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“Rosebud” opens April 26th with a reception from 6-9pm. The Gallery (Studio?) is open by appointment until then. Here’s a little teaser of what’s to come. 👀

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Gallery preparations for “Rosebud” are officially underway. We’re just 11 days from the opening. 💪

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Maggie Ellis. Rosebud. Opening April 26th. Beyond thrilled to share the complete body of work with everyone. The hits just keep on coming... . . . (Detail) Little Bobby, 2019 Acrylic on canvas 39 1/4 x 44 1/4 inches

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April 26th and the opening of “Rosebud” is fast approaching. @maggie___ellis has been on an absolute tear and we may have more paintings than we do space, which will make for some very, very, very difficult decisions. Here is a detail of “Basement Scene.” . . . Maggie Ellis Basement Scene, 2019 Acrylic on canvas 49 x 56 1/2 inches

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🏠 ☀️🌳 . . . Sean Donnola Untitled, 2007 Archival Pigment Print 39 x 55 1/2 inches (Framed)

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Mark your 🗓 Maggie Ellis’ solo show “Rosebud” is opening April 26th.

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⚡️ @robbreport featuring one of the many great works included in “Patterns of Propaganda,” which closed March 23. Thank you for including “Women Harvesting” in the California Issue!

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We’re very excited to be opening Maggie Ellis’ first solo exhibition on April 26th @charlesmoffettgallery. “Study for Brother Lloyd and The Biker Saints” was the starting point for Maggie as she worked up to an unbelievably impressive 72 x 96 inch acrylic on canvas work that we cannot wait to present at the gallery.

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One of my favorite works in the “Black Refractions Highlights from the Studio Museum in Harlem” show is this Adia Millett, which is titled “Inventing Truth.” It’s one of those pieces that has stayed with me and I’ve thought about it often ever since. If you have not been to @moadsf it’s a must-see exhibition on view through April 14.

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Between now and June 1st I strongly urge everyone in the Bay Area, and those just passing through, to see “Amulet or He calls it chaos” @500cappstreet Visiting the David Ireland house is a truly unique experience and one that should not be missed. . . . The exhibition includes works by Mathis Altmann, Tony Cokes, Moyra Davey, Michel Houellebecq, Hans Haacke, Katharina Grosse, Rashid Johnson, Sherrie Levine, Mark McCloud, Cady Noland, Will Rogan, Jorge Satorre, Cindy Sherman, Gabriel Sierra, Oscar Tuazon, and Andra Ursuţa. . . . “I think my worst demon is myself….I don’t like to do the same thing over and over again. I like to search out the new frontier and go past the place where I really understand what I’m doing. That’s excitement, to get out in space where some wires might get crossed and there’s no way back to earth.” -David Ireland

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“Patterns of Propaganda” closes today. If you haven’t had the chance to see Bari Ziperstein’s exhibition yet we’ll be here until 6pm. Please also check out the live clips from our fantastic talk last night between @essnerd and @bariziperstein. Thanks to all who came out!

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Only three more days to see “Patterns of Propaganda.” Please join us tomorrow evening (3/22) at 6:30pm for what will surely be a great discussion with artist @bariziperstein and curator @essnerd . . . (From Left to Right) Bari Ziperstein Women Bite the Hand That “Feeds” You, 2019 Stoneware, glaze and underglaze 24 ½ x 8 x 8 inches Bari Ziperstein Aquatic Sports, 2019 Stoneware, glaze and underglaze 12 x 14 x 14 inches Bari Ziperstein Capitalism Also Depends on Domestic Labour, 2019 Stoneware, glaze and underglaze 22 x 9 x 9 inches

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🚨 Final Week 🚨 If you haven’t had a chance to see “Patterns of Propaganda” yet this Friday is the perfect opportunity to visit the gallery and hear @bariziperstein in conversation with @essnerd. The talk will begin at 630pm. Don’t miss out!

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Lily Stockman, “Bell” (2018), Oil on linen, 62 x 50 inches currently on view @berggruengallery in San Francisco along with Sarah Crowner, Cecily Brown, Paul Kremer and Richard Serra to name a few.

