Mark Moore Fine Art

Mark Moore Fine Art in partnership with Traver Gallery is proud to present an exclusive ARTSY online exhibition titled “IVORY.125” by artist Joseph Rossano which is on view now at The Pilchuck Gallery in Seattle through the Summer. VIEW THIS SHOW NOW AT: https://bit.ly/3jKZ00R ABOUT IVORY.125 Using an artistic rendering of the fossil record, past, present, and future, the exhibition reveals how our legacy as a species is inexorably tied to a value system designed to insure familial survival. Towards the transmission of this reality, Ivory exposes viewers to the global trade in illegal animal parts, it's flawed connection to power, and its devastating effects. THE PILCHUCK GALLERY 240 Second Avenue South, Suite 100, Seattle WA, 98104 https://www.pilchuck.org/exhibitions PRESENTED IN PARTNERSHIP WITH TRAVER GALLERY ABOUT THE ARTIST Joseph Rossano, born to clinicians and research scientists, graduated from Louisiana State University as an artist. His path joined him, via mentorship, collaboration, and exhibition, with renowned artists and institutions including Dale Chihuly, Judy Pfaff, The Pilchuck Glass School, Waterford Crystal, Museum of Glass, the South Australia Museum, and Google. Integrating cutting edge technology and science with his art, Rossano engages and challenges the viewer to reflect upon mankind’s impact on our planet and its varied ecosystems. Much of Rossano’s youth was spent in New York’s Hudson Valley and Catskill Mountains, formative years that evolved a life focused on creating environmental awareness through Art. Rossano now lives and works 65 miles north of Seattle, his home and studio nestled in the temperate rain forests of the Pacific Northwest. Learn more at rossanostudio.com #markmoorefineart #markmooregallery #artexhibition #artshow #painting #contemporarypainting #contemporaryart #artcollector #artcurator #artconsultant #artadvisor #josephrossano #ivory125

ROBERT STANDISH Chaos and Control Closing November 8, 2020 An Exclusive ARTSY Online Exhibition VIEW THIS SHOW NOW AT: https://bit.ly/3gVVZbP Robert Standish is an American painter living and working in Los Angeles whose organic process reveals the emotive effects of color, shape, and texture. Inspired by the color-field painters Abstract Expressionism, and Abstract Spritualism, Standish’s free-flowing use of paint is his way of exploring abstraction, composition and transcendence. His works can be found in the permanent collections of the Los Angeles County Museum of Art, JP MORGAN CHASE, The Weisman Foundation, Louis K. Meisel, Larry and Marilyn Fields, Patricia Arquette, Norwest Venture Partners, and BRYANT/ STIBEL, along with numerous other acclaimed collections. Standish's paintings have been exhibited internationally in galleries and museums, including group shows at the Carnegie Art Museum, Frederick R Weisman Museum of Art and solo show at the Museum of Art and History, Lancaster. #artexhibition #artshow #painting #contemporarypainting #contemporaryart #artcollector #artcurator #artconsultant #artadvisor #laart #laartist #losangelesart #losangelesartist #losangelesartists #abstractart #modernart #contemporaryart #dailyart #instaart #artcollectors #artcollector #artcritic #collector #modernartist #contemporaryartist #abstractartist #artcollective #arte #kunst #robertstandish #markmoorefineart #markmooregallery

Mark Moore Fine Art in partnership with Traver Gallery is proud to present an exclusive ARTSY online exhibition titled “IVORY.125” by artist Joseph Rossano which is on view now at The Pilchuck Gallery in Seattle through the Summer. VIEW THIS SHOW NOW AT: https://bit.ly/3jKZ00R ABOUT IVORY.125 Using an artistic rendering of the fossil record, past, present, and future, the exhibition reveals how our legacy as a species is inexorably tied to a value system designed to insure familial survival. Towards the transmission of this reality, Ivory exposes viewers to the global trade in illegal animal parts, it's flawed connection to power, and its devastating effects. THE PILCHUCK GALLERY 240 Second Avenue South, Suite 100, Seattle WA, 98104 https://www.pilchuck.org/exhibitions PRESENTED IN PARTNERSHIP WITH TRAVER GALLERY ABOUT THE ARTIST Joseph Rossano, born to clinicians and research scientists, graduated from Louisiana State University as an artist. His path joined him, via mentorship, collaboration, and exhibition, with renowned artists and institutions including Dale Chihuly, Judy Pfaff, The Pilchuck Glass School, Waterford Crystal, Museum of Glass, the South Australia Museum, and Google. Integrating cutting edge technology and science with his art, Rossano engages and challenges the viewer to reflect upon mankind’s impact on our planet and its varied ecosystems. Much of Rossano’s youth was spent in New York’s Hudson Valley and Catskill Mountains, formative years that evolved a life focused on creating environmental awareness through Art. Rossano now lives and works 65 miles north of Seattle, his home and studio nestled in the temperate rain forests of the Pacific Northwest. Learn more at rossanostudio.com #markmoorefineart #markmooregallery #artexhibition #artshow #painting #contemporarypainting #contemporaryart #artcollector #artcurator #artconsultant #artadvisor #josephrossano #ivory125

Energy and Motion: Abstraction 2020 - On View Through September 13, 2020 VIEW THIS EXCLUSIVE ARTSY ONLINE EXHIBITION HERE: https://bit.ly/36X540b "Abstraction is energy and motion made visible – memories arrested in space." - Jackson Pollock Mark Moore Fine Art presents an exclusive ARTSY online exhibition including 18 artists focused on Abstraction in “Energy and Motion: Abstraction 2020” on view now through September 13, 2020. Featuring the work of: Charles Arnoldi; Michael Batty; Tim Bavington; Alex Blau; Tony DeLap; Joshua Dildine; Dennis Ekstedt; David Klamen; Jimi Gleason; Kara Maria; Amy Myers; Julie Oppermann; Zemer Peled; Robert Standish; Meghan Smythe; Lisa Stefanelli; Feodor Voronov; and, Ben Weiner In this exhibition we survey the work of eighteen different artists working today that approach the field of abstraction from a vast array of directions and materials and thematic content. These formal qualities of an abstract painting or sculpture are significant not in themselves but as part of the work’s expressive message. All these artists work by reviving and transforming archetypes from the unconscious of modern culture and the abstract tradition. It’s tempting to see the years 1912–25 and 1947–70 as the two golden ages of abstract art, and to feel that the present revival of abstraction is no more than a silver age. But the present is always deceptive: it was not evident to their contemporaries that Malevich, Mondrian, and Pollock were the towering giants they seem to us in retrospect. The fact is, there is a vast amount of good abstract art being made today, and the best of it is every bit as good as the best abstract art of the past. The golden age of abstraction is right now. For additional information, please visit our website or contact us at: [email protected] www.markmoorefineart.com #artist #art #modernart #contemporaryart #dailyart #instaart #instagood #contemporaryartist #kunst #artcollectors #artcollector #artconsultant #ab

