Mark Moore Fine Art Blog

Heidi Schwegler is part of Uncommon Likeness: Identity in Flux, at the Sheldon Museum of Art.

This exhibition brings together major paintings, photographs, and sculptural works by contemporary artists who choose to depict the body as a point of examining mortality, transience, and identity. Uncommon Likeness includes loans from artists and prominent private collections, as well objects from Sheldon’s permanent collection, that speak to the human condition of negotiating both literal and figurative borders of geography, society, psychology, gender, and spirituality in today’s world.

Click here for more information on the exhibition.

Jean Shin is highlighted in the New York Times review of the group show “Game On,” at the Children’s Museum of Art.

Click here to read the article.

The gallery is please to announce the acquisition of Chris Duncan’s major work, “White Cinderblock,” by the Berkeley Art Museum, for their permanent collection.

The Berkeley Art Museum and Pacific Film Archive’s comprehensive collection—more than 19,000 works of art and 17,500 films and videos—is characterized by artistic excellence and innovation, intellectual exploration, and social commentary. Representing a tremendous diversity of global cultures and historical periods, the collection has particular strengths in Ming and Qing dynasty Chinese painting, Mughal dynasty Indian miniature painting, Baroque painting, old master prints and drawings, early American painting, nineteenth- and early-twentieth-century photography, Conceptual art, and international contemporary art, classic and international cinema, West Coast avant-garde film, international animation, Soviet cinema, early video art, and the largest collection of Japanese films outside of Japan. BAMPFA’s Modern collection is built around a remarkable core holding of fifty paintings by the Abstract Expressionist painter and teacher Hans Hofmann and includes significant works by Mark Rothko, Helen Frankenthaler, Ad Reinhardt, Jackson Pollock, David Smith, and Clyfford Still.

Chris Duncan is an Oakland-based artist who employs repetition and accumulation as a basis for experiments in visual and sound based media. Often in flux between maximal and minimal, Duncan’s work is a constant balancing act of positive and negative, loud and quite, solitary and participatory and tends to lead towards questions regarding perception, experience and transcendence. Time’s physical and psychological effect have become paramount in these experimental endeavors.

Josh Azzarella is part of “For The Record… Contemporary Videos from the Permanent Collection of UCR Sweeney Art Gallery,” at UC Riverside.

Culver Center of the Arts
July 23 – December 24, 2016

For The Record… presents a series of single-channel video works, each addressing recent social, political, or economical conflicts through an artistic lens. HONG-AN TRUONG merges visual appropriation with found footage of Viet Nam during the French colonialism in 1954. The collaborative team, JEFF&GORDON explore the housing crisis in 2011 during the Occupy Wall Street national movement through an analogy to the racket sport of squash. Using computer applications and programs, JOSH AZZARELLA radically reconstructs  iconic footage from the Tiananmen Square Protest in 1989.

For The Record… exemplifies the breadth of UCR Sweeney Art Gallery’s holdings that range from drawings, installations paintings, photography, sculpture, and video by emerging and mid-career artists in contemporary art.

For The Record…Contemporary Videos from the Permanent Collection of UCR Sweeney Art Gallery is curated by Jennifer Frias, Associate Curator, Sweeney Art Gallery at UCR ARTSblock. UCR’s College of Humanities, Arts and Social Sciences (CHASS) and the City of Riverside have provided support. Gift represented in the exhibition include those from the artists, along with collectors Mark and Hilarie Moore.

E X H I B I T I O N   S C H E D U L E

JULY 23 – SEPTEMBER 17

HONG-AN TRUONG
Explosions in the Sky, 2007. Running time: 6 minutes
The Past is a Distant Colony, 2007. Running time: 6 minutes

SEPTEMBER 20 – NOVEMBER 5

JEFF&GORDON
Temporarily Embarrassed #13 – Pumpkin, 2011. Running time: 2 minutes
Temporarily Embarrassed #3 – Car Wash, 2011. Running time: 2 minutes

NOVEMBER 8 – DECEMBER 24

JOSH AZZARELLA
Untitled #27 (Unknown Rebel), 2006. Running time: 1 minute, 11 seconds

Heidi Schwegler is a participant in this year’s Portland Biennial, curated by Michelle Grabner.