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Love this shot of @bariziperstein working on “Capitalism Also Depends on Domestic Labour” which is currently on view in Patterns of Propaganda @charlesmoffettgallery . . . Bari Ziperstein “Capitalism Also Depends on Domestic Labour,” 2019 Stoneware, glaze and underglaze 22 x 9 x 9 in (55.9 x 22.9 x 2

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“My rough southern upbringing is constantly at odds with the rarefied art world of New York City. I’ve always believed that having an arsenal of stories is in direct proportion to living a full life: running wild and barefoot comes with its own dose of pain and pleasure, joy and consequence.” Maggie Ellis ♦️ ♦️ ♦️ Maggie Ellis Playing Free Cell, 2019 Acrylic on canvas 43 x 59 inches

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Love this precarving picture that Bari Ziperstein just posted. If you scroll through the images you’ll see the incredible end results. 👏 👏 👏 And if you visit @bariziperstein you’ll see a priceless image of her with @oprah when she was 10. . . . Patterns of Propaganda is on view @charlesmoffettgallery through March 23.

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I've always been a big fan of the ADAA, it was the first fair I ever worked with Virginia Zabriskie back when I was just out of college. Like many I plan to see it this year as I do every year, but while you're out and about this week (and next) don't forget to check out some of the exhibitions currently on view in in New York. From Amir Guberstein @fiermangallery to R. Crumb at @davidzwirner, Richard Tinkler at @teamgal to Robert Colescott at @blumandpoe, there are a lot of good shows to see. And now for a @charlesmoffettgallery and @bariziperstein plug... . . . Patterns of Propaganda includes a selection of sculptures from earlier bodies of work, also emerging from the archives of the Wende Museum and Bari Ziperstein's further research into the aesthetics of Cold War propaganda.

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We are very pleased to announce “Imaginary Gardens” is now featured on our website. Hurry while this limited edition publication is still available! Link in our bio.

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💥Working with her source material as a reference, Bari Ziperstein draws freehand, into the clay, then adds colored matte underglazes and a variety of sheen glazes to the surfaces. The inherent flatness of slab construction harmonizes with the planar quality of the Constructivist style--and Soviet aesthetics more generally--and also nods at her source material, which she typically encounters in two dimensions via books, photographs, posters, and other ephemera and documentation.💥

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Another teaser from Maggie Ellis’ studio has me all the more excited for the group of paintings she is presenting this spring.⛱ . . . Maggie Ellis Bar at Jacksonville Beach, 2018 Acrylic on canvas 33 by 56 inches

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“Lately, I have been using a great variety of paint media in my paintings, almost as many as I can. The making of the surfaces is as important as the images that they produce. Each of the paint applications suggests a character as well as a sense of time: spray painting, screen-printing, pouring, sanding, stenciling, and glazing oil paint.” Sam Bornstein . . . In case you missed it, Art Maze Magazine interviewed Sam Bornstein following his exhibition "Daydream Workshop" @charlesmoffettgallery Check it out! https://artmazemag.com/scraping-pouring-screen-printing-stenciling-and-sanding-working-and-reworking-with-sam-bornstein/

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Andy Campbell on Bari Ziperstein’s 2018 exhibition at Nino Mier: "Bari Ziperstein has a knack for turning the seemingly abstract geometry of ceramic sculptures into a framework for rich historical narratives. As a resident artist at the Wende Museum (which specializes in “Cold War art, culture, and history from the Soviet Bloc countries”) in Culver City, California, Ziperstein came into direct contact with artifacts of Soviet visual and material culture. That research underpins the visual language of her slab-built works for “Propaganda Pots." . . . @bariziperstein continues her deep exploration of the connections she finds between our present sociopolitical moment and the Soviet era in Europe in several concurrent and progressive bodies of work, the most recent of which is brought together with a selection of earlier works in “Patterns of Propaganda.” On view through March 23.

