🎨 See Rebekah Andrade‘s exclusive ARTSY online exhibition titled FULFILLMENT AMIDST FLUX presented by @MarkMooreGallery and immerse yourself in the transformative power of change. Join us at https://bit.ly/3URHjBv
Mark Moore Fine Art presents the second of our two solo exhibitions by REBEKAH ANDRADE for 2024 titled FULFILLMENT AMIDST FLUX as an exclusive ARTSY online exhibition opening May 23, 2024. @MarkMooreGallery Invites you to explore Andrade‘s newest work encapsulating the dynamic interplay between creative expression and life’s ever-changing landscapes.
Image: Mark Bennett, The Pritchett Family Plans (Modern Family), 2017 / Lithograph on Rives BFK paper / 29 × 40 in / Edition of 20 + 2AP
Capturing what feels like a lifetime in only 15-minutes, Matt Pizzano’s The Grass Is Always Greener On TV charts the life of Mark Bennett, who became famous for blueprinting every detail of the homes in the 1950s television shows he religiously watched as a child. An incredibly moving artist profile doc, the film’s glossy production and rich narrative arc echo much of the charm of the classic Hollywood that Bennett himself adored. In exploring one man’s attempt to escape into a fantasy world, Pizzano beautifully encapsulates the essence of an artist who must overcome his demons.
The Grass Is Always Greener On TV uncannily juxtaposes the dark parts of Bennett’s life with the surreally perfect lives within the television shows he obsessed over. Using a combination of home video, talk show appearances, and interview footage (along with a bit of re-staging), Pizzano, alongside producer Nic Wehmeyer, build a story that feels like it should play on one of the old television screens where Bennett found so much comfort.
Accentuating the ironic comparison, the film was shot in the classic 4:3 aspect ratio, with a musical score that sounds just like something from decades past. As various clips from I Love Lucy and Leave It To Beaver play over Bennett’s confessions of a traumatic childhood, the effects of which would continue to plague him well into adulthood, Pizzano chillingly reveals the dangers of living in fantasy.
Pizzano’s greatest challenge was finding a way to bring to life both Bennett’s internal struggle and his vivid imagination, in a way that didn’t distract from the story. Motion graphics were therefore employed to illustrate Bennett’s work, with the help of the director’s creative partner and producer of the film Nic Wehmeyer.
As Bennett’s blueprints animate over the shows he studied so meticulously, Pizzano was able to translate the artist’s thought process to the screen. Coupled with stylish editing techniques, The Grass Is Always Greener On TV transcends the traditional profile doc and strikingly depicts a journey of a man who must overcome deep trauma and abuse.
Delightfully empowering and one of the most compelling real-life character arcs we’ve seen in a documentary, The Grass Is Always Greener On TV reminds us all how important it is to accept ourselves and others, flaws and all.
For more information on Mark Bennett, please contact: info@markmoorefineart.com
We are proud to present the new ceramic works of Meghan Smythe in her exclusive ARTSY exhibition, “Recent Explorations in Ceramic Sculpture”. Through her use of traditional monument format, Smythe captures the delicate balance between intimacy and brutality, beauty and ugliness.
Using a traditional sculptural format (the monument), Meghan Smythe captures contradicting extremes within human gesture: intimacy and brutality, beauty and ugliness, or the lewd and tender. In her attempt to achieve an “elegant vulgarity,” she encapsulates moments that define our mortality in unanticipated ways; oftentimes toeing the delicate line between erotic and macabre tendencies that give way to life, and ultimately death. Glass, ceramic, and concrete are woven together in an elaborate, orgy-like web of body parts and organic artifacts, as if suddenly cast with Pompeii-like circumstances. Like excavated antiquities or fossils, Smythe’s ceramic compositions allude to the cyclical nature of civilization – a dramedy in which all of the players are subject to conquest and demise.
Smythe (b. 1984, Kingston, ON) received her MFA from the Alfred University School of Art and Design (NY). Her work has been shown at the Arizona State University Art Museum (AZ) and the Gardiner Museum, Toronto (ON). She was the Visiting Artist in Residence at California State University, Long Beach (CA) from 2012-2014.
ARTSY LEGACY EXHIBITION ON VIEW NOW: Mark Bennett: Dream Houses – Thirty Years of Fantasy Blueprints
@MarkMooreGallery is very pleased to present an Exclusive ARTSY Online Exhibition of Mark Bennett: Dream Houses – Thirty Years of Fantasy Blueprints as part of our new ARTSY LEGACY SERIES of exhibitions. These are the artists and shows over the last 15 years on ARTSY that have been the most acclaimed and the most viewed by their patrons and art critics.
