“PROFILE ME”
Two-Person Show with Paul Campbell and Dominic Paul Moore
August 29-September 26, 2008
OPENING RECEPTION: August 29th 5 – 7 pm
LOCATION: Moreau Art Gallery, St. Mary’s College, Notre Dame, IN
Opening Friday July 18
5-8pm
July 18 - August 31
Finding Beauty
Cheryl Warrick and Tremain Smith
Show Opening Reception: Friday, July 18, 5-8 pm
5-8pm
July 18 - August 31
Finding Beauty
Cheryl Warrick and Tremain Smith
Show Opening Reception: Friday, July 18, 5-8 pm
Nationally known artist Cheryl Warrick weaves densely layered visual elements of symbols, patterns and text with abstract landscapes to create an archetype of language that searches for wisdom in her paintings. In addition to her private collections and art reviews, for over twenty years Warrick has been included in over fifty museum and corporate collections. Selected collections: AT&T, Banana Republic, Bank of Boston, Federal Reserve Bank, General Electric, Harpo Studios, Lucent Technologies, Museum of Fine Arts, Boston, MA, Rhode Island School of Design Museum of Art, and University of Chicago.
Tremain Smith's paintings draw from spirituality and the world around her. Earthly shpaes, patterns, and colors create a grid and structure which reveal themselves through encaustic layers. Order and chaos embrace the beautiful with deterioration. Smith is exhibited throughout The United States, many public and private collections include the Lancaster Museum of Art, Metropolitan Museum of Art, United Embassies, Dubai, and Visa Corporation.
Contemporary Artists Workshop
June 27 - August 8
Opening Reception: Friday, June 27, 2008 5:30-9:00 p.m.
Part I of Summer Drawing Exhibition
542 W. Grant Place
Chicago, IL 60614
info@contemporaryartworkshop.org
Artists Showing:
JoAnne Aono
Derek Chan
Marley Freeman
Michael Hunter
Chris Lin
Joe Lopresti
Dominic Moore
Jesikah Ruehle
Estaban Schimf
June 27 - August 8
Opening Reception: Friday, June 27, 2008 5:30-9:00 p.m.
Part I of Summer Drawing Exhibition
542 W. Grant Place
Chicago, IL 60614
info@contemporaryartworkshop.org
Artists Showing:
JoAnne Aono
Derek Chan
Marley Freeman
Michael Hunter
Chris Lin
Joe Lopresti
Dominic Moore
Jesikah Ruehle
Estaban Schimf
NEWCITY
June 12, 2008
Packer/Schopf Gallery
942 W. Lake (312.226.8984) DOMINIC PAUL MOORE,
"You're Gonna Love it Here," multimedia. Though nor-
mally operating behind the scenes at Packer Schopf
Gallery, Dominic Paul Moore has moved into the lime-
light with his newest collection of paintings and draw-
ings, "You're Gonna Love it Here." The assortment of
gouache and graphite drawings, pulled from vintage
medical guides, are striking in their honesty, ranging in
size and jumbled together in an eclectic collage of
images. In their whittled simplicity, Moore's graphite
renderings feature a sinister, cynical feel, suggesting
our safe havens are rarely as benign as we presume. In
"Shhhhhhh, It's Ok," a medic looms over an uncon-
scious woman who, in her docility, implies a certain
level of victimization, leaving one to wonder whether it
was the man by her side or some other exterior force
which brought her to this point. In a peculiar turn,
Moore juxtaposes the medical drawings with replica-
execution, are more spiteful than cynical, made even
more so with callow titles such as "We Are The Whities
The Mighty Mighty Whities." The Web pages, though
as gaudy as the real thing, make up what they lack in
aesthetic appeal through theory, pulled together by
Moore's interrogation of space, both social and person-
al. Such disparate images can be irritating at first, but
Moore's concept is impressive, inviting a peek into the
artist's world - and demanding a reevaluation of one's
own. (Jaime Calder) Through June 21
June 12, 2008
Packer/Schopf Gallery
942 W. Lake (312.226.8984) DOMINIC PAUL MOORE,
"You're Gonna Love it Here," multimedia. Though nor-
mally operating behind the scenes at Packer Schopf
Gallery, Dominic Paul Moore has moved into the lime-
light with his newest collection of paintings and draw-
ings, "You're Gonna Love it Here." The assortment of
gouache and graphite drawings, pulled from vintage
medical guides, are striking in their honesty, ranging in
size and jumbled together in an eclectic collage of
images. In their whittled simplicity, Moore's graphite
