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The Brad Michael Moore Collection

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"Infinity-of-Space-'8'0" © 2016 Brad Michael Moore | Digital Artifact~Painting~Drawing ~ Abstract







There is a lot I have learned in my life, and a lot I have forgotten as well. I agree a successful artist needs a support team - a family - either real, or accumulated. My issue is - I'm at the top of my creative force & I am 64. I have done every kind of photography that can be done - my professional career began in 1970. I had a vision around mid-1980 - when I was still, mostly, a landscape artist. It was Abstract Art! Back then, I had the chance to know, Howard Rachofsky, in Dallas, Texas. This was in the days when he owned a home in Preston Forest. My brother, Tully Weiss, installed the world's first FAA certified, Residential Laser Light System, to enhance the atmospherics of Howard's home, and contemporary art collection - much of which, already, was stored, or on loan to museums, and galleries around the world... Howard purchased a very nice commission from me. It wasn't his style [Landscapes], but he purchased it none-the-less. Howard also helped me with a very personal matter that he had no reason to get involved in - but Howard is just that kind of guy.  He either saw something in me, or, maybe, he is just a very generous person to those surrounding him. What was most important, to me, was what Howard exposed me to - his Abstract Collection of 2 & 3-D art. For a period - Howard talked a lot about his art - the artists he collected, and what it was about their work that got him so excited, - unlike the Hedge Fund Business. His, Stella Collection, was what most impressed me! As I moved forward in my life - our relationship was severed, but those early abstract impressions became attached to me in a way that, eventually, allowed me to become an Abstract Artist myself! It took nearly 20 more years, before I felt I had finally unlocked the key to abstraction. In the meanwhile - I had to deal with an analog world - that was becoming a digital world. It was the new Digital World that became my savior! Meanwhile, I left Dallas, and became a Folk Digital Artist, and live in rural isolation for the next 24 years. Now, I'm ready to, again, greet the world that went on without me... I have no supporting family, or artistic community. But I have 12 years of Digital Artifacts - my electronic artform, and here is where I stand... Wish me well, and I'll bid you blessings in return! Salutations! - Brad Michael Moore -/- 9 March 2017





My Abstraction Artifacts


I make Digital Artifacts - using new & old photo images, new & old painting & drawings of mine, and, sometimes, I incorporate textures & line art from plates of rare old books from Rare Book Collections that hold the very oldest prints plate-printed from 200 years ago - & I build a digital file. Any particular file may have as many as 200 layers during its making. Each layer holding an aspect of everything I have already listed, and as I create this digital soup [so to speak] I use the many elements from the [.tiff] file structure I have built,  and then I choose which aspects of each layer to filter, recolor, and re-texture my file, until I reach a new image to my liking. Now, I can merge all my layers into one flattened single-layer file. Once at that point - the image can be printed as an original Pigmented Ink Archival Print on canvas or an assortment of archival glossy, luster, or flat [non-glossy] heavy-bond papers. This process is one I began creating 15 years ago, and it is a unique style that no one else in the world can duplicate. So my images are pretty unusual Abstractions. As an artist, only at this point, in my career, may I offer my work to the art world as a matured work from a matured artist. So, theoretically, my art career is only beginning. Earlier in my life, I was considered a Fine Art Photographer, now, I am an Abstraction Artist. I'm currently looking for representation on the East & West Coasts for abstract-specific dealers, curators, publishers, agents, & galleries. It took me a year of adjusting to my mother's loss - until my muse returned to me this early spring... Now my hope is that I will be rediscovered in my new genre. Abstraction is a distinguished art form, and requires an understanding to its place in our art history - in order for it to be appreciated, and to find its niche for collectors, museums, and abstract collections.



"Just the Four of Us" © 2016 Brad Michael Moore"




Life Story

"At 15, I was looking to be a singer- songwriter... During the USA Texas International Peace (Pop) Festival (in 1969's Summer of Love), I ran into my old neighbor, Former Dallas Cowboy Quarterback, 'Dandy' Don Meredith. Someone in his company had a very professional looking camera - I had a very unprofessional one... The time was three weeks past Woodstock. The next week, I asked my mother, and Stepfather,  for help obtaining a camera of professional quality. Before, I had begged for a 1969 Chevy Super Sport 396 (or any Hot-Rod). They considered this a more reasonable request - and a bit later, they helped me purchase a 35mm Canon. Like retrofitting a motor on an old style bucket - I started to churn immediately. Less than two years later, I began my professional photography career.