Mark Moore Fine Art in partnership with Traver Gallery is proud to present an exclusive ARTSY online exhibition titled “IVORY.125” by artist Joseph Rossano which is on view now at The Pilchuck Gallery in Seattle through the Summer. VIEW THIS SHOW NOW AT: https://bit.ly/3jKZ00R ABOUT IVORY.125 Using an artistic rendering of the fossil record, past, present, and future, the exhibition reveals how our legacy as a species is inexorably tied to a value system designed to insure familial survival. Towards the transmission of this reality, Ivory exposes viewers to the global trade in illegal animal parts, it's flawed connection to power, and its devastating effects. THE PILCHUCK GALLERY 240 Second Avenue South, Suite 100, Seattle WA, 98104 https://www.pilchuck.org/exhibitions PRESENTED IN PARTNERSHIP WITH TRAVER GALLERY ABOUT THE ARTIST Joseph Rossano, born to clinicians and research scientists, graduated from Louisiana State University as an artist. His path joined him, via mentorship, collaboration, and exhibition, with renowned artists and institutions including Dale Chihuly, Judy Pfaff, The Pilchuck Glass School, Waterford Crystal, Museum of Glass, the South Australia Museum, and Google. Integrating cutting edge technology and science with his art, Rossano engages and challenges the viewer to reflect upon mankind’s impact on our planet and its varied ecosystems. Much of Rossano’s youth was spent in New York’s Hudson Valley and Catskill Mountains, formative years that evolved a life focused on creating environmental awareness through Art. Rossano now lives and works 65 miles north of Seattle, his home and studio nestled in the temperate rain forests of the Pacific Northwest. Learn more at rossanostudio.com #markmoorefineart #markmooregallery #artexhibition #artshow #painting #contemporarypainting #contemporaryart #artcollector #artcurator #artconsultant #artadvisor #josephrossano #ivory125

KIM RUGG: "Another Man's Treasure" - On View Now Mark Moore Fine Art is proud to announce the exclusive ARTSY online exhibition of new work by artist KIM RUGG on view now titled, "Another Man's Treasure". I would urge you to take a look at this beautiful, thoughtful, and compelling exhibition focused contemporary culture. View this exclusive ARTSY online exhibition now at: https://bit.ly/2Va62Bz With surgical blades and a meticulous hand for nearly two decades Kim Rugg (b. 1963, Canada) dissected and reassembled newspapers, stamps, comic books, cereal boxes and postage stamps in order to render them conventionally illegible. In her early work, the front page of the LA Times becomes neatly alphabetized jargon, debunking the illusion of its producers' authority as much as the message itself. Through her re-appropriation of medium and meaning, she effectively highlights the innately slanted nature of the distribution of information as well as its messengers. Rugg has also created hand-drawn works alongside wallpaper installations, both of which toy with authenticity and falsehood through subtle trompe l'oeil. In her maps, Rugg re-envisions the topography of various states, countries, continents, and even the world without borders, featuring a staggeringly precise hand-drawn layout with only city names and regions as reference points. In own sense of abstracted cartography, Rugg redistributes traditional map colors (or eliminates them entirely) in order to nullify the social preeminence given to constructed territories and highlight the idea that our attention is manipulated to focus on the powerful few instead of the physical many. According to the artist: “Some people have said that my recent work has moved into a different direction. But I would disagree with this as I am still pursuing my interest in popular iconography and still disrupting the relationship between the images and their vehicles to make the images more visible and jarring.” “Living in an urban

Alex Blau: REMIX (A Twenty-Year Survey) View this Exclusive ARTSY Online Exhibition Now at: https://bit.ly/3e2k2UP Alex Blau’s geometric paintings draw from a variety of sources and have unexpected associations. By variously utilizing graphic languages associated with things like disposable consumer goods, computer generated architectures and unfolding mandalas, Blau’s work both points to abstraction’s open-ended possibility and highlights its incorporation into mass culture. Alex Blau has an MFA from Rhode Island School of Design and works primarily in painting. Blau has had solo shows at several venues, including Frist Center, Firecat Projects in Chicago, Gallery Seomi in Seoul, Mark Moore Gallery in Santa Monica, Kevin Bruk Gallery in Miami, Barbara Davis Gallery in Houston and the New Britain Museum of American Art. She currently teaches at Vanderbilt University and Austin Peay State University. For additional information, contact Mark Moore Fine Art at: [email protected] #alexblau #markmoorefineart #artexhibition #artshow #painting #contemporarypainting #contemporaryart #artcollector #artcurator #artconsultant #artadvisor #abstractart #abstractpainting

ROBERT STANDISH Chaos and Control Closing November 8, 2020 An Exclusive ARTSY Online Exhibition VIEW THIS SHOW NOW AT: https://bit.ly/3gVVZbP Robert Standish is an American painter living and working in Los Angeles whose organic process reveals the emotive effects of color, shape, and texture. Inspired by the color-field painters Abstract Expressionism, and Abstract Spritualism, Standish’s free-flowing use of paint is his way of exploring abstraction, composition and transcendence. His works can be found in the permanent collections of the Los Angeles County Museum of Art, JP MORGAN CHASE, The Weisman Foundation, Louis K. Meisel, Larry and Marilyn Fields, Patricia Arquette, Norwest Venture Partners, and BRYANT/ STIBEL, along with numerous other acclaimed collections. Standish's paintings have been exhibited internationally in galleries and museums, including group shows at the Carnegie Art Museum, Frederick R Weisman Museum of Art and solo show at the Museum of Art and History, Lancaster. #artexhibition #artshow #painting #contemporarypainting #contemporaryart #artcollector #artcurator #artconsultant #artadvisor #laart #laartist #losangelesart #losangelesartist #losangelesartists #abstractart #modernart #contemporaryart #dailyart #instaart #artcollectors #artcollector #artcritic #collector #modernartist #contemporaryartist #abstractartist #artcollective #arte #kunst #robertstandish #markmoorefineart #markmooregallery

