Hana Moore, Loop 101 | Lustre Contemporary


LOOP 101
Acrylic on panel. (triptych)
36 x 54 x 1 1/2 in
91.4 x 137.2 x 3.8 cm

I have my eyes set out for this artist. For those that know me or any of my previous design work, I’ll think you understand why. But for those that need a refresher, see evidence below.

Abstract artist Hana Moore works with both paint and paper as primary mediums to create her dynamic works. Featuring the recurring elements of lines, circles and vibrant color her work explores visual juxtapositions through the contrast of geometric versus organic and straight versus round. A key theme that runs throughout…

— Read on lustre.art/artists/30-hana-moore/works/40-hana-moore-loop-101/

Hard Truths: Art World Advice Column on Handling Overinflated Egos | ARTnews.com

Art world ethicists Chen & Lampert advise on how to deal with egotistical artists and working beyond commercial art galleries.

— Read on www.artnews.com/art-in-america/features/hard-truths-art-world-advice-column-overinflated-ego-1202676814/

I have an artist friend who’s smart, witty, and overall very fun, despite being a total narcissist. To be honest, his work is pretty terrible, and, what’s worse, he continually talks about all his “masterpieces.” I am OK with art people being brash and egotistical if it’s an intentional attack on bourgeois taste, but my friend is clueless and overconfident. I write art criticism, and he’s always fishing for compliments. I avoid talking about his art, but feel like a hypocrite. How long can I sustain our friendship if I can’t tell him what I really think? Can I even be his friend?


YES! 100% you are being a huge hypocrite. Are you worried that your friendship hinges on your approval of his work? If so, I’d take another look at the basis of your friendship. I never expect my friends or family to like my work, if they do that’s awesome, if not, so what? That’s not why we are friends in the first place.

Furthermore, of course your friend has probably been, as you put it, “fishing for compliments.” Obviously he knows you do it professionally and most likely fully respects your opinion. It’s actually a compliment if you could get off your own high horse for a minute and see it. But it sounds like you’ve already placed this “friend” in a certain box and written him off as never achieving more.

So why should you bother to lend him your actual opinion? To get real, be honest, and offer some constructive criticism. Heaven forbid perhaps maybe your opinion might actually help him to improve his work! Because then, who knows? Maybe he may actually create something you actually like. But no, we can’t have that. Then he wins.

Instead you‘d rather hold your opinion hostage. An unspoken ransom is set as he blindly pleas for your acknowledgment. Obviously you don’t think he‘s worth the sincerity, honesty, or even time of day. You’d rather watch him naively make a fool of himself. And then of course by that logic, why would you even want to keep him as a friend?

Real friends are honest with each other. That’s the definition of friendship. Sounds more like frenemies to me.

If you see something, say something!

Take solace in knowing that you aren’t the only hypocrite at your friend’s opening. We all have close buddies who we support in life despite feeling deeply embarrassed by their art. Pained by their formal choices and easy gestures, the aesthetes among us are quick to denigrate their work as only worthy of hospital cafeterias and Panera Breads. One need not be a critical theorist to be made irate by your chum’s mental laziness and yucky art-dude vibe.    

Or wait, let me guess, you see his ego is so fragile and precious that he’ll fall to pieces of you say anything in a negative light about his work. His ego is a priceless bejeweledFabergé egg that you must handle with kid gloves.

Honestly, if you don’t tell your him your opinion, you’re only bringing this upon yourself. Either you tell him your opinion and say you do crush his spirit, my guess is he probably won’t ask you again. There problem solved again.

Or am I being irrational? Is it really that difficult these days to be honest and forthcoming? Am I so gullible as to believe that people actually mean what they say? I think I must be, or else the alternative is to only think that everyone is bold faced lying every time they open their mouth.

Yellowstone Art Auction 52

Yellowstone Art Auction 52


  1. (a.) A lithograph piece by Pierre-Auguste Renoir hangs in the Yellowstone Art Museum.
    (b.) left Justin W John, Magenta. Yellow. Somewhere In Between.
    (c.) foreground Brad Rude,  The Same Yet Different. Paige Bowman, Tuscan Run.
    (d.) right Vicki Conley, Flying Geese.
  2. Yellowstone Art Museum registrar Lisa Ranallo hangs a piece by Ted Waddell. 

