CARL E. MOORE
Images posted were either part of or featured in the listed exhibition.
"And Justice For All"
Gallery 130 . Meek Hall . University of Mississippi
January 19 - February 22, 2018
The exhibition “And Justice for All” is an ongoing discussion about inequality, discrimination, illegal search and seizure, and police shootings in the black community. This is also paralleled by rampant black on black violence that can be attributed to years of systemic racism, a flawed justice system and the incarceration of minorities for little or no crimes for which they are given extended prison sentences. The result has been a reduction of the black family dynamic and the growth of single parent households.
The University of Mississippi
Meek Hall, Rm. 232
University, MS 38677
On exhibition doing the play "Fences"
The work in the show "Good Neighbors" is indirect reference to the play "Fences". The paintings represent characters that you would find living and working in your neighborhood. The approach for this work was too develop images that only dealt with most important or needed information to create a narrative about the characters and the scene. There is no background, so the paper serves as the base for these decal like images.
Organized by Artist Link of Memphis
The Play "Fences" and the exhibition
On view January 19 - February 4, 2018
Gallery Hours: Tuesday - Friday, 10 am – 5 pm
Box Office: 901.682.8323
Curator Talks, performances, and opening reception on
Sunday, Nov. 12, 2-5 pm in Crosstown
Crosstown Arts' new space in the Crosstown Concourse (Suite 280).
Exhibition runs through January 14.
Art/Race/Violence: A Collaborative Response is a multidisciplinary project organized by visual culture historian Dr. Earnestine Jenkins and artist Richard Lou in collaboration with Crosstown Arts. Through this project, local artists collectively explore intersections of race and systemic violence through the lens of cultural expression.
Featuring work by artist teams:
Jamin Carter and Mary Jo Karimnia
Andrea Morales and Terry Lynn
Lisa Williamson and Lurlynn Franklin
Yancy Villa and Lawrence Matthews
Jamond Bullock and Cat Pena
Karina Alvarez and Carl Moore
Jin Powell and Jesse Butcher
Agustin Diaz, Brittney Bullock and Brenda Joysmith
Photo by Cindy Putnam McMillion
The Emmett O’Ryan Award for Artistic Inspiration is given annually by Metropolitan Bank and Butler Snow LLP to an outstanding visual artist. The award is named in honor of Emmett O'Ryan, a founding Board Member of Metropolitan Bank.
Nominees are selected by a committee comprised of members of the Artist Advisory Council and members of the community.
Award recipients are selected by Metropolitan Bank in concert with leaders of the Artist Advisory Council - an initiative of ArtsMemphis that aims to strengthen our visual arts community through individual grants and professional development programs.
Carl E. Moore, a local visual artist, best known for his vivid, high-contrast paintings, is the recipient of the seventh annual Emmett O’Ryan Award for Artistic Inspiration. This award is presented by ArtsMemphis and generously sponsored by Metropolitan Bank, in partnership with Butler Snow. It is given each year to a local artist whose work demonstrates creative and civic leadership within the Memphis arts community.
ArtsMemphis President and CEO Elizabeth Rouse noted that “Carl was selected based on his decades of making outstanding work, along with his service to the Memphis community, ranging from his volunteer work at Caritas Village to his work as an adjunct instructor at the University of Memphis.” Moore is widely recognized for helping to strengthen the local artist community and for mentoring emerging artists. He has curated over 80 shows and his work has been displayed at numerous venues including the L. Ross Gallery, the Dixon Gallery, and Crosstown Arts.
Much of Moore’s work is focused on challenging racial and ethnic stereotypes. His subjects are often shown in moments of peril or distress, sometimes in urban environments, and he frequently uses a bold graphic style, with thick, arresting lines that call to mind commercial illustration. “I’m very honored to be a nominee and recipient of the Emmet Award,” Moore said. “This award means a great deal to the art community, as a whole, because it lets artists know that they are being recognized in a city so rich with talent. Art should be for everyone, accessible to everyone, and without limitations.”
Special thanks to Metropolitan Bank and the Emmett O'Ryan family for their continued support of the Arts.
Orange Mound Gallery
2232 Lamar Ave.
Memphis, TN 38114
The title of the show is "The Black Experience" The Rebirth of Black History Month. The focus of the show is to redefine the meaning of Black History Month. Although we've had a black president for 8 years, and created historical achievements and accomplishments in the black community like in the arts, the Olympics, and entertainment. We still don't celebrate Black History Month beyond the use of predictable images and icons like Harriet Tubman, Dr. Martin Luther King (Which is understandable), George Washington Carver and Rosa Parks. We would like the show to celebrate our history old and new. We want to highlight the lives of everyday people as being part of our history.
Jamond Bullock, Lurlynn Franklin, Dani Harris, Chuck Johnson, Terry Lynn, Lawrence Matthew, Lester Merriweather, Carl E. Moore, Angela Myers, Darlene Newman, Frank Robinson, Eso Tolson and Jason Williams.
Curated By: Carl E. Moore
"A Mothers Pain", 24 x 30 Acrylic on Canvas. 2017
January 13 - 27, 2017
This one-of- a-kind event is a collaborative fundraising exhibition in which local artists are coming together to express their support for the immigrant community through their work. A percentage of all artwork sold will benefit the Community Legal Center’s Immigrant Justice Program, Mid-South Immigration Advocates, and Latino Memphis’s Derechos Immigration Program. Money raised will provide matching funds for a grant from The Assisi Foundation enabling the creation of a Joint Immigration Pro Bono Coordinator who will recruit and manage volunteer lawyers working with the Mid-South’s immigrant population for the three organizations.
The Pinch was founded in 1980 as the Memphis State Review by William Page. In its first few years, the journal published such well-known writers as Robert Bly, Phillip Levine, Mary Oliver, Robert Penn Warren, and Margaret Atwood.