Energy and Motion: Abstraction 2020 - On View Through September 13, 2020 VIEW THIS EXCLUSIVE ARTSY ONLINE EXHIBITION HERE: https://bit.ly/36X540b "Abstraction is energy and motion made visible – memories arrested in space." - Jackson Pollock Mark Moore Fine Art presents an exclusive ARTSY online exhibition including 18 artists focused on Abstraction in “Energy and Motion: Abstraction 2020” on view now through September 13, 2020. Featuring the work of: Charles Arnoldi; Michael Batty; Tim Bavington; Alex Blau; Tony DeLap; Joshua Dildine; Dennis Ekstedt; David Klamen; Jimi Gleason; Kara Maria; Amy Myers; Julie Oppermann; Zemer Peled; Robert Standish; Meghan Smythe; Lisa Stefanelli; Feodor Voronov; and, Ben Weiner In this exhibition we survey the work of eighteen different artists working today that approach the field of abstraction from a vast array of directions and materials and thematic content. These formal qualities of an abstract painting or sculpture are significant not in themselves but as part of the work’s expressive message. All these artists work by reviving and transforming archetypes from the unconscious of modern culture and the abstract tradition. It’s tempting to see the years 1912–25 and 1947–70 as the two golden ages of abstract art, and to feel that the present revival of abstraction is no more than a silver age. But the present is always deceptive: it was not evident to their contemporaries that Malevich, Mondrian, and Pollock were the towering giants they seem to us in retrospect. The fact is, there is a vast amount of good abstract art being made today, and the best of it is every bit as good as the best abstract art of the past. The golden age of abstraction is right now. For additional information, please visit our website or contact us at: [email protected] www.markmoorefineart.com #artist #art #modernart #contemporaryart #dailyart #instaart #instagood #contemporaryartist #kunst #artcollectors #artcollector #artconsultant #ab

Mark Moore Fine Art in partnership with Traver Gallery is proud to present an exclusive ARTSY online exhibition titled “IVORY.125” by artist Joseph Rossano which is on view now at The Pilchuck Gallery in Seattle through the Summer. VIEW THIS SHOW NOW AT: https://bit.ly/3jKZ00R ABOUT IVORY.125 Using an artistic rendering of the fossil record, past, present, and future, the exhibition reveals how our legacy as a species is inexorably tied to a value system designed to insure familial survival. Towards the transmission of this reality, Ivory exposes viewers to the global trade in illegal animal parts, it's flawed connection to power, and its devastating effects. THE PILCHUCK GALLERY 240 Second Avenue South, Suite 100, Seattle WA, 98104 https://www.pilchuck.org/exhibitions PRESENTED IN PARTNERSHIP WITH TRAVER GALLERY ABOUT THE ARTIST Joseph Rossano, born to clinicians and research scientists, graduated from Louisiana State University as an artist. His path joined him, via mentorship, collaboration, and exhibition, with renowned artists and institutions including Dale Chihuly, Judy Pfaff, The Pilchuck Glass School, Waterford Crystal, Museum of Glass, the South Australia Museum, and Google. Integrating cutting edge technology and science with his art, Rossano engages and challenges the viewer to reflect upon mankind’s impact on our planet and its varied ecosystems. Much of Rossano’s youth was spent in New York’s Hudson Valley and Catskill Mountains, formative years that evolved a life focused on creating environmental awareness through Art. Rossano now lives and works 65 miles north of Seattle, his home and studio nestled in the temperate rain forests of the Pacific Northwest. Learn more at rossanostudio.com #markmoorefineart #markmooregallery #artexhibition #artshow #painting #contemporarypainting #contemporaryart #artcollector #artcurator #artconsultant #artadvisor #josephrossano #ivory125

JOSEPH ROSSANO “Artifacts of the Feed” - On View Now VIEW THIS EXCLUSIVE ONLINE ARTSY EXHIBITION NOW AT: http://bit.ly/38PIg2A In this exclusive ARTSY online exhibition, "Artifacts of the Feed", artist JOSEPH ROSSANO presents 23 man-made manifestations of reality that represent how the process of documentation has evolved throughout a career of observation with camera, film, and now cellphone. Today we view our lives through an endless feed of computer-generated images. Our modern global community records life through use of the cellphone and social media, tools provided by technology. The continuous feed of data comprises digital artifacts — excerpts of our lives, our reality — that we feed to the world. An artifact is an object or work that has been manufactured by humans; it is not something from nature, but a signal of the presence and influence of man. The term “feed” refers not only to the act of giving or receiving food, but also to a channel through which matter passes and can be accessed. "Artifacts of the Feed" presents man-made manifestations of reality that represent how the process of documentation has evolved throughout a career of observation with camera, film, and now cellphone. Analog and digital means of chronicling the world will result in two very different records of the moment of exposure or capture — one which you can hold in your hand, the other requiring a computer to view. Both are intended to record reality. Although transiently, monochrome photography has been a part of my process since first developing a roll of film as a fourteen-year-old. To me, photography is transient because making pictures with the camera has come in and out of my daily activities: sometimes picture making is an all-consuming endeavor, while at other times many months can pass without me reaching for the camera. Yet whenever I do pick up the camera, I am guided by the works of naturalist Edward A. Samuels (1836–1908) — embodied in his book "With Fly-Rod and Ca

