Mark Moore Fine Art Blog

Gallery artist  Jean Shin‘s solo show at Cristin Tierney Gallery has been reviewed by Jonathan Goodman in The Brooklyn Rail.

Click here to read the article.

Surface Tension, Jean Shin exhibition at Cristin Tierney

The gallery is thrilled to announce The J. Paul Getty Museum has acquired the hand-made book GRFALWKV by artist Christopher Russell for their Permanent Collection.

The J. Paul Getty Museum seeks to inspire curiosity about, and enjoyment and understanding of, the visual arts by collecting, conserving, exhibiting and interpreting works of art of outstanding quality and historical importance. To fulfill this mission, the Museum continues to build its collections through purchase and gifts, and develops programs of exhibitions, publications, scholarly research, public education, and the performing arts that engage our diverse local and international audiences. The J. Paul Getty Museum at the Getty Center in Los Angeles houses European paintings, drawings, sculpture, illuminated manuscripts, decorative arts, and photography from its beginnings to the present, gathered internationally.

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.

 We wish to congratulate Christopher on this major milestone!

This month’s CODAmagazine features an overview of Tim Bavington‘s installation at Edith Green/Wendell Wyatt Federal Building in Portland Oregon.

After nearly seven years of design, fabrication, and selection committees, Tim Bavington’s new work,”Louie Louie”(2013) debuted at the Edith Green/Wendell Wyatt Federal Building in Portland (OR) Thursday, May 30th, 2013. Marking the second three-dimensional work Bavington has ever created, “Louie Louie” is made entirely of water jet cut cast acrylic; transforming his traditionally two-dimensional painting practice into translucent sculptural form. This work measures approximately 94 x 240 inches.

Click here to read the article.

Jason Salavon‘s solo exhibition All the Ways has been reviewed by Bridget Gleeson for Artsy.

“If the latest works by Jason Salavon remind you of a broken computer monitor or a scrambled TV screen when the cable is out, you’ve already picked up on a few of the artist’s primary interests: pop culture, consumerism, and human interaction with digital images.”

Read the entire article here.

Gallery artist Allison Schulnik is part of the exhibition Before the GIF at The High Line.

Before the GIF features a selection of film and video from artists who use a wide range of animation techniques, including stop-motion, clay animation, and hand-drawn animated sketches. The majority of the works featured in the program were created after the introduction and popularization of the GIF (Graphic Interface Format), the now-ubiquitous digital animation form. As digital animation becomes increasingly sophisticated; ever more convincingly replacing live action filming, these artists explore the possibilities unique to analog animation forms whose primary goal is keen creativity, rather than mimetic trickery.

Click here for more information on Before the GIF.

Allison Schulnik / The High Line / Photo by Tim Schenck 

Artillery Magazine has named Lester Monzon‘s solo exhibition, SI VIS PACEM PARA BELLUM, Pick of the Week!

The article reads:

“Lester Monzon’s second solo exhibition with Mark Moore Gallery is titled “SI VIS PACEM PARA BELLUM,” which translates to “If you want peace, prepare for war,” and reads as an enigma wrapped within an enigma as these loosely rendered gestural works are also simultaneously tight and formally rigorous. These acrylic and graphite on Belgian linen pieces propose their own intense poeticism as each painting  reads like a line of verse in a much larger more comprehensive narrative. For example, If T.S. Eliot’s “Prufrock” were to hang art on his perfectly appointed, four square walls, it would be Monzon’s small, yet elegantly spare paintings that would surely give him, as it does us, pause.”

The exhibition runs through April 9th.

Jean Shin‘s solo show, Surface Tension at Cristin Tierney Gallery (NYC) has been reviewed by Karen Kedmey for Artsy. 

From the article:

Mark Moore Gallery is now hiring a full-time Gallery Manager. This position is a unique combination of tasks typical of both a Preparator and a Registrar – which affords the individual diversity in his/her daily activities as well as opportunities for professional development. We seek a highly organized, self-motivated individual who has previous Preparatory experience, and may have experience with Registrar tasks – or be interested in learning more administrative skills. Please find below a full description, required skills, and overview of position tasks:

The Gallery Manager’s primary focus is all things relating to gallery artwork inventory. This full-time position will oversee many different elements relating to the artwork’s handling, documentation, installation, shipping, and various locations – as well as working with artists to determine exhibition needs. The Gallery Manager also has the opportunity to assist both Directors with client presentations, and conduct independent sales (with are entitled to commissions, if completed) – if desired. General tasks and responsibilities include:

