cut and paste it in your browser to view these works at the following link.

We are all very exciting about the debut of this work in our upcoming exhibition and being the first to show Craft’s work on the West Coast. I highly recommend you preview these fresh and original new works that we will present in this exhibition by special preview now if it all possible.

Please contact me if you have any questions at: mark@markmoorefineart.com

#markmoorefineart #kencraft

 

Help Hurricane Harvey Flood Victims

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Houston, Texas residents are in a dire situation following immense flooding caused by Hurricane Harvey. The hurricane, which at its peak was a Category 4 storm, made landfall in Texas on Friday night.

There are several ways that people may help, from giving time to both professional and volunteer services, to donating a place to stay or aiding with a monetary gift. If you have a few extra bucks to spare, the Red Cross will need it during the relief efforts. Donations are accepted in any amount on the Red Cross website, or you can text REDCROSS to 90999 to give $10. The Red Cross also accepts donations by mail, or you can call 1-800-RED-CROSS to discuss other options.