ROBERT STANDISH Chaos and Control Closing November 8, 2020 An Exclusive ARTSY Online Exhibition VIEW THIS SHOW NOW AT: https://bit.ly/3gVVZbP Robert Standish is an American painter living and working in Los Angeles whose organic process reveals the emotive effects of color, shape, and texture. Inspired by the color-field painters Abstract Expressionism, and Abstract Spritualism, Standish’s free-flowing use of paint is his way of exploring abstraction, composition and transcendence. His works can be found in the permanent collections of the Los Angeles County Museum of Art, JP MORGAN CHASE, The Weisman Foundation, Louis K. Meisel, Larry and Marilyn Fields, Patricia Arquette, Norwest Venture Partners, and BRYANT/ STIBEL, along with numerous other acclaimed collections. Standish's paintings have been exhibited internationally in galleries and museums, including group shows at the Carnegie Art Museum, Frederick R Weisman Museum of Art and solo show at the Museum of Art and History, Lancaster. #artexhibition #artshow #painting #contemporarypainting #contemporaryart #artcollector #artcurator #artconsultant #artadvisor #laart #laartist #losangelesart #losangelesartist #losangelesartists #abstractart #modernart #contemporaryart #dailyart #instaart #artcollectors #artcollector #artcritic #collector #modernartist #contemporaryartist #abstractartist #artcollective #arte #kunst #robertstandish #markmoorefineart #markmooregallery

OPENING TODAY: Mark Moore Fine Art in partnership with Traver Gallery is proud to present an exclusive ARTSY online exhibition titled “IVORY.125” by artist Joseph Rossano which is on view now at The Pilchuck Gallery in Seattle through the Summer. VIEW THIS SHOW NOW AT: https://bit.ly/3jKZ00R ABOUT IVORY.125 Using an artistic rendering of the fossil record, past, present, and future, the exhibition reveals how our legacy as a species is inexorably tied to a value system designed to insure familial survival. Towards the transmission of this reality, Ivory exposes viewers to the global trade in illegal animal parts, it's flawed connection to power, and its devastating effects. THE PILCHUCK GALLERY 240 Second Avenue South, Suite 100, Seattle WA, 98104 https://www.pilchuck.org/exhibitions PRESENTED IN PARTNERSHIP WITH TRAVER GALLERY ABOUT THE ARTIST Joseph Rossano, born to clinicians and research scientists, graduated from Louisiana State University as an artist. His path joined him, via mentorship, collaboration, and exhibition, with renowned artists and institutions including Dale Chihuly, Judy Pfaff, The Pilchuck Glass School, Waterford Crystal, Museum of Glass, the South Australia Museum, and Google. Integrating cutting edge technology and science with his art, Rossano engages and challenges the viewer to reflect upon mankind’s impact on our planet and its varied ecosystems. Much of Rossano’s youth was spent in New York’s Hudson Valley and Catskill Mountains, formative years that evolved a life focused on creating environmental awareness through Art. Rossano now lives and works 65 miles north of Seattle, his home and studio nestled in the temperate rain forests of the Pacific Northwest. Learn more at rossanostudio.com #markmoorefineart #markmooregallery #artexhibition #artshow #painting #contemporarypainting #contemporaryart #artcollector #artcurator #artconsultant #artadvisor #josephrossano #ivory125

OPENING TOMORROW: Mark Moore Fine Art in partnership with Traver Gallery is proud to present an exclusive ARTSY online exhibition titled “IVORY.125” by artist Joseph Rossano which is on view now at The Pilchuck Gallery in Seattle through the Summer. VIEW THIS SHOW NOW AT: https://bit.ly/3jKZ00R ABOUT IVORY.125 Using an artistic rendering of the fossil record, past, present, and future, the exhibition reveals how our legacy as a species is inexorably tied to a value system designed to insure familial survival. Towards the transmission of this reality, Ivory exposes viewers to the global trade in illegal animal parts, it's flawed connection to power, and its devastating effects. THE PILCHUCK GALLERY 240 Second Avenue South, Suite 100, Seattle WA, 98104 https://www.pilchuck.org/exhibitions PRESENTED IN PARTNERSHIP WITH TRAVER GALLERY ABOUT THE ARTIST Joseph Rossano, born to clinicians and research scientists, graduated from Louisiana State University as an artist. His path joined him, via mentorship, collaboration, and exhibition, with renowned artists and institutions including Dale Chihuly, Judy Pfaff, The Pilchuck Glass School, Waterford Crystal, Museum of Glass, the South Australia Museum, and Google. Integrating cutting edge technology and science with his art, Rossano engages and challenges the viewer to reflect upon mankind’s impact on our planet and its varied ecosystems. Much of Rossano’s youth was spent in New York’s Hudson Valley and Catskill Mountains, formative years that evolved a life focused on creating environmental awareness through Art. Rossano now lives and works 65 miles north of Seattle, his home and studio nestled in the temperate rain forests of the Pacific Northwest. Learn more at rossanostudio.com #markmoorefineart #markmooregallery #artexhibition #artshow #painting #contemporarypainting #contemporaryart #artcollector #artcurator #artconsultant #artadvisor #josephrossano #ivory125

ROBERT STANDISH Chaos and Control Closing November 8, 2020 An Exclusive ARTSY Online Exhibition VIEW THIS SHOW NOW AT: https://bit.ly/3gVVZbP Robert Standish is an American painter living and working in Los Angeles whose organic process reveals the emotive effects of color, shape, and texture. Inspired by the color-field painters Abstract Expressionism, and Abstract Spritualism, Standish’s free-flowing use of paint is his way of exploring abstraction, composition and transcendence. His works can be found in the permanent collections of the Los Angeles County Museum of Art, JP MORGAN CHASE, The Weisman Foundation, Louis K. Meisel, Larry and Marilyn Fields, Patricia Arquette, Norwest Venture Partners, and BRYANT/ STIBEL, along with numerous other acclaimed collections. Standish's paintings have been exhibited internationally in galleries and museums, including group shows at the Carnegie Art Museum, Frederick R Weisman Museum of Art and solo show at the Museum of Art and History, Lancaster. #artexhibition #artshow #painting #contemporarypainting #contemporaryart #artcollector #artcurator #artconsultant #artadvisor #laart #laartist #losangelesart #losangelesartist #losangelesartists #abstractart #modernart #contemporaryart #dailyart #instaart #artcollectors #artcollector #artcritic #collector #modernartist #contemporaryartist #abstractartist #artcollective #arte #kunst #robertstandish #markmoorefineart #markmooregallery