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Congratulations to all of the artists included in “The Lure of the Dark” @massmoca This is a very well deserved writeup. One more month to go see it! . . . “And then there's Kenny Rivero, whose bustling streetscapes add swagger and grit to works reminiscent of Roberto Matta or Yves Tanguy. In It Happened on the Corner (2014) a man lies sick on the ground as pairs of scuffed oxfords walk past. The sidewalk is painted to look like board game tiles. A smoke-stained sliver filled with monsters projects out of his belly like a magnified microscope illustration, and combusts at the bottom in a brilliantly painted fire so thick and crusted it looks whittled. Ask About Me (2017) is a knockout. A nervous, coded pictograph of one's personal interiors, little crosses mark graves in the dark among pyramids, faceted gems, and empty cars. Towards the bottom, Rivero has blacked out the dotted yellow lines of a sharp elbow turn in a road and scattered fences and barred windows over the painting to suggest a bare, bleak state. Stars, or asterisks, dot the canvas like things left unsaid. "Ask about me," the painting's looming eyes ask. "What do you expect me to say?" it responds.”

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Using terra cotta and stoneware to make her ceramic sculptures, Bari Ziperstein continues her ongoing investigation of the vessel and tile forms, retaining the material and formal history of her medium as both utilitarian and narrative, while also pushing against conventional notions of shape and scale. The hard and soft slab construction method Ziperstein uses requires flattening clay into pliable sheets that can be curved, rolled, cut into shapes, layered, and incised to create drawings on the clay's surface (a technique known as sgraffito).

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Anchoring Patterns of Propaganda is “A poster with graphics demonstrating the correct configuration and techniques used to create a political display,” a mixed media sculpture imagined in response to Soviet propaganda displays devised for traveling trade show presentations. Fashioned from wood, leather, rope, and ceramic, the work's shape and structure echo the dynamic flatness of the Constructivist aesthetic advanced in Soviet Russia. The designs on the ceramic tablets that are part of the work is derived from some of the earliest experiments in creating a truly Soviet textile aesthetic, combined with images from public address campaigns encouraging women to avoid alcohol and to commit to responsible motherhood. . . . Patterns of Propaganda is on view through March 23rd @charlesmoffettgallery

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Bari Ziperstein, Patterns of Propaganda, Opens February 1st. @bzippy recently shared this image with us and I nearly fell off my chair. Can’t wait for this show 🎯 . . . Bari Ziperstein Aquatic Sports, 2019 Stoneware, glaze and underglaze

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Final Day of Untitled, San Francisco. Thank you to everyone who came out to support us at our first fair. We've loved being in the Bay Area this week and can't wait to come back!

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@anatebgigallery “The Conversation” is on view at @minnesotastreetproject through January 26. @alec.egan pictured here makes for the perfect welcome to 1275 Minnesota Street. . . . “Alec Egan (b. 1984) is a Los Angeles based painter. His thick impastoed figurative paintings are strikingly banal interior scenes. The interior spaces his paintings depict are premised on a fictitious memory— willfully playing on tropes of nostalgia. There are moments of clarity in the messy compositions. Particular objects begin to stick out and become repeated across his various canvases. This repetition allows the items to garner their own strength and intensity, despite their mundane status. A pair of socks or plants on a windowsill are distilled into something melancholic and profound.” @anatebgigallery

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Untitled, San Francisco VIP & Press Preview Opening Today, Thursday, January 17th Booth A19 . . . 📷: John White

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Working with her source material as a reference, Ziperstein draws freehand, into the clay, then adds colored matte underglazes and a variety of sheen glazes to the surfaces. The inherent flatness of slab construction harmonizes with the planar quality of the Constructivist style--and Soviet aesthetics more generally--and also nods at her source material, which she typically encounters in two dimensions via books, photographs, posters, and other ephemera and documentation. . . . @bzippy “Patterns of Propaganda” opens February 1 @charlesmoffettgallery

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See you in San Francisco... . . . Lily Stockman Brite Plating, 2019 Oil on linen 62 x 50 inches

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Brushes down. @untitledartfair VIP and Press preview opens January 17th at 3pm. We can’t wait to share Lily Stockman’s new paintings with the Bay Area!

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💪 2019. Let’s. Do. This. 💪 . . . Headed to San Francisco with a solo booth of new paintings by Lily Stockman. If you were impressed by “Loquats” these new works represent a beautiful next chapter. Lily’s unique, that’s right, unique, approach to abstraction continues to leave me in awe. If you’re in the Bay Area please stop by booth A19 at Untitled. . . . Bari Ziperstein has taken her exploration of Propaganda Pots to another level with “Patterns of Propaganda” and we cannot wait to open this show on February 1. I feel very lucky to be presenting this new body of work. More updates and images coming soon as @bzippy nears completion.