• Being physically present in the gallery Tuesday-Saturday (11am-6pm), and positioned at the front reception desk.
• Overseeing and devising timeline/logistics for gallery exhibitions, consigned exhibitions, and any art fairs. This includes maintaining a checklist for proper deadlines relating to receipt of work, shipping, framing, and installation (which will also be provided to exhibiting artists with upcoming shows), being in regular communication with artists, venues, and shippers, as well as advising gallery staff of all shipping needs. This position will also update the inventory locations of all works in various gallery systems and online platforms – and enter all new artworks as they come into the gallery’s possession (in addition to proper inventory labels).
• Touching base regularly with gallery artists to coordinate inventory swaps and returns.
• Executing all preparatory needs: wrapping/boxing works for storage and shipment, installation of shows, lighting works in the gallery, and deliveries as needed. 
• Maintaining a meticulously organized and accessible “back room” – which houses all of the gallery’s onsite storage and artworks – as well as overseeing the offsite storage inventory. 
• Updating and creating consignments and loan documents for inbound and outbound works, and being in touch with various venues to coordinate returns upon expiration.
• Gathering shipping estimates for clients, and booking shipments for all sold works.
• Pulling works for client presentations, and assisting with presentations as needed/desired.

Required skills:

• Previous preparatory/art handling experience
• Excellent organizational abilities/sense of order and cleanliness 
• Ability to self-manage, create deadlines, and plan ahead
• Decent written and verbal communication
• Collaborative spirit and ability to work with a team
• Comfort with computer systems and email

Desired skills:

• Previous administrative/Registrar experience
• Familiarity with Microsoft Office
• Familiarity with ArtBase/GalleryManager/GallerySystems, etc.
• Ability to present information/speak to groups

Information pertaining to compensation and employee programs is provided during interviews.

Please send resumes and inquiries to catlin@markmooregallery.com – do NOT call the gallery about this job listing.

The gallery is committed to providing an environment that is free from discrimination and harassment based on race, age, creed, color, religion, national origin or ancestry, sex, gender, disability, veteran status, genetic information, sexual orientation, gender identity or expression, or pregnancy.

This listing will remain active until the position is filled. Applicants will be contacted via email for an interview, if appropriate for candidacy. The gallery may not confirm receipt of each application.

Gallery artist Ryan Wallace is in a two-person exhibition at Boeske & Hofland Leipzig, along with Koen Taselaar.

The work of Ryan Wallace (1977, USA) is shaped through his use of materials, which often consist of previously discarded or disregarded studio detritus. This convergence and strong layering give his canvas surfaces a sculptural tension that creates complex multidimensional and nonlinear spaces. By limiting his palette to neutral colours, with exception of hints of warmer reds and yellows, the works optimally lend themselves to the exploration of formal characteristics inherent in the different materials, especially the relationships between different textures and surface light.

This fragmentation of matter reads as brush strokes, ultimately creating an aesthetic composition that flirts with the history of abstraction and painting. Ryan Wallace was born in 1977 in New York, NY. He is a graduate of the Rhode Island School of Design, and a Pollock Krasner Foundation Grant awardee. He has exhibited at Marianne Friis Gallery, Copenhagen, Denmark; The Torrance Art Museum, Torrance, USA; V1 Gallery, Copenhagen, Denmark; Frans Masreel Center, Kasterlee, Belgium; Mark Moore Gallery, Los Angeles; and Cooper Cole Gallery, Toronto, Canada, among many others. Wallace lives and works in Brooklyn and East Hampton, New York.

The gallery is thrilled to announce the Santa Barbara Museum of Art‘s acquisition of “White Hunter” (1991) by Vernon Fisher, for their permanent collection.

The Santa Barbara Museum of Art’s collection of the arts of Asia, Europe, and the Americas includes paintings, sculpture, prints, drawings, photographs, ceramics, glass, jades, bronzes, lacquer, and textiles. The broad areas in which SBMA holds a significant number of works of exceptional quality include international antiquities from China, India, Greece, Rome, Egypt, and the Near East and 19th-, 20th-, and 21st-century art from Asia, Europe, and the Americas. Particular strengths of the collection are 19th- and 20th-century American and European art, contemporary American painting, photography, and the arts of Asia, especially China.

Vernon Fisher’s preoccupation with archive, information transmission, memory, and taxonomy stems from an early interest in how people make sense of the world. His hallmark blackboard paintings recall pedagogical lessons or speculative renderings, oftentimes replacing sequential logic with disordered notations analogous to excerpts from an unrepressed mindscape. Fisher’s work is often contextualized within a postmodern lineage, as expounded in Frances Colpitt’s essay for the monograph, Vernon Fisher, University of Texas Press, 2010, which was produced in tandem with Vernon Fisher: K-Mart Conceptualism, the artist’s career retrospective at the Modern Art Museum of Fort Worth.