ROBERT STANDISH Chaos and Control July 23, 2020 - November 8, 2020 An Exclusive ARTSY Online Exhibition VIEW THIS SHOW NOW AT: https://bit.ly/3gVVZbP In Standish’s latest series, given the moniker Anti-Sporadic, combines oil and acrylic paints, the latter substance laid down first and the former last. In fact, the basis for each composition is a pour of acrylic onto the canvas. Standish enhances the resulting impasto with a highly gestural application of palette knives. The resulting topography is then modified with oil-based pigments, applied with brushes, so that the often volcanic-seeming features of the acrylic pour are amplified into patterns and visual structures. This is no mere exercise in decorating high-profile surfaces: Standish intervenes deeply into the acrylic with the oils, coaxing bursts of color and swaths of texture out of the superficial and into the visible. Standish may seem to leave certain Anti-Sporadic works – smaller ones in particular – free of his “oil intervention.” But that is an illusion right there; his hand has indeed intervened, however invisibly. Standish has “touched up” these weighty monochromatic froths with the same carefully applied enhancement he’s visited upon more extravagantly colored canvases, only here, the goal has been to bring forth shadows rather than rainbows. Standish had already been working in a non-objective idiom for several years when he developed the techniques that led to the Anti-Sporadic series. As so many painters discover, the pleasures and mysteries of smearing substances on surfaces reveal themselves not only during the process of painting, but afterwards as well – and in many more different and unanticipated ways. Indeed, this is what makes abstract art appealing to its audience as well as to its practitioners. Standish avers that he began thinking abstractly even while painting recognizable images. (Notably, while painting streetlights at night, he became fascinated by the effects of light on t

ROBERT STANDISH Chaos and Control July 23, 2020 - November 8, 2020 An Exclusive ARTSY Online Exhibition VIEW THIS SHOW NOW AT: https://bit.ly/3gVVZbP In Standish’s latest series, given the moniker Anti-Sporadic, combines oil and acrylic paints, the latter substance laid down first and the former last. In fact, the basis for each composition is a pour of acrylic onto the canvas. Standish enhances the resulting impasto with a highly gestural application of palette knives. The resulting topography is then modified with oil-based pigments, applied with brushes, so that the often volcanic-seeming features of the acrylic pour are amplified into patterns and visual structures. This is no mere exercise in decorating high-profile surfaces: Standish intervenes deeply into the acrylic with the oils, coaxing bursts of color and swaths of texture out of the superficial and into the visible. Standish may seem to leave certain Anti-Sporadic works – smaller ones in particular – free of his “oil intervention.” But that is an illusion right there; his hand has indeed intervened, however invisibly. Standish has “touched up” these weighty monochromatic froths with the same carefully applied enhancement he’s visited upon more extravagantly colored canvases, only here, the goal has been to bring forth shadows rather than rainbows. Standish had already been working in a non-objective idiom for several years when he developed the techniques that led to the Anti-Sporadic series. As so many painters discover, the pleasures and mysteries of smearing substances on surfaces reveal themselves not only during the process of painting, but afterwards as well – and in many more different and unanticipated ways. Indeed, this is what makes abstract art appealing to its audience as well as to its practitioners. Standish avers that he began thinking abstractly even while painting recognizable images. (Notably, while painting streetlights at night, he became fascinated by the effects of light on t

ROBERT STANDISH Chaos and Control July 23, 2020 - November 8, 2020 An Exclusive ARTSY Online Exhibition VIEW THIS SHOW NOW AT: https://bit.ly/3gVVZbP In Standish’s latest series, given the moniker Anti-Sporadic, combines oil and acrylic paints, the latter substance laid down first and the former last. In fact, the basis for each composition is a pour of acrylic onto the canvas. Standish enhances the resulting impasto with a highly gestural application of palette knives. The resulting topography is then modified with oil-based pigments, applied with brushes, so that the often volcanic-seeming features of the acrylic pour are amplified into patterns and visual structures. This is no mere exercise in decorating high-profile surfaces: Standish intervenes deeply into the acrylic with the oils, coaxing bursts of color and swaths of texture out of the superficial and into the visible. Standish may seem to leave certain Anti-Sporadic works – smaller ones in particular – free of his “oil intervention.” But that is an illusion right there; his hand has indeed intervened, however invisibly. Standish has “touched up” these weighty monochromatic froths with the same carefully applied enhancement he’s visited upon more extravagantly colored canvases, only here, the goal has been to bring forth shadows rather than rainbows. Standish had already been working in a non-objective idiom for several years when he developed the techniques that led to the Anti-Sporadic series. As so many painters discover, the pleasures and mysteries of smearing substances on surfaces reveal themselves not only during the process of painting, but afterwards as well – and in many more different and unanticipated ways. Indeed, this is what makes abstract art appealing to its audience as well as to its practitioners. Standish avers that he began thinking abstractly even while painting recognizable images. (Notably, while painting streetlights at night, he became fascinated by the effects of light on t

ROBERT STANDISH Chaos and Control July 23, 2020 - November 8, 2020 An Exclusive ARTSY Online Exhibition VIEW THIS SHOW NOW AT: https://bit.ly/3gVVZbP In Standish’s latest series, given the moniker Anti-Sporadic, combines oil and acrylic paints, the latter substance laid down first and the former last. In fact, the basis for each composition is a pour of acrylic onto the canvas. Standish enhances the resulting impasto with a highly gestural application of palette knives. The resulting topography is then modified with oil-based pigments, applied with brushes, so that the often volcanic-seeming features of the acrylic pour are amplified into patterns and visual structures. This is no mere exercise in decorating high-profile surfaces: Standish intervenes deeply into the acrylic with the oils, coaxing bursts of color and swaths of texture out of the superficial and into the visible. Standish may seem to leave certain Anti-Sporadic works – smaller ones in particular – free of his “oil intervention.” But that is an illusion right there; his hand has indeed intervened, however invisibly. Standish has “touched up” these weighty monochromatic froths with the same carefully applied enhancement he’s visited upon more extravagantly colored canvases, only here, the goal has been to bring forth shadows rather than rainbows. Standish had already been working in a non-objective idiom for several years when he developed the techniques that led to the Anti-Sporadic series. As so many painters discover, the pleasures and mysteries of smearing substances on surfaces reveal themselves not only during the process of painting, but afterwards as well – and in many more different and unanticipated ways. Indeed, this is what makes abstract art appealing to its audience as well as to its practitioners. Standish avers that he began thinking abstractly even while painting recognizable images. (Notably, while painting streetlights at night, he became fascinated by the effects of light on t

