Posts in Group Exhibition
Objects to Identify, Group Exhibition

Morán Morán is pleased to announce a group exhibition, titled Objects to Identify, which marks the gallery’s ten-year anniversary. With a text authored by Brontez Purnell, the exhibition features work by Diana Al-Hadid, Brian Belott, Charlie Billingham, Keltie Ferris, Eve Fowler, Michael Genovese, Luis Gispert, Bendix Harms, George Herms, Terence Koh, Eric N. Mack, Robert Mapplethorpe, Anders Ruhwald, Jacolby Satterwhite, David Benjamin Sherry, Agathe Snow, Willie Stewart, Torey Thornton, Kon Trubkovich, and Nick van Woert.

Morán Morán

Form Shapes Language, Group Exhibition

Morán Morán is pleased to present, Form Shapes Language, an exhibition presenting works by seven artists – Angela de la Cruz, Ann Edholm, Torkwase Dyson, Michael Genovese, Tomashi Jackson, Anthony Pearson, and Hayal Pozanti – who communicate using spatial elements and geometric abstraction. Emphasizing the affinity between shape, form, and personal narratives, the works presented in this exhibition translate intent through the non-representational and the non-objective. Whether by traditional means, alternative materials, exploring the link between social politics and color theory, or by drawing parallels between abstraction and information technology, these artists carry geometric abstraction’s legacy, using it as a foundation for personal expression.


MIS (Missing) Information, Group Exhibition

Mis (missing) Information is an exhibition of artists who draw from ‘the media’ in one way or another and make works that exclude information, requiring viewers to contemplate what is missing, what is left, and why. Beginning with an image, a Google search, a make-ready or the daily newspaper, the artists in this exhibition transform the given, infusing it with new content and meaning. The artists include Merwin Belin, Jan Blair, Andrea Bowers, York Chang, Michael Genovese, Elissa Levy, Brian C. Moss, Michael Queenland, Casey Reas, Susan Silton, Samira Yamin, Andrew Witkin and Jody Zellen. Mis (missing) Information is co-organized by Jody Zellen and Brian C. Moss.

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Writ Deep, Group Exhibition
A victim was here, Carved and incised aluminum with enameled finish

A victim was here, Carved and incised aluminum with enameled finish

Writ Deep: Craft and the embedded word
Northern Illinois University School of Art and Design
Curated by Shannon Stratton

Rather than looking to the history of language art, Writ Deep is an exploration of the relationship between craft and text as a unique affinity between forms. Where the use of text in art has historically been to push the boundaries of the field - including operating as an anti-art form or advocating for an anti-aesthetic - text and craft share a longer history where text is anything but anti-craft.

Craft that employs text lends language a physicality: a tangible , as opposed to metaphorical, body. Craft and text is an obliging re-unification of body and mind as the abstract is made manifest both materiality and methodologically. In Writ Deep the idea of the embedded text connects the work of Michael Dinges, Michael Genovese, Carol Jackson and Rebecca Ringquist whose processes of scrimshaw, engraving, weather tooling, and embroidery and appliqué (respectively) are rooted in craft traditions. Each of these artists is invested in these forms as their chosen medium, as opposed to utilized them strictly for a singular metaphor, and each employs text as a major mark in their work. 

You, Carved snd incised aluminum with enameled finish

You, Carved snd incised aluminum with enameled finish

To embed something means to plant it firmly and deeply in surrounding mass. In the case of text and craft, the word is surrounded by material that supports, informs and contextualizes it in a way that the page alone cannot. In a craft/text relationship, the material substrate becomes a body for the text to inhabit, not just a supporting surface. Through methodologies like engraving, etching and embroidery, text impregnates the material, creating a resolute bond that literally alters or changes the substrate through a kind of scoring or scarring of the surface - actions that call to mind a body as it might be scratched and scarred through use or through decoration. Scars are telling reminders of a body’s history; in the case of text, materiality and craft, the connection between method of incision and the substrate itself becomes one that is partially dependent on the material’s narrative and partially dependent on the narrative inherent to the process. Continue Reading ⍄