Mark Moore Fine Art Blog

MMFA is pleased to announce the arrival of new work by Kim Rugg from her Postal Series of works from 2010-2012. These pieces – each done on a standard envelope – feature postage stamps that were cut by hand into tiny pieces and then “re-ordered” by the artist and then mailed to the gallery using those stamps for postage and a removable label for the address.

Kim Rugg and the Postal Series works will also be featured in the upcoming exhibition titled, PROCESS, curated by Matthew Gardocki at the Barrick Museum at the University of Nevada Las Vegas which opens to the public on January 20 and continues through May 13, 2017. The Opening Reception is on January 27, 2017 (from 5-8pm). This exhibition will also include works by: Julie Oppermann; Christopher Duncan; John Bauer; Lester Monzon; Kim Rugg; Kara Joslyn; Heidi Schwegler; Meghan Smythe; Christopher Russell, along with Ryan Wallace. Each of the artist’s process of creation is brought to the forefront in the exhibition. While some of the work seems very immediate visually the artists process is actually quite extensive in getting to the final image. Highlighted are the artist’s use of materials including the sun and time to create abstractions while others use computers and man made materials.

For more information on this work please contact: mark@markmoorefineart.com

#markmoorefineart #kimrugg

I am pleased to announce that Kara Joslyn is among the ten MMFA artists will be featured in the exhibition titled PROCESS curated by Matthew Gardocki at the Barrick Museum at the University of Nevada Las Vegas which opens January 20 and continues through May 13, 2017. The Opening Reception is this Friday on January 27, 2017 (from 5-8pm).

This exhibition will also include works by: Julie Oppermann; Christopher Duncan; John Bauer; Lester Monzon; Kim Rugg; Ryan Wallace; Heidi Schwegler; Meghan Smythe; Christopher Russell, along with Kara Joslyn.

KARA JOSLYN
Up the Coven! (Witch), 2016
acrylic and polymer car paint on panel; 72 x 60 inches

Each of the artist’s process of creation is brought to the forefront in the exhibition. While some of the work seems very immediate visually the artists process is actually quite extensive in getting to the final image. Highlighted are the artist’s use of materials including the sun and time to create abstractions while others use computers and man made materials.

While the exhibition opens to the public this Friday, you can download a complete PDF list of available works in PROCESS at UNLV by clicking here.

KARA JOSLYN
Toucan, 2016
acrylic and polymer car paint on panel; 72 x 60 inches

COLLECTION OF THE MUSEUM OF CONTEMPORARY ART SAN DIEGO

The gallery is also pleased to announce the acquisition by Museum of Contemporary Art San Diego of Kara Joslyn’s major work, Toucan (2016).

For more information on this work please contact: mark@markmooregallery.com

#markmoorefineart #karajoslyn #barrickmuseum #Process

Painter Julie Oppermann has just released three wonderful painting studies from her studio that MMFA has just received today – one of which is pictured below.

Julie Oppermann
Untitled (Panel 3), 2015
acrylic on panel; 8 x 8 inches

Julie Oppermann’s work pushes the limits of visual perception, making paintings that are physically difficult to perceive. The scintillating effects arising through the calculated layering and juxtaposition of contrasting colors through repetitive line patterns elicit shuttering afterimages, optical flicker, and disorienting sensations of movement. The paintings, on one hand, reference the digital, looking as if they might be computer-generated, vector-based interference patterns; up close, however, they reveal a gestural, intuitive approach. Glitches, bleeds and mis-registrations rupture the illusory field of the moiré, creating visual noise and also highlight the basic tools at work: taped-off line patterns and paint on canvas. Where others approach ideas such as rasterization, pixelation, image compression, data loss and corruption primarily through the more obvious channel of digital media, Oppermann succeeds, instead, by effecting these phenomena directly through the medium of perception itself. The glitch, so to speak, occurs in the viewing of the work, by distorting the viewer’s field of vision, and interfering with their ability to “see” and look at the painting.

Oppermann will also be featured in the upcoming exhibition titled, PROCESS, curated by Matthew Gardocki at the Barrick Museum at the University of Nevada Las Vegas which opens to the public on January 20 and continues through May 13, 2017. The Opening Reception is on January 27, 2017 (from 5-8pm).

For more information on this work please contact: mark@markmooregallery.com

#markmoorefineart #julieoppermann

New Media Artist Daniel Canogar will open an exhibition of new work at Max Estrella Gallery (Madrid) opening February 4th. There are two of the six new pieces that will be part of the exhibition. Canogar will be presenting my new series Echo with flexible LED screens. Here is a link to the first work from this new series, Echo 1: https://vimeo.com/191479378

Image: Echo, 2017, Flexible LED tiles, power supply unit, Mac Mini computer, hardware. Dimensions: 51 x 38 x 10 in.