I urge you to visit the site now and view this truly wonderful body of work at this link: bit.ly/2TEosfV
Since his induction into the gallery in 1995, Mark Bennett has been included in over three dozen significant museum and group exhibitions, including those at the Corcoran Gallery of Art (D.C.), Aldrich Museum of Contemporary Art (CT), Walker Art Center (MN) and Los Angeles County Museum of Art (CA). His work has been acquired for the permanent collections at the Museum of Modern Art (NY), Los Angeles County Museum of Art (CA), Orange County Museum of Art (CA), Corcoran Gallery of Art (DC), West Collection (PA), and the Portland Art Museum (OR), among others. Earning reverence from both critics and collectors alike, Bennett has been coined a master of nostalgia and social evaluation, acting as “the most earnest of his generation of West Coast artists drawing on popular culture” (Grady T. Turner, Art in America).
MICHAEL BATTY Ascend, 2020 Archival pigment print on 100% cotton acid free paper 12 Ă— 33 in /Â 30.5 Ă— 83.8 cm Editions 1-5 of 10 + 2AP $600
Just Released: MICHAEL BATTY “THE WHITE PLAINS PORTFOLIO”
In this new series of limited edition prints, artist Michael Batty explores the variations on these themes that led him to his major monumental painting commission for the White Plains Hospital in 2020. The WHITE PLAINS PORTFOLIO is a set of seven works – each an edition of ten with just two artist proofs. The first five sets of these works will be released today in pre-publication as a set of all seven pieces at a special price of $3150. for the entire portfolio.
The photographs, slides, and negatives of paintings, sculptures, and fountains by contemporary artist Eric Orr have recently been acquired by the Getty Research Institute (GRI). The archive also includes schematic drawings and plans for Orr’s public works, as well as ephemera, clippings, and administrative files that detail his life and practice.
Eric Orr (1939-1998) is a key figure of the Light and Space movement in Southern California. Born in 1939 in Covington, Kentucky, Orr graduated from the Kentucky Military Institute in 1958 and spent his early years traveling across the United States and Cuba. He briefly attended the University of Cincinnati in the early 1960s, where he produced his first sculpture, Colt .45, a work later known as Saturday Night Special. The work featured a mounted pistol facing a chair; viewers could sit and control the pistol via a foot pedal. Orr participated in civil rights protests in Mississippi in 1964 before relocating to Los Angeles in 1965, where he began to produce performances, sound art, and perceptual installations, using the elemental qualities of silence, sound, darkness, and light as material. Among these works was Zero Mass (1972-1973), an immersive 38-foot-long installation made of paper, where up to five people could enter a dark oval chamber and, after 10 to 12 minutes, experience altered vision from the lack of spatial perception. Developing alongside both Southern California conceptual art and the perceptual-based installations commonly associated with Light and Space art, Orr’s work spanned a variety of artistic practices that challenged the definition of artmaking while also incorporating a broad range of cultural references, including space icons found in ancient religions and cultures, Egyptian symbolism, and Buddhist spiritualism. From the 1970s onward, Orr created a diverse body of atmospheric monochrome paintings using airbrushing and oil paint, wall-mounted sculptures, and public artworks which incorporated a variety of elements including fire, water, gold, volcanic ash, meteorite dust, and his own blood.Orr participated in a number of international exhibitions during his life, including documenta VII (1982), the Sydney Biennale (1986), and the Venice Biennale (1986). His work can be found in many public and private collections, including the Los Angeles County Museum of Art; the Whitney Museum of American Art, New York; the Solomon R. Guggenheim Museum, New York; the San Francisco Museum of Modern Art; and the Centre Pompidou, Paris; Orr died in Venice, California, in 1998.
The archive will be open to researchers and is among numerous archives at the GRI related to the Light and Space movement and Southern California artists and curators, making it the ideal home for his legacy.
Congratulations to Tim Bavington on his impressive outdoor installation at the Otay Mesa Land Port of Entry, San Diego CA. This U.S. GSA Art-in Architecture project was 14 years in te making.
The Art-in-Architecture Award was part of the GSA Otay Mesa Land Port of Entry Modernization Project. The Otay Mesa LPOE is the busiest commercial port in California, processing over $13.5 billion in exports; $37.4 billion in imports (fiscal year 2021); approximately 1 million commercial trucks; over 2 million pedestrians; and 5 million privately owned vehicles (POVs) annually.