ROBERT STANDISH Chaos and Control July 23, 2020 - November 8, 2020 An Exclusive ARTSY Online Exhibition VIEW THIS SHOW NOW AT: https://bit.ly/3gVVZbP In Standish’s latest series, given the moniker Anti-Sporadic, combines oil and acrylic paints, the latter substance laid down first and the former last. In fact, the basis for each composition is a pour of acrylic onto the canvas. Standish enhances the resulting impasto with a highly gestural application of palette knives. The resulting topography is then modified with oil-based pigments, applied with brushes, so that the often volcanic-seeming features of the acrylic pour are amplified into patterns and visual structures. This is no mere exercise in decorating high-profile surfaces: Standish intervenes deeply into the acrylic with the oils, coaxing bursts of color and swaths of texture out of the superficial and into the visible. Standish may seem to leave certain Anti-Sporadic works – smaller ones in particular – free of his “oil intervention.” But that is an illusion right there; his hand has indeed intervened, however invisibly. Standish has “touched up” these weighty monochromatic froths with the same carefully applied enhancement he’s visited upon more extravagantly colored canvases, only here, the goal has been to bring forth shadows rather than rainbows. Standish had already been working in a non-objective idiom for several years when he developed the techniques that led to the Anti-Sporadic series. As so many painters discover, the pleasures and mysteries of smearing substances on surfaces reveal themselves not only during the process of painting, but afterwards as well – and in many more different and unanticipated ways. Indeed, this is what makes abstract art appealing to its audience as well as to its practitioners. Standish avers that he began thinking abstractly even while painting recognizable images. (Notably, while painting streetlights at night, he became fascinated by the effects of light on t

KIM RUGG: "Another Man's Treasure" - On View Now Mark Moore Fine Art is proud to announce the exclusive ARTSY online exhibition of new work by artist KIM RUGG on view now titled, "Another Man's Treasure". I would urge you to take a look at this beautiful, thoughtful, and compelling exhibition focused contemporary culture. View this exclusive ARTSY online exhibition now at: https://bit.ly/2Va62Bz With surgical blades and a meticulous hand for nearly two decades Kim Rugg (b. 1963, Canada) dissected and reassembled newspapers, stamps, comic books, cereal boxes and postage stamps in order to render them conventionally illegible. In her early work, the front page of the LA Times becomes neatly alphabetized jargon, debunking the illusion of its producers' authority as much as the message itself. Through her re-appropriation of medium and meaning, she effectively highlights the innately slanted nature of the distribution of information as well as its messengers. Rugg has also created hand-drawn works alongside wallpaper installations, both of which toy with authenticity and falsehood through subtle trompe l'oeil. In her maps, Rugg re-envisions the topography of various states, countries, continents, and even the world without borders, featuring a staggeringly precise hand-drawn layout with only city names and regions as reference points. In own sense of abstracted cartography, Rugg redistributes traditional map colors (or eliminates them entirely) in order to nullify the social preeminence given to constructed territories and highlight the idea that our attention is manipulated to focus on the powerful few instead of the physical many. According to the artist: “Some people have said that my recent work has moved into a different direction. But I would disagree with this as I am still pursuing my interest in popular iconography and still disrupting the relationship between the images and their vehicles to make the images more visible and jarring.” “Living in an urban

KIM RUGG: "Another Man's Treasure" - On View Now Mark Moore Fine Art is proud to announce the exclusive ARTSY online exhibition of new work by artist KIM RUGG on view now titled, "Another Man's Treasure". I would urge you to take a look at this beautiful, thoughtful, and compelling exhibition focused contemporary culture. View this exclusive ARTSY online exhibition now at: https://bit.ly/2Va62Bz With surgical blades and a meticulous hand for nearly two decades Kim Rugg (b. 1963, Canada) dissected and reassembled newspapers, stamps, comic books, cereal boxes and postage stamps in order to render them conventionally illegible. In her early work, the front page of the LA Times becomes neatly alphabetized jargon, debunking the illusion of its producers' authority as much as the message itself. Through her re-appropriation of medium and meaning, she effectively highlights the innately slanted nature of the distribution of information as well as its messengers. Rugg has also created hand-drawn works alongside wallpaper installations, both of which toy with authenticity and falsehood through subtle trompe l'oeil. In her maps, Rugg re-envisions the topography of various states, countries, continents, and even the world without borders, featuring a staggeringly precise hand-drawn layout with only city names and regions as reference points. In own sense of abstracted cartography, Rugg redistributes traditional map colors (or eliminates them entirely) in order to nullify the social preeminence given to constructed territories and highlight the idea that our attention is manipulated to focus on the powerful few instead of the physical many. According to the artist: “Some people have said that my recent work has moved into a different direction. But I would disagree with this as I am still pursuing my interest in popular iconography and still disrupting the relationship between the images and their vehicles to make the images more visible and jarring.” “Living in an urban