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If you haven’t been to MASS MoCA recently it’s worth making the trip for “The Lure of the Dark.” It’s on view through March 10, 2019. While I am shameless about my love for the room of paintings by Kenny Rivero, the entire exhibition remains a favorite of mine from 2018. . . . Get to @massmoca before it’s too late to see Patrick Bermingham, William Binnie, Cynthia Daignault, TM Davy, Jeronimo Elespe, Cy Gavin, Shara Hughes, Josephine Halvorson, Sam McKinniss, Wilhelm Neusser, Dana Powell, Kenny Rivero, and Alexandria Smith in “The Lure of the Dark.”

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See you in the New Year! We’re very excited to be presenting a solo booth of new paintings by Lily Stockman @untitledartfair In January 2019 🎉 🎇 🎊 🥂 Wishing you and yours all the best in 2019. . . . Lily Stockman Cutting Garden, 2018 Oil on linen 14 x 11 in (35.6 x 27.9 cm)

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“My hope with the work that I produce is to provide the viewer, including myself, with an intimate space in which to reflect on hope, loss, and memory. These ideas and their relationship to one another are familiar to many of us, though through my practice I address these links through coded gestures based both in fiction and actuality.” Kenny Rivero . . . i see you with my eyes closed @charlesmoffettgallery Open Tuesday through Saturday 10am to 6pm

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Just a few of my favorite Kenny Rivero works on paper. Not currently on view in “i see you with my eyes closed” but too good not to share.

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i see you with eyes closed . . . 📷 Tom Barratt ( @barratttom)

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🥓 🍳 Kenny Rivero Bacon, Eggs and Jesus, 2018 Oil on canvas 10 x 10 inches

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A big thanks to everyone who came out to support @kenny172 Friday night 👏👏👏For those of you who could not make it the gallery reopens Tuesday at 10am. “i see you with my eyes closed” is up through October 27th . . . @charlesmoffettgallery 265 Canal Street 10am-6pm

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🔥OPENING TONIGHT🔥 Kenny Rivero i see you with my eyes closed 6-8pm 265 Canal Street Third Floor, Suite 306 . . . Kenny Rivero Vivero, 2018 50 1/4 x 96 inches Oil on canvas

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@kenny172 putting the finishing touches on “Window” (2018), which will be included in “i see you with my eyes closed” opening Friday, 9/7. It’s been an absolute pleasure watching this show come together. Kenny Rivero has put together a body of work I am incredibly proud to show at @charlesmoffettgallery . . . Kenny Rivero Window, 2018 Oil on canvas 48 1/4 x 64 inches

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“i can see you with my eyes closed” opens this Friday, September 7th @charlesmoffettgallery . . . Kenny Rivero Portrait, 2018 Oil on canvas 14 x 10 1/2 inches

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Have a wonderful Labor Day weekend and we’ll see you next week on September 7th at the opening of “i see you with my eyes closed” Kenny Rivero’s first solo exhibition at @charlesmoffettgallery

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In case you missed it a few months back, @timeoutnewyork featured Kenny Rivero as one of five on-the-rise artists in New York. Come see for yourself September 7th!

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Kenny Rivero, Ancestors, 2018 👀 👀 . . . Opening September 7 @charlesmoffettgallery “i see you with my eyes closed”

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From the moment I met Kenny Rivero in his studio I was eager to learn about his practice. He would later show me a small portfolio of works on paper that made me all the more curious about the world I was seeing through his eyes. What was reality? What was fiction? I could not stop thinking about the work after our first visit and I knew then that I wanted to have a show with him. On September 7th I could not be more excited to open Kenny Rivero’s first solo exhibition “i see you with my eyes closed” @charlesmoffettgallery. Please join us from 6-8pm on 9/7/18. . . . “The process of inventing narratives in order to justify, come to terms with, or suffer in the denial of personal, collective and historical traumas is what generates the majority of the things I make. My goal as a maker is to find the truth in my experience of the world, truths that reality fails to address effectively.” @kenny172