"Brainstorming" - Images from Munich, Germany, and The Perrin Farm -Texas USA © Brad Michael Moore 1982-2004-2008

In Dallas, Spring, 1971, at the age of 17, I spent four years working with Architectural Photographer, Douglas E. Tomlinson, nine years my senior (now deceased). A fine credit to Doug would be his, 'Same Titled' Book & Exhibition, "Dallas: From the Ground Up." It illustrated the elder architecture Dallas still had in 1975, and Doug's images preserved precious parts of that history - soon to fall to developers of a booming metropolitan city. The book was published to coincide with a premier of Tomlinson's images at the, "Dallas Museum of Art..."



"Hay Stacks - Norway" © 1982 Brad Michael Moore" 

"So from the mid-seventies, I shifted my photo concentration to landscapes, and wildlife image captures, for the next ten years (and onward to present). It was during this early era, I first began manipulating my imagery, and started my 'MultiPlex Series." After 1984, I began to explore more deeply - the 'fine art nature,' of the image captures I made - becoming mindfully more painterly in the manipulations I created and photographed. I worked more in the home studio - or set up work stations in the mountains near Lake City, Colorado, so I could access natural materials more readily."

"I was curating exhibitions in the Dallas-Fort Worth MetroPlex when I broke my back, in a cycling accident, in the fall of 1989. I had known pain before - but not like this pain. It became my permanent neighbor - I was 37. So, I would spend the next 3 months in a full-body brace, recalcifying my First Lumbar vertebrae - mostly on my sofa. I could get around on my hands and knees. I had real friends - the kind who would wash me, and dress me - even brush my teeth (I couldn't do the sideways motion), and this was just before the electric toothbrush... I had no health insurance - one of nearly 10 million Americans then, and one of 50-plus million Americans before American President, Barrack Obama gave Americans his Affordable Care Act (ObamaCare) that today - allows those who were uninsured, or uninsurable - the ability to purchase health insurance - no matter their pre-conditions... But, in 1989, I had to sell the best pieces of my small fine art glass, and photography collection, to pay off my medical and hospital bills. The image I sold, and miss the most - was my Arnold Newman portrait of Pablo Picasso, circa 1954 (hand on head). I had purchased it for $400.00, in 1984, personally from Arnold Newman. Newman was on a lecture visit to Dallas - at a gallery where I served on the board. Arnold Newman would eventually pass away on June 5th, 2007, and the image I sold - is now valued at $40,000.00 or better (according to ArtNet)... For me, the Picasso portrait was priceless... However, having had the art on my walls for five years, it became a gift that keeps on giving... Although it is no longer in my phyiscal possession, I still carry the lessons it taught me - and that is to question everything - give up nothing without a fight."


    "Orchard," Rare, Unique C-Type 11 x14 Image , Summa Valley, CA. © 1978 BMM


    "While recuperating from my accident, for the next quarter of a year, I began to acquire a mounting credit card collection. It quickly accumulated (unsolicited) after I paid off my medical/hospital bills from the blood money of my art collection - gone to art purveyors. I decided I could go to college the next spring, and charge my education. My grandmother, Mimi, would chip in along the way."

    "In the end, I got all the education I could on my own - a lot of it I could even use. In the beginning, I would walk 3 miles in the predawn hours of each school day - to catch a shuttle bus on the old Central Expressway - just north of downtown Dallas. It was a 57-mile long trip between that part of Dallas and campus in Denton, Texas. It was a tough first year. By my forth semester, my mother gave me her old, well-used Fleetwood, and I began driving the commute myself. Since I already knew photography, intimately - for my studies, I concentrated on sculpture as a major focus, and I minored in English. Sculpture was a brave choice for a man recovering from a broken back... I often built larger than human-sized works. Eventually though, I fell one semester's worth of credits short of my Bachelor of Arts, from The School of Art, at The University of North Texas, in Denton... My maxed-out credit cards, my life in waiting, and Mimi, could carry me no further... My oldest brother, Guy, had already checked out our dead-beat dad for help with his education, to no avail - so, here was 'my end' of the "Paper Chase..."

       "It seems I have no real hobbies that are not, in some fashion, related to my art processes. My interests are, to be better motivated in creating the art of my imagination - both from day and night dreams, and also, from the art ponds of creation - carried by human spirit, and Mother Nature."