KIM RUGG: "Another Man's Treasure" - On View Now Mark Moore Fine Art is proud to announce the exclusive ARTSY online exhibition of new work by artist KIM RUGG on view now titled, "Another Man's Treasure". I would urge you to take a look at this beautiful, thoughtful, and compelling exhibition focused contemporary culture. View this exclusive ARTSY online exhibition now at: https://bit.ly/2Va62Bz With surgical blades and a meticulous hand for nearly two decades Kim Rugg (b. 1963, Canada) dissected and reassembled newspapers, stamps, comic books, cereal boxes and postage stamps in order to render them conventionally illegible. In her early work, the front page of the LA Times becomes neatly alphabetized jargon, debunking the illusion of its producers' authority as much as the message itself. Through her re-appropriation of medium and meaning, she effectively highlights the innately slanted nature of the distribution of information as well as its messengers. Rugg has also created hand-drawn works alongside wallpaper installations, both of which toy with authenticity and falsehood through subtle trompe l'oeil. In her maps, Rugg re-envisions the topography of various states, countries, continents, and even the world without borders, featuring a staggeringly precise hand-drawn layout with only city names and regions as reference points. In own sense of abstracted cartography, Rugg redistributes traditional map colors (or eliminates them entirely) in order to nullify the social preeminence given to constructed territories and highlight the idea that our attention is manipulated to focus on the powerful few instead of the physical many. According to the artist: “Some people have said that my recent work has moved into a different direction. But I would disagree with this as I am still pursuing my interest in popular iconography and still disrupting the relationship between the images and their vehicles to make the images more visible and jarring.” “Living in an urban

KIM RUGG: "Another Man's Treasure" - On View Now Mark Moore Fine Art is proud to announce the exclusive ARTSY online exhibition of new work by artist KIM RUGG on view now titled, "Another Man's Treasure". I would urge you to take a look at this beautiful, thoughtful, and compelling exhibition focused contemporary culture. View this exclusive ARTSY online exhibition now at: https://bit.ly/2Va62Bz With surgical blades and a meticulous hand for nearly two decades Kim Rugg (b. 1963, Canada) dissected and reassembled newspapers, stamps, comic books, cereal boxes and postage stamps in order to render them conventionally illegible. In her early work, the front page of the LA Times becomes neatly alphabetized jargon, debunking the illusion of its producers' authority as much as the message itself. Through her re-appropriation of medium and meaning, she effectively highlights the innately slanted nature of the distribution of information as well as its messengers. Rugg has also created hand-drawn works alongside wallpaper installations, both of which toy with authenticity and falsehood through subtle trompe l'oeil. In her maps, Rugg re-envisions the topography of various states, countries, continents, and even the world without borders, featuring a staggeringly precise hand-drawn layout with only city names and regions as reference points. In own sense of abstracted cartography, Rugg redistributes traditional map colors (or eliminates them entirely) in order to nullify the social preeminence given to constructed territories and highlight the idea that our attention is manipulated to focus on the powerful few instead of the physical many. According to the artist: “Some people have said that my recent work has moved into a different direction. But I would disagree with this as I am still pursuing my interest in popular iconography and still disrupting the relationship between the images and their vehicles to make the images more visible and jarring.” “Living in an urban

KIM RUGG: "Another Man's Treasure" - On View Now Mark Moore Fine Art is proud to announce the exclusive ARTSY online exhibition of new work by artist KIM RUGG on view now titled, "Another Man's Treasure". I would urge you to take a look at this beautiful, thoughtful, and compelling exhibition focused contemporary culture. View this exclusive ARTSY online exhibition now at: https://bit.ly/2Va62Bz With surgical blades and a meticulous hand for nearly two decades Kim Rugg (b. 1963, Canada) dissected and reassembled newspapers, stamps, comic books, cereal boxes and postage stamps in order to render them conventionally illegible. In her early work, the front page of the LA Times becomes neatly alphabetized jargon, debunking the illusion of its producers' authority as much as the message itself. Through her re-appropriation of medium and meaning, she effectively highlights the innately slanted nature of the distribution of information as well as its messengers. Rugg has also created hand-drawn works alongside wallpaper installations, both of which toy with authenticity and falsehood through subtle trompe l'oeil. In her maps, Rugg re-envisions the topography of various states, countries, continents, and even the world without borders, featuring a staggeringly precise hand-drawn layout with only city names and regions as reference points. In own sense of abstracted cartography, Rugg redistributes traditional map colors (or eliminates them entirely) in order to nullify the social preeminence given to constructed territories and highlight the idea that our attention is manipulated to focus on the powerful few instead of the physical many. According to the artist: “Some people have said that my recent work has moved into a different direction. But I would disagree with this as I am still pursuing my interest in popular iconography and still disrupting the relationship between the images and their vehicles to make the images more visible and jarring.” “Living in an urban

KIM RUGG: "Another Man's Treasure" - On View Now Mark Moore Fine Art is proud to announce the exclusive ARTSY online exhibition of new work by artist KIM RUGG on view now titled, "Another Man's Treasure". I would urge you to take a look at this beautiful, thoughtful, and compelling exhibition focused contemporary culture. View this exclusive ARTSY online exhibition now at: https://bit.ly/2Va62Bz With surgical blades and a meticulous hand for nearly two decades Kim Rugg (b. 1963, Canada) dissected and reassembled newspapers, stamps, comic books, cereal boxes and postage stamps in order to render them conventionally illegible. In her early work, the front page of the LA Times becomes neatly alphabetized jargon, debunking the illusion of its producers' authority as much as the message itself. Through her re-appropriation of medium and meaning, she effectively highlights the innately slanted nature of the distribution of information as well as its messengers. Rugg has also created hand-drawn works alongside wallpaper installations, both of which toy with authenticity and falsehood through subtle trompe l'oeil. In her maps, Rugg re-envisions the topography of various states, countries, continents, and even the world without borders, featuring a staggeringly precise hand-drawn layout with only city names and regions as reference points. In own sense of abstracted cartography, Rugg redistributes traditional map colors (or eliminates them entirely) in order to nullify the social preeminence given to constructed territories and highlight the idea that our attention is manipulated to focus on the powerful few instead of the physical many. According to the artist: “Some people have said that my recent work has moved into a different direction. But I would disagree with this as I am still pursuing my interest in popular iconography and still disrupting the relationship between the images and their vehicles to make the images more visible and jarring.” “Living in an urban