January 24, 2020 – March 7, 2020

Every year, the Yellowstone Art Auction raises crucial support for the exhibitions and educational programs that the Yellowstone Art Museum presents to the community year-round. 

The YAM is proud to offer three wonderful and distinct events, all in conjunction with the Yellowstone Art Auction. Friday, January 24, 2020 will kick off the festivities with Cocktails & Quick Finish and Special One-Night-Only Silent Auction. That evening will feature quick-draw artists, a one-night-only silent auction, entertainment, and hors d’oeuvres.

Take advantage of your first opportunity to view all of the live and silent auction works as well as bid on quick-finish works by well-known artists. This event also boasts an additional silent auction to be sold one-night-only. 

The opening night is also your first chance to buy-it-now in the YAA52 silent auction and to preview the pieces in this year’s live auction. Tickets for this event can be purchased individually or bundled with our March 6 and March 7 events.

We are also hosting an Artist Meet and Greet reception on Friday, March 6, 2020, giving ticket holding patrons the opportunity to meet the artists and buy it now in the silent auction before the big night.

2220050 - Magenta. Yellow. Somewhere in between.
Magenta. Yellow. Somewhere in between.


Cocktails & Quick Finish and
Special One-Night-Only Silent Auction

Friday, January 24, 2020, 5-8 p.m.

Artist Meet and Greet & Last Chance to Buy-It-Now
Friday, March 6, 2020, 5-7 p.m.

Live & Silent Auction Night
Saturday, March 7, 2020, 5-10 p.m.



General Information: 
406-256-6804 x236

Volunteer Opportunities:
406-256-6804 x222

Event Sponsorship:
406-256-6804 x226



I feel truly honored (at the same time just floored) that my work is hanging next to the likes of such an amazing figure in art history as Renoir. “I must be dreaming, I must be completely in a dream world…” That’s all I keep thinking whenever I look at the photographs of my work hanging next to the gold framed stone lithograph.

I was completely blown away initially that three of my pieces were accepted into this show. One for each of the different auctions. Magenta… is the largest piece to date that I’ve had on display in any gallery, I love working on a large scale and this makes me want to get into a large studio space and go huge. One thing at a time though.

Orange Crush and Ten Quarts are my other pieces included, each with expressing different themes and areas of introspective moments. Expressively abstract one way, more cheeky, pop culture inspired in the other. Both very much, well, me. Below is a video of myself working on framing Ten Quarts. I’m not terribly great at video editing, but I’m working it into my wheelhouse. However, I think it came out well, considering it was completely filmed and edited using only my phone. Let me know what you think!



A huge “THANK YOU” to Yellowstone Art Museum for seeing something in my work and including me in this amazing collection of artists. 

2220058 -
"Ten Quarts"
A lithograph piece by Pierre-Auguste Renoir hangs in the Yellowstone Art Museum alongside other works in the annual Art Auction on Tuesday. CASEY PAGE, Billings Gazette
2220026 - Orange Crush
Orange Crush

A color lithograph by Auguste Renoir, valued at upwards of $200,000, is being auctioned in March during the 52nd annual Yellowstone Art Museum auction. “Enfants Jouant à la Balle,” or “Girls Playing Ball,” is from an edition of 200 prints created through stone lithography and signed by Renoir on the lower right-hand side.

The Renoir was donated by Galerie Michael, a Beverly Hills art gallery founded by Michael Schwartz. It is valued at $118,800 to $200,375, according to the YAM. Galerie Michael has donated works in the past to the YAM, including a Picasso that sold for $62,500 in 2018. It was the first Picasso the museum was able to offer at auction, and was given as a 100% donation. The gallery donated another Picasso to the museum for the 2019 auction, along with lithographs by Salvador Dalí and Alexander Calder. All works were given as full donations to the YAM. 

“It means the world to us,” said Ryan Cremer, development director. “The fact that they come in at 100% donation, it’s huge.” As much as 25% of the YAM’s yearly budget is raised during the auction, according to Cremer.