    "My education it seems, was of limited value to my path in my art - I had already begun exploring AutoCad (Computer Aided Design) before I went to college, and my 3-D explorations dwindled after I determined I could not afford the visions of my esthetics. Still, the English Minor I endeavored for was indeed, an effort I found worthy, and useful. Debate and critical review were other notions I polished up on. An European artist, working in Denver, Colorado, Sasha Louie, quotes from Albert Einstein on her web pages... Aberto having once said, "I am enough of an artist to draw freely upon my imagination. Imagination is more important than knowledge. Knowledge is limited. Imagination encircles the world..." Great thought - Einstein!



'(1) Doug Tomlinson, and I, continued to come together together ever fall, as a ritual of friendship, for 35 years, to shoot Dr. Copper's Annual 'Tyler Cup Run' - created to raise health awareness within American companies. I would most often work the event also with Frank Shorter, the 1972 Olympic gold medalist, and 1976 Olympic silver medalist in the marathon. Shorter was also the first chairman of the United States Anti-Doping Agency. Doug, who had been fighting Cancer for four and a half years, passed away in June of 2006. With his memory in mind - I retired our association with what had grown to become the, "Cooper Institute," that upcoming fall."




 "Ruins - Sweden - Monochrome" © 1982 Brad Michael Moore          


Born July 2nd, 1952, Dallas, Texas USA - In the Beginning

    "When I was four and a half, my family was returning home one night during a raging rain storm. Right as we were entering our front driveway - a huge bolt of lightening struck our Red Oak tree, and split it in two - right down to the ground. It was an awesome experience for a little kid. My parents replaced the Red Oak with an Ash tree that fall. I first began photographing the next year (with my grandmother's camera). That next spring - the new Ash tree was blooming, and it caught my eye, as I was playing on the front porch walkway.  I looked up into the tree's buds sprouting, and saw high wispy Cirrus clouds through the tree's branches... This became my first meaningful photograph - captured in black and white in 1957."



FairFax Ash & Pecan Copyright 1957-2008 Brad Michael Moore

"Blooming Ash - Dormant Pecan, Fairfax Avenue" © 1957 Brad Michael Weiss / 2008 Brad Michael Moore



    "As a young adult, and professional photographer, I became a, ‘Color Specialist.’ Turned out my business partner, Doug,  was 'Color Blind.' Doug helped me to develop my color senses, and technical expertise, in the same fashion as he had developed his own sense of the Black & White photography medium - where he had become a master of Ansel Adam's Zone System. For me, there were a few more trials and errors, for the field of color artists, techniques, and the history of the color medium, were all very shallow in 1972."

    "It was meaningful for me that, 12 years earlier, President John F. Kennedy's Administration was the first, in American History, to use color negative film to record the historic events of his tenure. That was a earmark I noticed in my youth, and JFK's courage rubbed off on me to push at an art form that, in art gallery values, was glazed with short-sightedness, considered a medium most unpopular, and uncollectible, at the time. I had settled on working with color negative film, and C-Type Prints, versus the more stable (and popular) chrome films, and the developing additive printing processes. My reasons were simple – I let my eyes be my judge… I was always drawn to tonality - Primary and Secondary. After many childhood family trips through New Mexico, the power of what I call, 'Epitome Colors,' had forever augmented my perceptions. As soon as I pulled my first color print, around the beginning of 1972, I discovered the, 'essence of epitome coloring,' mixed throughout the particles and atmosphere within the landscape. It has always kept me striving to sharpen my skills of perception and capture."

    "I began my serious wildlife, and landscape work, in the mid-1970's; I moved into the fine art of imagery in the mid-1980's, and then dived into sculpture in the early 1990's. I explored editorial documentary photography during the late 1990's. I trained myself, via PhotoShop, from 1996, to finally grow my photo-art into, 'Complete Digital Deliveries,' into the early 2000's. Presently, my "Digital Artifacts," continue to progress, as I grasp for new terminology to discuss my work, and its medium. Older art terms no longer seem to fit this new realm of digital technology, and it's place in Art's History - now in the making - so the, "Speak," continues be amended..."

    "Born a third-generation Dallasite, I finally decided that 40 years of big city life was enough for me... Since 1993, I have lived, and worked, on a small 50-acre farm, 75 miles north, and west, of downtown Fort Worth, Texas. I live in the big old middle of a nowhere you have ever heard of. In fact, on my Texas Driver's License - it just reads: Rural, Texas... That, my friends, is as good a place to do art as any - however, socially speaking - it sucks... Finally, while I never caught up with my dream to be a singer-songwriter - I did learn to express my music visually..."


"Tree Shadows - Perrin Farm" © 1996 Brad Michael Moore



BMM  /  Brad Michael Moore  /  American Artist