(Upcoming) Solo exhibition: This Happened and new work, Leonardo Sideri Gallery 556 State St Hudson. Oct-Nov 2019
Group show: Protest Art. Time and Space Limited Hudson NY. Curators Pauline DeCarmo and George Spencer( arte4a) Aug 31 2019--Sept 30 2019
The RE Institute, Millerton NY. This Happened (complete). July—August 2019
Cloud Appreciation Society of Britain : Website Gallery from August 2019
Berkshire Museum North Adams Massachusetts. "Not just a another pretty picture", June 27-October 2019, curated by Eric Rudd.
Group show, Kimboseong Art Center, Korean Fine Arts Association International Exchange Exhibition, Seoul Korea, 5/2019
Art School of Columbia County (ASCC) “Reimagining Region”. Juried exhibition April 6-May 9 2019, curated by Kate Menconeri.
Kate Oh Gallery Korea Branch Damyang County, S. Korea, group show January 2019
Kate Oh Gallery , Manhattan NY. Solo exhibition: This Happened. November 12-25
The Re Institute, Millerton NY. Studies from "Wake Up White Man You Are Destroying the Earth!" 4/5
The Re Institute, Millerton NY. "Everything that is alive wants to be alive".
Whitney Museum of American Art "1989 Biennial Exhibition"
Alternative Museum, New York. "The New Music Series" (collaboration with composer Neil Rolnick)
Whitney Museum of American Art "1985 Biennial Exhibition"
10 artists at 10 years, Yale University School of Art, New Haven
Whitney Museum of American Art, New York, 1983 Biennial Exhibition "Luck in Loose Plaster" and "Gawrsh I didn’t know you was a lady!" toured throughout the USA and internationally with the American Federation of the Arts
Whitney Museum of American Art, Downtown Branch NY. "The Comic Art Show. Cartoons in Painting and Popular Culture."
1981 Drawing Center, New York, "New Perspectives"
1980 White Columns NY
Owensboro Museum of Fine Arts, Kentucky
10th Athens (Ohio) International Film Festival.
1979 112 Workshop NY
Center for Art Tapes, Halifax Nova Scotia
1979 Mannheim Filmwoche (West Germany)
Collective for Living Cinema, NY: Stretching the Limits Animated Films
Film Forum NY "The Lives of Animators"
1978 Drawing Center, NY: Drawings from Animated Films 1914 – present
The Queens Museum Flushing NY: Animators on Animation (performance)
1973 Yale University. The Influence of Dada on Country Music. Performance and lecture April 1973, covered by the New York Times.
1989 Whitney Biennial Exhibition Catalog. Richard Armstrong, John Hanhardt, Richard Marshall, Lise Phillips, eds. Whitney Museum of Art in association with W.W.Norton & Co, NY.
1985 Whitney Biennial Exhibition Catalog. Whitney Museum of American Art, NY.
1983 Whitney Biennial Exhibition Catalog. Whitney Museum of American Art, NY.
Sitney, P. Adams. “Deep into the Formalist Schism," The Village Voice, April 12, 1983, pp. 55, 94.
Moore, Sandy. Robert Breer Filmmakers Filming, vol.7 St Paul Film in the Cities and Minneapolis Walker Art Center, 1980.
Moore, Sandy. Some Advice and Some Commiseration for the Independent Animation Artist. University Film Study Center Newsletter, 8 (Feb. 1980, p2).
Marcorelles, Louis. Le Monde, Oct 7 1979, p. 20.
Art Talk 4/28 2019, ASCC, Ghent NY. “Region, Abstracted”
Eric Rudd, Berkshire Art Museum Catalog, 2019. Not Just Another Pretty Picture
Benjamin Cassidy, Berkshire Eagle Aug 2019. "Berkshire Art Museum: dark, yet important, themes in exhibits"
Swimming in Vitreous Humor*
After college I studied filmmaking and made experimental films comprised of a many drawings. I taught at Cooper Union and showed my works around. Simultaneously I was drawn to the study of medicine and went on to practice as a physician. I learned anatomy by drawing it. Medical imaging astonished me.
The art of medicine can be profoundly beautiful, and being a physician allowed me to directly witness striking mysteries. However, the rigors of medicine did not afford me adequate time for reverie and art making. In 2015 I returned to art. I feel kinship with my earlier artwork, although I did not commence where I left off.
I am learning a few things about painting about race today
American whites and people of color respectively have great cause for anguish about racial history, but with different reasons and significance. This anguish is neither symmetric nor equivalent. Whites have no claim to rage or recrimination about race, but at least we could feel remorse. As whites learn about the historical scope of our racism we could register shock. Excuses, exclusions, and self-flagellation are not useful. Feeling sorry about the past is easier than facing reality, and facing reality means taking at least some responsibility for the present, very acute situation. This is a good time to seek out the thoughts that change how we think.
Talking about race between whites, and between whites and people of color can be uncomfortable. The deeply rooted difficulties whites have with speech about race (including art-as-speech) stem from the awareness (sic) that most whites have about race/racism—which is paltry and largely delusional. This is not surprising because education about the history of slavery and its aftermaths has been deliberately distorted for whites and largely withheld from us all. Recently though, this history moves underfoot and more historical resources are becoming available.. Whites often get it wrong, myself included, but we can educate ourselves and listen in order to respectfully join the discussion.