Established in 2010, the Portland Biennial is a major survey of Oregon artists who are defining and advancing the state’s contemporary arts landscape. Building upon the success of its predecessors, the Portland2016 Biennial is a two-month celebration of the here and now that showcases 34 artists at 25 partner venues in 13 communities across the state – the largest and most comprehensive exhibition of Oregon art ever.

Schwegler was sited in articles about the show in BLOUIN ARTINFO and The Portland Mercury.

Andrea Joyce Heimer is listed as one of “15 Artists in NY Summer Group Shows Who Deserve Solo Shows,” on Artsy. We couldn’t agree more, and are already looking forward to Heimer’s solo show at the gallery this November!

Andrew Schoultz is part of the exhibition Southland, at Charlie James Gallery.

“Southland” is curated by Patrick Martinez, and includes works by Sadie Barnette, Sandow Birk, Gregory Bojorquez, Kenturah Davis, Gajin Fujita, Gary Garay, Ramiro Gomez, Lauren Halsey, Kysa Johnson, Nery Gabriel Lemus, Star Montana, Kaz Oshiro, Kenton Parker, Hilary Pecis, Umar Rashid, Joe Prime Reza, Shizu Saldamando, Andrew Schoultz, Ana Serrano, Mario Ybarra Jr, Zes and José Delgado Zúñiga.

Growing up in the Los Angeles area, curator and artist Patrick Martinez has long been fascinated with the geography and culture of greater Los Angeles. Martinez’s eye concerns itself less with Hollywood and the West Side, the areas of LA commonly exported to the rest of the country, and more with pockets of the city such as the San Gabriel Valley, the East Side of Los Angeles, North East LA, the Harbor Area, San Bernardino, the High Desert, and DTLA. For Southland, Martinez has recruited artists native to Los Angeles, from different parts of the city, as well as transplants to LA, and asked them to make work about their relationship to the city.

Southland will run from July 23rd through the end of August. The gallery will be open normal hours 12-5 Wednesday to Sunday during the run of the show.

Come see how Artist In Residence at Materials For the Arts,  Jean Shin has been using leather, broken jewelry, zippers and more to create her fantastically intricate art pieces. Shin creates monumental sculptures from thousands of objects she has collected around the world.  Meet and collaborate with the artist and friends on the construction of a room sized art installation.

Thursday, July 21, 2016
6:30 – 8:30 p.m.
33-00 Northern Boulevard
3rd Floor
Long Island City, NY 11101

Click here for more information.

Disinfo has published an article about the current exhibition on view at Mark Moore Gallery titled, “Machine Empire: Sculpting the Mechanics of Humanity through Kris Kuksi’s ‘New Rome.’”

Read the article here.

Kris Kuksi’s New Rome runs through August 20th.

The gallery is pleased to announce the acquisition of three major works by Christopher Russell for the permanent collection of The Honolulu Art Museum.

Founded in 1927, the Honolulu Museum of Art is Hawai‘i’s largest private presenter of visual arts programs, with an internationally recognized collection of more than 50,000 works spanning 5,000 years. In addition to the visual arts, film and concert programs, lectures, art classes and workshops make the museum the state’s cultural hub.

Dealing less with the supernatural than the psychosomatic, Christopher Russell rouses ghosts. Within his scratched photographs, fractured glass panes, and hazy metallic paints, there are haunting recollections – the kind of outlier memories that plague our psyche well after childhood. Through a purposefully repressive fog, we habitually revisit the monsters of our innermost mentality, and find ourselves the protagonist of a lifelong plight – a cinematic tale evocatively illustrated by Russell’s eerie ships and spectral trees. Like a folkloric odyssey into a cognitive web, his mixed-media works and installations traipse through places of fragility and wistfulness; evidence of the divine and unsettling encounters inherent to our complex mortality.