KIM RUGG: "Another Man's Treasure" - On View Now Mark Moore Fine Art is proud to announce the exclusive ARTSY online exhibition of new work by artist KIM RUGG on view now titled, "Another Man's Treasure". I would urge you to take a look at this beautiful, thoughtful, and compelling exhibition focused contemporary culture. View this exclusive ARTSY online exhibition now at: https://bit.ly/2Va62Bz With surgical blades and a meticulous hand for nearly two decades Kim Rugg (b. 1963, Canada) dissected and reassembled newspapers, stamps, comic books, cereal boxes and postage stamps in order to render them conventionally illegible. In her early work, the front page of the LA Times becomes neatly alphabetized jargon, debunking the illusion of its producers' authority as much as the message itself. Through her re-appropriation of medium and meaning, she effectively highlights the innately slanted nature of the distribution of information as well as its messengers. Rugg has also created hand-drawn works alongside wallpaper installations, both of which toy with authenticity and falsehood through subtle trompe l'oeil. In her maps, Rugg re-envisions the topography of various states, countries, continents, and even the world without borders, featuring a staggeringly precise hand-drawn layout with only city names and regions as reference points. In own sense of abstracted cartography, Rugg redistributes traditional map colors (or eliminates them entirely) in order to nullify the social preeminence given to constructed territories and highlight the idea that our attention is manipulated to focus on the powerful few instead of the physical many. According to the artist: “Some people have said that my recent work has moved into a different direction. But I would disagree with this as I am still pursuing my interest in popular iconography and still disrupting the relationship between the images and their vehicles to make the images more visible and jarring.” “Living in an urban

KIM RUGG: "Another Man's Treasure" - On View Now Mark Moore Fine Art is proud to announce the exclusive ARTSY online exhibition of new work by artist KIM RUGG on view now titled, "Another Man's Treasure". I would urge you to take a look at this beautiful, thoughtful, and compelling exhibition focused contemporary culture. View this exclusive ARTSY online exhibition now at: https://bit.ly/2Va62Bz With surgical blades and a meticulous hand for nearly two decades Kim Rugg (b. 1963, Canada) dissected and reassembled newspapers, stamps, comic books, cereal boxes and postage stamps in order to render them conventionally illegible. In her early work, the front page of the LA Times becomes neatly alphabetized jargon, debunking the illusion of its producers' authority as much as the message itself. Through her re-appropriation of medium and meaning, she effectively highlights the innately slanted nature of the distribution of information as well as its messengers. Rugg has also created hand-drawn works alongside wallpaper installations, both of which toy with authenticity and falsehood through subtle trompe l'oeil. In her maps, Rugg re-envisions the topography of various states, countries, continents, and even the world without borders, featuring a staggeringly precise hand-drawn layout with only city names and regions as reference points. In own sense of abstracted cartography, Rugg redistributes traditional map colors (or eliminates them entirely) in order to nullify the social preeminence given to constructed territories and highlight the idea that our attention is manipulated to focus on the powerful few instead of the physical many. According to the artist: “Some people have said that my recent work has moved into a different direction. But I would disagree with this as I am still pursuing my interest in popular iconography and still disrupting the relationship between the images and their vehicles to make the images more visible and jarring.” “Living in an urban

KIM RUGG: "Another Man's Treasure" - On View Now Mark Moore Fine Art is proud to announce the exclusive ARTSY online exhibition of new work by artist KIM RUGG on view now titled, "Another Man's Treasure". I would urge you to take a look at this beautiful, thoughtful, and compelling exhibition focused contemporary culture. View this exclusive ARTSY online exhibition now at: https://bit.ly/2Va62Bz With surgical blades and a meticulous hand for nearly two decades Kim Rugg (b. 1963, Canada) dissected and reassembled newspapers, stamps, comic books, cereal boxes and postage stamps in order to render them conventionally illegible. In her early work, the front page of the LA Times becomes neatly alphabetized jargon, debunking the illusion of its producers' authority as much as the message itself. Through her re-appropriation of medium and meaning, she effectively highlights the innately slanted nature of the distribution of information as well as its messengers. Rugg has also created hand-drawn works alongside wallpaper installations, both of which toy with authenticity and falsehood through subtle trompe l'oeil. In her maps, Rugg re-envisions the topography of various states, countries, continents, and even the world without borders, featuring a staggeringly precise hand-drawn layout with only city names and regions as reference points. In own sense of abstracted cartography, Rugg redistributes traditional map colors (or eliminates them entirely) in order to nullify the social preeminence given to constructed territories and highlight the idea that our attention is manipulated to focus on the powerful few instead of the physical many. According to the artist: “Some people have said that my recent work has moved into a different direction. But I would disagree with this as I am still pursuing my interest in popular iconography and still disrupting the relationship between the images and their vehicles to make the images more visible and jarring.” “Living in an urban

KIM RUGG: "Another Man's Treasure" - On View Now Mark Moore Fine Art is proud to announce the exclusive ARTSY online exhibition of new work by artist KIM RUGG on view now titled, "Another Man's Treasure". I would urge you to take a look at this beautiful, thoughtful, and compelling exhibition focused contemporary culture. View this exclusive ARTSY online exhibition now at: https://bit.ly/2Va62Bz With surgical blades and a meticulous hand for nearly two decades Kim Rugg (b. 1963, Canada) dissected and reassembled newspapers, stamps, comic books, cereal boxes and postage stamps in order to render them conventionally illegible. In her early work, the front page of the LA Times becomes neatly alphabetized jargon, debunking the illusion of its producers' authority as much as the message itself. Through her re-appropriation of medium and meaning, she effectively highlights the innately slanted nature of the distribution of information as well as its messengers. Rugg has also created hand-drawn works alongside wallpaper installations, both of which toy with authenticity and falsehood through subtle trompe l'oeil. In her maps, Rugg re-envisions the topography of various states, countries, continents, and even the world without borders, featuring a staggeringly precise hand-drawn layout with only city names and regions as reference points. In own sense of abstracted cartography, Rugg redistributes traditional map colors (or eliminates them entirely) in order to nullify the social preeminence given to constructed territories and highlight the idea that our attention is manipulated to focus on the powerful few instead of the physical many. According to the artist: “Some people have said that my recent work has moved into a different direction. But I would disagree with this as I am still pursuing my interest in popular iconography and still disrupting the relationship between the images and their vehicles to make the images more visible and jarring.” “Living in an urban