renderings feature a sinister, cynical feel, suggesting
our safe havens are rarely as benign as we presume. In
"Shhhhhhh, It's Ok," a medic looms over an uncon-
scious woman who, in her docility, implies a certain
level of victimization, leaving one to wonder whether it
was the man by her side or some other exterior force
which brought her to this point. In a peculiar turn,
Moore juxtaposes the medical drawings with replica-
tions of old Boys Life magazine ads and MySpace
pages. The ads, though remarkable in their technical execution, are more spiteful than cynical, made even
more so with callow titles such as "We Are The Whities
The Mighty Mighty Whities." The Web pages, though
as gaudy as the real thing, make up what they lack in
aesthetic appeal through theory, pulled together by
Moore's interrogation of space, both social and person-
al. Such disparate images can be irritating at first, but
Moore's concept is impressive, inviting a peek into the
artist's world - and demanding a reevaluation of one's
own. (Jaime Calder) Through June 21
introducing the new and improved www.dominicpaulmoore.com.
critique and feedback are always welcomed, and check back for updates!
exsiteing times.....
ps. his show at Packer Schopf Gallery opens this coming friday, may 16 from 6-9. it's going to be quite the affair so you should probably put it on your calender to be there...
critique and feedback are always welcomed, and check back for updates!
exsiteing times.....
ps. his show at Packer Schopf Gallery opens this coming friday, may 16 from 6-9. it's going to be quite the affair so you should probably put it on your calender to be there...
Alicia LaChance
more exuberance please
April 18th 5-8 pm
Ancient worn temples and the fluency of Japanese printmaking are the inspirations for artist Alicia LaChance's paintings. LaChance uses fresco on canvas, spontaneously painting layers as well as scraping into these works. As the pigment is stained into the wet plaster, the image and color start to appear. Afterwards, she transfers transparent glazes of oil onto the painting, creating a lacquered surface which adds to the Asian references.
The sepia toned nature expressed by using tar with resin also imbues an antiquated quality mixed with a strong graphic abstraction of color and shape. The powerful combination and reaction of color, shape and surface creates a visual tension of material and subject that lends dynamic energy to the painting. The vignettes of color and shape create a dialogue between the abstraction and the natural quality in the imagery of painting.
The fresco on canvas creates a tactile surface, juxtaposed with a shiny veneer. Combining color with the material translates an ancient undertone of material and immaterial as well as content of surface and substance.
LaChance's work was recently acquired by the Flat files, Contemporary Museum of Art, Saint Louis, Missouri. Her work is also included in many other corporate and private collections.
so yeah, come friday...
Melanee Cooper Gallery
740 N Franklin
Chicago, IL 60610
View Larger Map
The sepia toned nature expressed by using tar with resin also imbues an antiquated quality mixed with a strong graphic abstraction of color and shape. The powerful combination and reaction of color, shape and surface creates a visual tension of material and subject that lends dynamic energy to the painting. The vignettes of color and shape create a dialogue between the abstraction and the natural quality in the imagery of painting.
The fresco on canvas creates a tactile surface, juxtaposed with a shiny veneer. Combining color with the material translates an ancient undertone of material and immaterial as well as content of surface and substance.
LaChance's work was recently acquired by the Flat files, Contemporary Museum of Art, Saint Louis, Missouri. Her work is also included in many other corporate and private collections.
so yeah, come friday...
Melanee Cooper Gallery
740 N Franklin
Chicago, IL 60610
View Larger Map
Third time is a charm.
My third trip to New York was not filled with drama, hospitals, or spending the night in the airport (well, almost spending the night in the airport). Rather it was filled with excitement, perfect company, and enough art to keep me happy.