In 2005 the journal transitioned into The Pinch and expanded its focus on creative nonfiction. During this time, The Pinch also became notable for its logo and award-winning covers, which were designed by Gary Golightly, the Graphic Design Program Coordinator at the University of Memphis Art Department.
The Pinch is a bi-annual literary journal produced entirely by the students of the University of Memphis MFA Program and English Department. As always, all submissions' fees and other support go toward funding our annual contest, our contributors, and our production costs. For more info about the Publication and it's complete history, click here.
Artwork: [T] "Black Male Gaze", 36 x 36 Acrylic on Canvas. [B] "Child of Color", 12 x 9 Acrylic on Canvas Panel.
I wanted my paintings for the tiny show to be reflective of or have the composition of a Polaroid photograph. The images are direct and composed to fix a small space with objects and people trying to fix into this 6 x 6 square. I tried to maintain a level of simplicity within the paintings to balance out for the size restriction. My work usually focuses on the use of negative space and how it interacts with the foreground and background characters. I manage take this process and develop Polaroid moments, where you're seeing events as they happen.
< ---- "Man on the Street", 6 x 6, Acrylic on Panel
Rain, 16 x 20,Acrylic on Canvas
Circuitous Succession Epilogue lll marks the third installment of the epic survey exhibitions curated by Jason Miller within the circa 1909 Scottish Rite Building. This series includes household-name artists from the southern region, as well as select artists of international renown. With each installment Miller works to unify the artworks in communion with the three story space of the Memphis Scottish Rite Building. This is a celebratory event and precursor to upcoming and continued renovations that will lead to the dedication of a permanent contemporary art gallery and masonic collections museum on the entry level floor near the grand dinning hall. The CSE shows have opened in October for the past three years–making it an annual fall event that is becoming an institution open free to our community at large.
Sponsored by the Memphis Downtown Commission, the show is part of a series of exhibition featured through January 2017. The show consist of 4 contemporary artist displaying various topics.
Housing Crash #3, 48 x 48,Acrylic on Masonite.
The exhibition highlights the works of twenty-six artists from across the nation and abroad, whose works are focused on relevant key political and social issues.
The art forms on display in the Politics and Power exhibition are as diverse in subject matter as they are in size and media—from psychologically charged paintings, ecological sculptural models; to tiny situations and wall size installations. All of the works on display are seen through the lens of the artist and reflect their own personal political experiences. With bold voices, these artists have positioned their works in current subjects that strategically engage the viewer in a critical examination of political, social, and economic topics as varied as: climate change, political leaders, surveillance, gun control, food security, racial injustice, corruption, and a plethora of other controversial issues surrounding our upcoming presidential election.
The exhibition was curated by Virginia Walsh and will be on view through Saturday, November 26, 2016. For more information regarding Politics and Power or the Ann Street Gallery, contact Virginia Walsh, Director at (845) 784-1146, email@example.com, or visit http://www.safe-harbors.org/events/politics-and-power/
New work and previous work that focused on African Americans moving through every day life and performing daily routines that affect how they live, work and survive.
MEMPHIS, Tenn. — Memphis College of Art presents the 2016 Biennial Alumni Exhibition, on view May 20–Aug. 6 in the Hyde Gallery of the Nesin Graduate School, 477 S. Main St. A reception will be held Friday, July 29 from 6–9 p.m. First, second and third place prizes will be awarded to select artists at the reception.
The exhibition features work from 28 alumni and former students of the college, in media ranging from sculpture and abstract paintings to installations and video projections.
The show investigates attitudes, stereotypes and expectations of the definition of Manhood in the last 50 years. "The Man Show" examines the role of the male figure in today's society as changes take place in the family social structure, the workplace, politics, gender roles and belief systems in our everyday life.
Cultural attitudes due to immigration, the increase in single parent households and the debate of equal pay, for women and minorities have questioned the meaning of fairness in a male dominant society. This also extends to the incarceration and homicide rate among minority groups and the acceptance of alternative lifestyles that have created households headed primarily by either a male only or female only parent structure.
Timothy Andrews, Eli Gold, Jan Hankins, Jed Jackson, Chuck Johnson, Richard Lou, Terry Lynn, Kevin Mitchell, Jason Miller, Carl E. Moore, Tom Murry, Nick Pena`, Michael Stanley, Mathew Thomas.
Curated by Carl E. Moore & Melissa Farris
Some Things are just Black and White
Rhodes College Curation in Context Class is honored to present “Some Things are Just Black and White”, by Memphis’ Carl E. Moore. Known for his bold flat colors and hard edged acrylic paintings, Moore uses exploded images and figures to capture current social and economic conditions of everyday life. His use of simple shapes, vibrant colors and bold lines create a dialogue between the work and the viewer.
The drawings range from representational sketches to abstract experimentation, using graphite, charcoal, cut paper, and color pencil. The title of this show is more about interpretation than the use of medium. The answer to some situations can be black or white, wrong or right, hot or cold.
This event is made possible by the help of Rhodes College Clough-Hanson Gallery and Rhodes College Art Department and sponsored by CODA Rhodes.
Change Agents: Personal Art as Political Tactic
What does it mean to be engaged, active, and awake to the world around you? Artists in Change Agents: Personal Art as Political Tactic address pressing social and political issues including racism, gender discrimination, environmental crisis, cultural tradition, media stereotypes, and other concerns through the lens of their own experiences. “The political” is not always what you would expect—within the work, there are voices of critique, uncertainty, humor, and hope.
Change Agents: Personal Art as Political Tactic was developed by a team of PEA student curators as a way to extend conversations on identity, social constructions, and political convictions, and to activate the gallery as a space for discussion and reflection.