THIS HAPPENED (we whites did this).
This is a storyboard, a series of tableau vivant-like paintings addressing white behavior from 1500 to the present day. These paintings are not an attempt to be literal, historical, or polemical., but do try to show how immense and intractable our racist behavior has been.
This work started up, following a visit from a black Jamaican friend in Fall 2016. Her friendship, first and foremost, allowed me to notice the beauty of her skin which found its way into a painting "About 1500". I did not start out intending to paint about race, but there it was. The other images followed, each with a black and a white subject. Sexual and racial implications arise in images of blacks with whites, often not consciously intended, and sometimes unwieldy.
Before the 20th century artists in the West did not openly embrace abstraction. Exposure to (so-called) "primitive" art was an important entrance point for abstraction into Western mind. We know that pillaged works from Africa were available for sale in Paris and exhibited at the Trocadero museum late in the 19th century, and during Cubism's run. Abstraction in Western art after Cubism is enormously endebted to appropriated works of African and other (so-called) "primitive" artists. However when asked if his Cubist paintings had been influenced by African art, Picasso made this statement:"L'art negre, connais pas"—”African art, I know nothing of it".
Abstraction and figuration coexist in all images, and in our minds. Abstract art may present forms that the viewer's brain will interpret to be figures, no matter how insistent the artist’s purity. The gulf between what the eye sees and the images we are able to make is vast--maybe because of how much we don't observe what we see. This gulf is terrifying, but can also be inspiring. Revery can combust into meaning, and meaning points our way. We are less lost, together; in the current struggle, compassion and beauty must win.
*Vitreous humor is the transparent jelly-like tissue filling the eyeball behind the lens
Recent posted responses to THIS HAPPENED
Ieva Mediodia, painter, NYC
I saw it in her work. She has a good sense of color tones- they sound next to each other. Watercolor is not easy to handle, but she has great skill and a unique, luscious way to use this medium with saturated pigments; even earthy tones are vivid and lucid.
Intuition plays strong part in her painting--it feels free, painted with easy, confident gestures. Her painting reminds of automatic drawing and stream of consciousness process. I see a sensitive hand too--there are areas with beautiful details. But artists can't be contented to paint pleasing pictures; she addresses past and ongoing atrocities of white supremacy. This does not manifest as slogans, as political art often does, but what she achieves, I think, is great. And there is a feeling of love, regardless of the uneasy content. These paintings are painted with love- it is very obvious.
Sonia Pilcer, author, NYC
Sandy Moore’s recent paintings address historical aspects of racial and sexual oppression. Implicitly political, the effect is phantasmagoric: Bosch meets Kandinsky with a touch of Kara Walker. Here are fragmented images of disembodied limbs, snakes, genitalia, African masks, pills, and bullets in a debris-laden landscape--a controlled and hallucinatory explosion of deeply saturated colors into an unbalanced world. Her paintings pull at the roots of history with eyes on how we receive ideas, and how we know what we know.
Carol Peckham, Hudson NY
At a recent opening at the RE Institute in Millerton NY, someone next to me described Sandra Moore's recent paintings succinctly: "Put on your seatbelts!" And the warning was accurate. To say she isn't easy is an understatement. In a cultural landscape of too many works that rely on gimmicks and visual shticks, hers stand out as visionary, disturbing, mysterious, and honest. Moore's current studies and paintings visualize the subjugation of indigenous people, brown tragic figures embroiled with white, almost spongy invaders. Their struggle is embedded in images of visceral pain, coils of gorgeous translucent snakes, shards of exploding color, and fabulous menacing cats. Moore says these are "political" paintings, but they go far deeper than facile polemics. Here is the Manichean struggle, chaotic and agonizing, that lays the foundation of all dark political times. Tough to look at but relevant, important.
Cindy Lubar Bishop, Dreamguide, San Francisco
Recently I read Dreaming in Dark Times: Six Exercises in Political Thought by Sharon Sliwinski, professor at the University of Western Ontario. To me, what reviewer Kelly Bulkeley writes of Sliwinski’s work in the Huffington Post could as well be said of Sandy Moore’s paintings, so I will paraphrase his words (parentheses and italics mine), as applying thus:
"Sliwinski approaches dreaming (Moore approaches painting) as a powerful resource for political theory and action, especially in times when basic human freedoms are most at risk. That we today are living in such times has become impossible to ignore. But throughout history, in times of collective crisis, people’s dreams have often responded (artists have often responded) with a surge of imagery, emotion, and insight that helps people respond more effectively and creatively to the pressing challenges facing their group in waking life. This is also true in the modern era, as Sliwinski’s fascinating and beautifully written book makes clear (and as Moore’s fascinating and beautifully conceived paintings make clear)."
Moore’s decades of deep dives into art, science, medicine, psycho-social-political and mytho-poetic realities culminate in these evocative tableaux, at a time when deeper probing along such lines, as she highlights in imagery and accompanying texts, is called for with the urgency of an S.O.S.