Perusing the art fairs of Art Now and Red Dot Fair was far more enjoyable than even I was initially going to give it credit. It was a great feeling looking at artwork, talking with gallery owners, recognizing familiar faces in an unfamiliar place, and feeling so content yet excited and motivated by these surroundings.
With a happy heart, I subwayed my way over to the Whitney, meeting one of my favorite professors that I had in DC. As we sat for tea, she and I spoke of where life had taken us this past year. I will always appreciate her advice. We parted ways and I scoped out the Whitney Biennial for a while. Wandering through the first two floors, taking in as much as I could, before I landed at the fourth floor to listen to a tour. Fabulous tour with unique perspectives. I think it was the fastest 45 minutes in my life.
Sunday's art consisted of a visit to the Guggenheim where the show entitled "I want to believe" by Cai Guo-Qiang dominated the exhibition space. Pretty great stuff though, as we walked our way up the spiral I felt more and more connected to the work.
A smaller exhibition off the main course, From Berlin to New York: Karl Nierendorf and the Guggenheim was also interesting to me. Saw some great Klee pieces and a Leger that were worth taking note.
The Guggenheim wrapped up the art I saw during my art-filled 48 hours in the city. And with this brief description of the art part of my trip, I conclude that it was a fantastic time.
My third trip to New York was not filled with drama, hospitals, or spending the night in the airport (well, almost spending the night in the airport). Rather it was filled with excitement, perfect company, and enough art to keep me happy.
Perusing the art fairs of Art Now and Red Dot Fair was far more enjoyable than even I was initially going to give it credit. It was a great feeling looking at artwork, talking with gallery owners, recognizing familiar faces in an unfamiliar place, and feeling so content yet excited and motivated by these surroundings.
With a happy heart, I subwayed my way over to the Whitney, meeting one of my favorite professors that I had in DC. As we sat for tea, she and I spoke of where life had taken us this past year. I will always appreciate her advice. We parted ways and I scoped out the Whitney Biennial for a while. Wandering through the first two floors, taking in as much as I could, before I landed at the fourth floor to listen to a tour. Fabulous tour with unique perspectives. I think it was the fastest 45 minutes in my life.
Sunday's art consisted of a visit to the Guggenheim where the show entitled "I want to believe" by Cai Guo-Qiang dominated the exhibition space. Pretty great stuff though, as we walked our way up the spiral I felt more and more connected to the work.
A smaller exhibition off the main course, From Berlin to New York: Karl Nierendorf and the Guggenheim was also interesting to me. Saw some great Klee pieces and a Leger that were worth taking note.
The Guggenheim wrapped up the art I saw during my art-filled 48 hours in the city. And with this brief description of the art part of my trip, I conclude that it was a fantastic time.
so i just booked my flight to New York, and even though i'm going to be gone for only a couple days, i'm kinda sorta very excited... : )
it's march 4 now, two days post the opening for Dominic Moore's MFA thesis show "You're Gonna Love It Here." i cannot find the words to give the show the justice/respect/praise deserved. comment as you wish about biasness, but these strong reactions are not from my lips alone. i wish i had recorded the talk he gave yesterday regarding his work. it was powerful.
below you will find Moore's artist statement as well as images from the show. enjoy.
below you will find Moore's artist statement as well as images from the show. enjoy.
What you see here...I remember from a very young age looking out onto the drive through the kitchen screen door of my Grandparents house. I must have stood there for some time; this memory is always present... I remember thinking intensely on the idea of my mortality, and I had this fear inside that prompt me to ask, "Grandma, when am I going to die…?" She looked at me, smiled softly and said, "Not for a very long time my dear!" This question has never subsided. This commonality we all share, and it's in this, that these images hold their weight. I feel that even though we struggle with the inundation of ideas and multi mediafication of mind numbing entertainment, this question still finds its way to the surface. In light of recent events here at NIU, the concept of foraging on is plastered all throughout the community. This will inevitably happen, and the curatorial presention deals with a way in which this occurs.