The Renoir lithograph is comprised of layers of color, printed in 1900 in Paris by Auguste Clot, who worked with artists to produce prints of their works, including Vincent van Gogh, Auguste Rodin and Cezanne. The piece, measuring nearly 2-feet tall by 20-inches wide, centers on four young girls playing in a field and is framed in an ornate gold frame with nameplate.

The artwork was formerly held by Henri Petiet, an international art dealer from France and important figure in the 20th century art market. Starting in the 1920s, he amassed millions of dollars worth of art by artists including Picasso, Matisse, Degas, Pissarro, and Delacroix, among others. The collection of Henri M. Petiet was considered one of the largest private collections in the world, gradually auctioned off after his death in 1980.


Born February 25, 1841, Limoges, France
Died December 3, 1919, Cagnes

French painter that was one of the central figures of the impressionist movement (a French art movement of the second half of the nineteenth century whose members sought in their works to represent the first impression of an object upon the viewer). His work is characterized by a richness of feeling and a warmth of response to the world and to the people in it.

His early works were typically Impressionist snapshots of real life, full of sparkling colour and light. By the mid-1880s, however, he had broken with the movement to apply a more disciplined, formal technique to portraits and figure paintings, particularly of women.

Renoir was so passionate about painting that he even continued when he was old and suffering from severe arthritis. Renoir then painted with the brush tied to his wrists.

from www.pierre-auguste-renoir.org

ROTHKO … Stability and my own misguided bitterness

A new art rating service will help collectors determine if the pricey works they are purchasing will disintegrate or last over time.
— Read on www.barrons.com/articles/how-stable-is-your-rothko-1412014364

The featured cover image is not a Rothko, so don’t anyone start commenting, “that’s not a Rothko,” or anything like that. It’s a piece I did a few years ago, one summer in my mother’s garage. I had recently started been revisiting his work and his life story.

Previously I had, at times, discounted his work and thought it something a child could do. The same a lot of people who know nothing about art might say. But the problem was that I did know a thing or two about art and what’s worse, it was while I was going to art school!

You see, I worked at a framing & print shop and we had a few prints of his more famous works. People would come in and have them framed for their office or suite, perhaps their dinning room or even patient waiting rooms (it was a well-to-do community with doctors and shrinks). Needless to say, I found myself reframing and mating the same Rothkos, day in and day out.

I began to become a bit bitter of his work. Often thinking, “I can do that, that’s easy,” never truly taking in the shear scale and painstaking number of hours to create each piece, or his elaborate process of mixing pigments, chemicals, animal glue, eggs and other elements to make his own paint. The exact recipes he kept secret, but much has been discovered about his process through groundbreaking technologies in art restoration.

But back to me. Reflecting on my cocky youthful attitudes with almost two decades between then and now, I have realized where I came to that conclusion. It was at the cross section of redundancy and ignorance. It’s a hard street corner to work, but I had found myself there blindly. Telling the passers by which sights to see in a town I knew nothing about.

I had forgotten to take into account the experience of being in front of a Rothko, under its spell, absorbing the spiritual experience they can guide you on. When you take photos of trips or parties or any other sight you’ve seen, it’s to capture that moment and recount it years to come. That photograph acts as a trigger. The second it’s pulled, BANG, in your mind you’re there, you remember the sounds, like air, the people, the place, the things, you remember what you were feeling, maybe what was happening in your life at that time, that day, that year. This is the same reason why we’re obsessed with photographs and Instagram and sharing them with the world.

When people were getting those petite replicas framed, it wasn’t because they thought they had a Rothko, but it was the recount the experience in just a small way. Not to mention, it’s not like everyone can afford a Rothko. They go for what, $50 million a pop now?

Well, I’ve deviated completely from the subject at this point, but that’s okay. I’ve become experimental with some of my paint mixtures, but no animals were harmed in the process.

I believe I still have a drafted blog post from a while back about the defacing of a Rothko at the Tate Museum and the efforts they employed to save it. I’ll try to look into REVIVING that one as a follow up. You think?




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