Tim Bavington (b. 1966, England) received his BFA from the Art Center (CA) before making the permanent move to Las Vegas, where he completed his MFA at the University of Nevada, Las Vegas (NV). His work is included in the public collections of Fredrick R. Weisman Collection (CA), Crocker Art Museum (CA), Honolulu Art Museum (HI), Albright-Knox Art Gallery (NY), Creative Artists Agency (CA), Joslyn Art Museum (NE), Museum of Contemporary Art, San Diego (CA), Portland Art Museum (OR), United Talent Agency (CA), Vivendi Universal (CA), Palm Springs Art Museum (CA), Denver Art Museum (CO), The Museum of Modern Art (NY), Nora Eccles Harrison Museum of Art, Utah State University (UT) and the McNay Art Museum (TX).
Follow @timbavington for more updates on his incredible work. #TimBavington #UniversalLight #LuzUniversal #OutdoorInstallation #GSA #OtayMesaLandPortOfEntry #ArtInArchitecture #PublicArt #ContemporaryArt #Sculpture #ModernizationProject #SanDiego #LasVegas #Congratulations #ArtistSpotlight #ArtCommunity  #FollowForMore #markmooregallery #markmoorefineartÂ
We are proud to present the new ceramic works of Meghan Smythe in her exclusive ARTSY exhibition, “Recent Explorations in Ceramic Sculpture”. Through her use of traditional monument format, Smythe captures the delicate balance between intimacy and brutality, beauty and ugliness.
Using a traditional sculptural format (the monument), Meghan Smythe captures contradicting extremes within human gesture: intimacy and brutality, beauty and ugliness, or the lewd and tender. In her attempt to achieve an “elegant vulgarity,” she encapsulates moments that define our mortality in unanticipated ways; oftentimes toeing the delicate line between erotic and macabre tendencies that give way to life, and ultimately death. Glass, ceramic, and concrete are woven together in an elaborate, orgy-like web of body parts and organic artifacts, as if suddenly cast with Pompeii-like circumstances. Like excavated antiquities or fossils, Smythe’s ceramic compositions allude to the cyclical nature of civilization – a dramedy in which all of the players are subject to conquest and demise.
Smythe (b. 1984, Kingston, ON) received her MFA from the Alfred University School of Art and Design (NY). Her work has been shown at the Arizona State University Art Museum (AZ) and the Gardiner Museum, Toronto (ON). She was the Visiting Artist in Residence at California State University, Long Beach (CA) from 2012-2014.
Dirk Staschke, Vanitas Vase Number 5, Ceramic, 16x11x11, 2018
We are honored to have “Vanitas vase number 5” by artist DIRK STASCHKE taken into the collection of the Everson Museum.
“Being a studio artist isn’t easy. I used to tell my students, “If you can do anything else, do it.” For thirty-one years everything else has been secondary to my artistic practice, except my family. Covid created my first real “break” from making. On occasion, in times of reflection, I have wondered what if I had done something else? In all those years there are rare moments of true affirmation.“
Originally opening in 1897 as the Syracuse Museum of Fine Art, the Everson is a museum of firsts. It was the first museum to dedicate itself to the collection of American art, to create a permanent collection of ceramics, to collect video art, to create a docent program and to hire the now internationally-known architect I.M. Pei to design its building, a sculptural work of art in its own right. The Everson is home to approximately 11,000 works of art: American paintings, sculpture, drawings, video, graphics and one of the largest holdings of international ceramics in the nation.
MICHAEL BATTY “BRIDGES” – An Exclusive ARTSY Online Exhibition At Mark Moore Fine Art Opening May 9th
@MarkMooreGallery is pleased to announce the premier of Canadian Artists, Michael Batty’s new paintings entitled “Bridges”. Comprised of four separate canvas panels, these new works are a continuation of his exploration with color equations. In the new works the colors span the width of the painting and through color tone and subtle relationships appear to have overlapping tones that build the image. The expanse of the upper panel offers a resting place for the eye and brings in a new element to these geometric paintings, an association to the landscape, horizon, and sky.
“Bridges” have long been metaphorically associated with connecting two separate entities, ideas, or places, making a journey from one to another possible. They symbolize transition, progress, and the ability to overcome obstacles. By creating compositions that reflect this, Michael Batty’s new works are infused with a new layer of meaning, inviting viewers to contemplate the significance of connection, transition, and the journey from one state to another.
Michael Batty (Canadian, born 1967) graduated from Emily Carr College of Art and Design in Vancouver in 1989 with a major in painting. He attended the renowned artist workshops in Emma Lake, Saskatchewan, and studied printmaking at The Art Institute at Capilano College in Vancouver. Batty’s paintings can be found in collections around the world, including the Waldorf Astoria in Beijing, China, W Guangzhou, China, Four Seasons, Dubai, UAE, and Bank of Montreal in Calgary and Toronto.
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