My work is about mortality. The images representing individuals in sterile clinical spaces subvert the original intention of what were medical journals/industry advertisements into the read of who is doing what to whom and why are they doing it; giving life or taking it? They also bring to mind the ongoing debate of Social Security, as well as; are we secure and should we trust those in our social spaces?
When we think of social spaces, we cannot leave out the online communities. And we must assume that these new communities are being forced to deal with the issues of mortality in a real way as well as the mortality of this artificial realm. The Myspace drawings are from an unaltered profile of a Myspace user that has died of a drunk driving accident in which she was driving. The full scope of this project is not so much about her, but about the way in which her online friends deal with their loss.
Their grief is self-voyeurism as it oddly reflects the communication they had with her via "Comments" while she was alive.
As it goes with most ideas about this human dilemma, people avoid or people gravitate towards a fix. Here I offer up the perfect blend. Masters of The Universe, my favorite childhood cartoon.
He-Man "The Most Powerful Man in the Universe" and the diametric "Evil Lord of Destruction" Skeletor allegorically mimic the (after-life) Judaeo-Christian tradition of good and evil. They embody the power we wish to hold over our mortality while offering an entertaining alternative to directly dealing with questions similar to that of, "Grandma, when am I going to die…?"
as you walked down Superior between Wells and Orleans, the crowds filled the street for great art, wine, and never ending conversations with their fellow art lovers.
in attempts to view the aforementioned galleries, our (Lindy and myself) first stop was Zg Gallery which drew us in with their bright lights, easy to manage crowd, and art that seemed worthy of a glance. their featured artist Ben Butler's untitled, cedar sculpture was probably the most interesting piece in the show. upon arriving at the sculpture you are enticed to feel it's apparent smooth surface, but a look at the back makes you appreciate the work on a greater level. his woodblock prints were also interesting and the whole show, compiled with no more than fifteen pieces, created a nice wooded environment. The back office held a small exhibition with gallery artists in which Anna Joelsdottir's where do they all go? caught my eye.
the second stop was up a few floors to David Weinberg Gallery. always a fun affair. they don't miss anything with their openings as directer/owner David Weingberg graciously converses with his guests, curator Aaron Ott carries his oversized wine glass, eagerly speaking about the current installation, and all the other friendly employees extend a greeting and impart their own knowledge to the crowd. the gallery featured two artists, Sebastian Lemm and Amanda Friedman. both artists are working with nature themed subjects. The ambient lighting in Friedman's photographs were breathtaking. if the gallery wasn't packed and i had more time on my hands, i felt as though i could stair at these photos for hours. i did not take to an instant liking, however, to Lemm's work, who was exhibited in the main gallery, but after reading some literature on his process, i left with a better understanding.
gallery three was Roy Boyd Gallery. we walked into a sparsely congregated space, but were graciously greeted with chocolate altoids! all in all i liked the solo show by Marco Casentini but each canvas seemed to have at least one quality (usually the color combination) that would piss me off. the canvases were interesting with different textures, some containing Plexiglass, and the variety of thickness of the canvas itself visualized a three-dimensional quality.
we then headed back on Superior to Printworks. Tiny, tiny space, exhibiting the work of Michiko Itatani. Interesting, but not for me. This was a quick stop before we ascended to the fourth floor to check out Kenneth Josephson at Stephen Daiter Gallery. great show in my opinion. the crowd was familiar as everyone seemed to make their way from gallery to gallery. the room was comfortably packed. the show was entitled "The First 50 Years" presented a vast range of Josephson's photographic series from the last fifty years in his life. it started with a much appreciated humor, then took a more serious approach, sometimes nearing nostalgia, and then to a more racier side. the interesting part is noting the dates of the series. check out the link to see a majority of the show.
we ended the night here, as it was narrowing 8:00, and went to Brehon's Pub around the corner for some dinner and drinks. It was a fabulous evening to say the least. Fine art, fine company, and definitely a fine way to end the week. unfortunately i still had to work today, so i'm exhausted, and will end on that note. enjoy the rest of your weekend.