We are surrounded by screens. From wearable devices on our wrists that monitor our biorhythms to giant multi-story LED billboards wrapping around buildings, their presence in our daily life is more ubiquitous than ever. Screens are acquiring a new materiality, taking on a membrane-like quality that stretches over multiple surfaces, objects and architectures.

Echo is made with flexible LED tiles, a technology that allows the artist to create curving screens that seem to peel off the wall. What is usually hidden is turned inside out: electric cables and electronic components are exposed.

The content featured on the display is an abstract generative animation that occasionally gets disrupted by moiré patterns. These visual interferences are triggered by seismic activity across the globe. The artwork is connected to a webpage with real-time feeds of earthquakes, their location and intensity. The result is an abstract composition that captures the echoing murmurs of the planet’s shifting tectonic plates. References to abstract painting also inform the work.

For more information, contact: mark@markmoorefineart.com

#markmoorefineart #danielcanogar

MMFA is very pleased to announce a recently released work by new media artist Josh Azzarella.

Image: Josh Azzarella, Untitled #137 (What better place than here? What better time than now?) Iteration 3, 2003-16 
Raspberry Pi Model B, 1K resistor, 2.2pF ceramic cap, 10pF ceramic cap, custom software, sound files, handheld radio. Ed. 1/3

In the days immediately following the September 11th attacks Clear Channel Communications distributed a memo to the more than 1100 terrestrial radio stations they owned. The memo contained a list of what were termed “lyrically questionable” songs and the stations were instructed to cease playing them. Clear Channel Communications has denied that such a memo exists.

The list of songs reported to be on the memo has changed since the time of its release. No one is certain of who may have made additions and or deletions, but theses songs can be identified when comparing versions of the document.

This work is constructed of songs from all known versions of the document. The work consists of 165 songs that are included on all versions of the document, 8 disputed songs, and the entire Rage Against the Machine catalog of 45 songs. 218 tracks total.

When the computer is started an FM frequency is randomly chosen to broadcast on. Once the computer has been broadcasting for 60 minutes it reboots at ann unspecified time within the next 30 minutes and randomly chooses a new frequency to broadcast on.

For more information, contact us at: mark@markmoorefineart.com

#markmoorefineart #joshazzarella

More information abut the list of songs:

http://www.nytimes.com/2001/09/19/arts/the-pop-life-after-the-horror-radio-stations-pull-some-songs.html

https://en.wikipedia.org/wiki/2001_Clear_Channel_memorandum

Opening next Saturday, a show of new work by Andrea Joyce Heimer in New York with a Opening Reception: Saturday, January 28, 6–9 pm. The particulars are:

Andrea Joyce Heimer
A Jealous Person
New Paintings by Andrea Joyce Heimer
Hometown
1002 Metropolitan Avenue, #21, Brooklyn, NY 11211
On View: January 29–March 12

Andrea Joyce Heimer, I Am Jealous Of Everyone You Have Ever Been With And There Have Been Many, And Then I Find Out Some Of Them Were Squirters And I Am Undone By This Knowledge. It Weighs On Me Like A Stone, 2016, Acrylic and pencil on panel, 30 x 40 in.

Hometown is proud to present A Jealous Person, an exhibition of paintings by Andrea Joyce Heimer. The show features a new body of work by the artist, all relating to that timeless albatross of human emotions, envy.

This will be the gallery’s first solo exhibition, and Heimer’s first solo exhibition in New York. Please join us at the gallery for an opening reception with the artist on Saturday, January 28, 6–9 pm.

Andrea Joyce Heimer is a story teller. From the banalities of suburban life, to puppy love and the awkwardness of adolescence, to soul-searching (and tripping on hallucinogens) in the wilderness, to visions of an expansive unicorn orgy, it seems nothing is unimaginable or off limits. But even at their most fantastical, Heimer’s narrative paintings are nonetheless steeped in underlying personal content. For this exhibition, Heimer turns to an emotion that has affected her in any number of ways.

Andrea Joyce Heimer was born in Great Falls, Montana, and she lives and works in Ferndale, Washington. Heimer has been a self-taught artist for most of her career, and is currently earning an MFA from the New Hampshire Institute of Art, 2017. Heimer’s work has been exhibited extensively in the United States and abroad, including at venues such as Andrew Edlin Gallery, New York, NY; Antonio Colombo Gallery, Milan, IT; Kunsthal Charlottenborg, Copenhagen, DK; Lindsay Gallery, Columbus, OH; CG2 Gallery, Nashville, TN: Linda Hodges Gallery, Seattle, WA; Castlefield Gallery, Manchester, UK; Maxwell Colette Gallery, Chicago, IL; and Subliminal Projects, Los Angeles, CA.