what i'll be checking out next:
Sunday, March 2 3-5 pm
Dominic Moore: Gallery 214, NIU, DeKalb IL
in attempts to view the aforementioned galleries, our (Lindy and myself) first stop was Zg Gallery which drew us in with their bright lights, easy to manage crowd, and art that seemed worthy of a glance. their featured artist Ben Butler's untitled, cedar sculpture was probably the most interesting piece in the show. upon arriving at the sculpture you are enticed to feel it's apparent smooth surface, but a look at the back makes you appreciate the work on a greater level. his woodblock prints were also interesting and the whole show, compiled with no more than fifteen pieces, created a nice wooded environment. The back office held a small exhibition with gallery artists in which Anna Joelsdottir's where do they all go? caught my eye.
the second stop was up a few floors to David Weinberg Gallery. always a fun affair. they don't miss anything with their openings as directer/owner David Weingberg graciously converses with his guests, curator Aaron Ott carries his oversized wine glass, eagerly speaking about the current installation, and all the other friendly employees extend a greeting and impart their own knowledge to the crowd. the gallery featured two artists, Sebastian Lemm and Amanda Friedman. both artists are working with nature themed subjects. The ambient lighting in Friedman's photographs were breathtaking. if the gallery wasn't packed and i had more time on my hands, i felt as though i could stair at these photos for hours. i did not take to an instant liking, however, to Lemm's work, who was exhibited in the main gallery, but after reading some literature on his process, i left with a better understanding.
gallery three was Roy Boyd Gallery. we walked into a sparsely congregated space, but were graciously greeted with chocolate altoids! all in all i liked the solo show by Marco Casentini but each canvas seemed to have at least one quality (usually the color combination) that would piss me off. the canvases were interesting with different textures, some containing Plexiglass, and the variety of thickness of the canvas itself visualized a three-dimensional quality.
we then headed back on Superior to Printworks. Tiny, tiny space, exhibiting the work of Michiko Itatani. Interesting, but not for me. This was a quick stop before we ascended to the fourth floor to check out Kenneth Josephson at Stephen Daiter Gallery. great show in my opinion. the crowd was familiar as everyone seemed to make their way from gallery to gallery. the room was comfortably packed. the show was entitled "The First 50 Years" presented a vast range of Josephson's photographic series from the last fifty years in his life. it started with a much appreciated humor, then took a more serious approach, sometimes nearing nostalgia, and then to a more racier side. the interesting part is noting the dates of the series. check out the link to see a majority of the show.
we ended the night here, as it was narrowing 8:00, and went to Brehon's Pub around the corner for some dinner and drinks. It was a fabulous evening to say the least. Fine art, fine company, and definitely a fine way to end the week. unfortunately i still had to work today, so i'm exhausted, and will end on that note. enjoy the rest of your weekend.
what i'll be checking out next:
Sunday, March 2 3-5 pm
Dominic Moore: Gallery 214, NIU, DeKalb IL
tomorrow is the beloved end of the work week, meaning time to go home and relax, have a drink with some friends, or indulge in some fine dining. BUT, before you do that, why not check out the art scene along the way.
River North:
Roy Boyd Gallery
Stephen Daiter Gallery
David Weinberg Gallery
Ann Nathan Gallery
West Loop:
FLATFILEgalleries
Woman Made Gallery
i'm going to try and make it to the River North openings, but might not catch the west loop. if you do, please let me know what you saw! there are other galleries having openings not listed above, as well as galleries who might stay open later too. anyways, if your around, check them out.
River North:
Roy Boyd Gallery
Stephen Daiter Gallery
David Weinberg Gallery
Ann Nathan Gallery
West Loop:
FLATFILEgalleries
Woman Made Gallery
i'm going to try and make it to the River North openings, but might not catch the west loop. if you do, please let me know what you saw! there are other galleries having openings not listed above, as well as galleries who might stay open later too. anyways, if your around, check them out.
i have been teaching myself how to put together a website. it's been a ton of fun so far. my boss is awesome and is paying for me to attend a 10 week website developing class starting march 31. once i've grasped this language i will update the gallery's site. in the meantime i've been developing www.dominicpaulmoore.com. it's very basic, but a start. you should definitely check out the site though, his work is worth the visit. expect greatness to come.
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