For more information on this artist and available works please contact: mark@markmoorefineart.com
#markmoorefineart #andreajoyceheimer #hometown

Check out the video installation titled “State of The Art” by DANIAL NORD on Vimeo: https://vimeo.com/47487161

A giant dispossessed Mickey Mouse, made from the backs of discarded television sets, pulsates with broadcast media from a bygone era. The massive icon (5 meters from ear to toe) lays in the vulnerable position of a homeless man passed out on a sidewalk after a binge. Projectors and mirrors bounce radiant video through every pore of the piece, charging the surrounding space with shifting light and sound.

Excerpt from installation created for the City of Los Angeles Fellowships Exhibition (2011), reinstalled at the Crystal Bridges Museum of American Art (2014). The work was praised in this LA Times Review of the City of Los Angeles Fellowships Exhibition:
latimesblogs.latimes.com/culturemonster/2011/06/art-review-cola-2011-individual-artist-fellowship-at-municipal-art-gallery.html

Materials: recycled television parts, five video projectors, audio speakers, DVD player, Plexiglas mirrors, mixed materials. Sculpture dimensions: 17′ x 9′ x 6′

#markmoorefineart #danialnord

A solo exhibition at Unseal Contemporary (Tokyo, Japan) will feature recent artworks from MMFA’s Kenichi Yokono. The exhibition which opens July 5 is titled, “Dancing Eyeballs.” The artist explains the title of the exhibition as a sociological metaphor.

The artist states, “people are all confused and separated from each other but connected somehow and as if moving together toward some direction.”

For more information on available new works by Kenichi Yokono, please contact MMFA.

#kenichiyokono #markmoorefineart

30 confusing eyeballs, 2012 / painted woodcut / 85 x 21cm

Check out the new work we just received back from exhibition loan (attached) and a video interview with artist JEFFRY MITCHELL that this work was featured at: https://youtu.be/OqrBlxd09lA

Jeffry Mitchell, 2014 , 50″ x 32″ x 3″, Hydrocal, wood, acrylic paint (Price Upon Request)

Identifying himself as a “gay folk artist,” Jeffry Mitchell creates work that deals largely with dualities. Using a variety of materials and methods, including ceramics, printmaking, and drawing, Mitchell manages to juxtapose seemingly disparate ideas into beautiful, fragile, and startling works.

To learn more about Mitchell and his work, and other Northwest artists in the Henry Art Museum Collection, check out: collections.henryart.org.

#jeffrymitchell #markmoorefineart #henryartmuseum

The gallery is proud to announce the Wadsworth Atheneum Museum of Art acquisition of “Portrait (Rembrandt)” (2009), a major work by Jason Salavon.

The Wadsworth Atheneum Museum of Art is the oldest continuously-operating public art museum in the United States, founded in 1842 by arts patron Daniel Wadsworth.

Image: JASON SALAVON “Portrait (Rembrandt)”, 2009, digital c-print, 38.5″ x 31″ (Ed. 7 + 2 APs) Collection of The Wadsworth Atheneum Museum of Art

Likely the final installment of a broader series begun in 1997 by Jason Salavon, each of these pictures from the PORTRAIT Series employs the bulk of the portrait oeuvres of Franz Hals, Rembrandt Harmenszoon van Rijn, Anthony van Dyck, and Diego Velazquez, respectively.  Simple mean-averaging of high-quality reproductions – or a “blending” of dozens of portrait images by the artist – yields these atmospheric meta-portraits.

“During the summer of 2009, I spent some time strolling around the painting galleries of the Prado, Louvre, and Met with my father, a painter himself.  The repetitive and contemplative nature of these walks resulted in the  Portrait project.  The “Hals vs Rembrandt” room at the Met, in particular, preternaturally pushed me towards applying my averaging strategies to Old Masters’ works.  The Met’s acquisition of the Hals piece within a few months of its completion made the process all the more satisfying.”

“An issue remains, however.  As I noted in the project’s description, museum sales or not, I don’t see doing any more averaging-style amalgation work.  In 1997, when I first blended 120 Playboy centerfolds, I was not aware of anything much like it (I only knew Nancy Burson’s exceptional “morph” work).  As it stands now, a once open area of inquiry has become so crowded, I don’t much feel like I have anything left to contribute to this particular conversation.  You never know, I just don’t see it happening.  Down the road, I’ll try to expand on this topic.”  

– Jason Salavon (2010)

#markmoorefoneart #jasonsalavon #wadsworthatheneum