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Richard Mock
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Richard Mock is represented in many major public collections among them are:
New York Public Library Museum of Modern Art (New York) Metropolitan Museum of Art (New York) The Brooklyn Museum (New York) Zimmerli Art Museum (New Jersey) National Museum of American Art (Washington, DC) Museum of Fine Arts (Boston) Worchester Museum of Art (Massachusetts) High Museum of Art (Atlanta) Fort Worth Art Museum (Texas) Roswell Museum (New Mexico) Huntington Museum (West Virginia) Plains Art Museum (North Dakota) Walker Art Center (Minneapolis) University of Michigan Museum of Art Sheldon Memorial Art Gallery (Nebraska) Spencer Museum of Art (Kansas) Australia National Art Museum (Canberra) Museo de Monterrey (Mexico) Victoria & Albert Museum (London) Alliance Capital Management (NYC) ARCO (Los Angeles) Bank of America (California) Chase Manhattan Bank (NYC) Prudential Insurance (New Jersey) Readers Digest (Pleasantville, NY) |
I would also like to thank the great print assistants Jason Clark, Bill Gregory, Ryan Lindburg, Alice Blood, Jeremy Porter and Carmen Malsch we had on this project for without their dedication and long hours this project would not have been possible.
- James Bailey, Professor & Director of MATRIX Press. |
From the New York Times: Richard Mock, Sculptor, Painter and Editorial Cartoonist, 61, Dies
By ROBERTA SMITH
Published in the New York Times, August 11, 2006
Richard Mock, a painter and sculptor whose interest in politics led to a second career as an editorial cartoonist, died on July 28 in Brooklyn, where he lived. He was 61.
His death followed a long illness, said his companion, Roberta Waddell, curator of prints at the New York Public Library.
Mr. Mock was a lifelong painter whose work ranged from a cartoonish, politically charged Neo-Expressionism through portraiture and self-portraiture to bright, paint-laden abstractions. But he was best known for the satiric linocut illustrations on social and political issues that appeared on the Op-Ed page of The New York Times from 1980 to 1996, in other New York-based newspapers and in worldwide publications.
Notable for their sharp wit and bold, black-on-white forms, these linoleum prints reflected the influence of the German Expressionist Max Beckmann (1884-1950) and the Mexican printmaker José Guadalupe Posada (1852-1913).
In the late 1990’s, Mr. Mock’s social commentary segued into three dimensions with his “Money Lures” sculpture series, which consisted of large fishing lures made of commercially shredded American currency.
Born in Long Beach, Calif., in 1944, Mr. Mock learned lithography and block printing at the University of Michigan, where he earned a bachelor’s degree on a football scholarship in 1965. He settled in New York in 1968, had his first solo exhibition at 112 Greene Street, the loosely run artists’ cooperative in SoHo, in 1972, and was included in the 1973 Whitney Biennial. In 1980, Mr. Mock participated in the “Times Square Show,” which is often seen as the starting point of the East Village art scene, and he was also the official portrait painter of the 1980 Winter Olympics at Lake Placid, N.Y.
Mr. Mock was frequently involved with children’s art projects and taught art at Public School 6 in Manhattan from 1998 to 2002. The New York alternative space Exit Art held a survey of his work in 1986. In his most recent New York exhibition, at the Sideshow Gallery, in Williamsburg, Brooklyn, in 2004, his prints were shown with those of several Mexican political printmakers, including Posada.
By ROBERTA SMITH
Published in the New York Times, August 11, 2006
Richard Mock, a painter and sculptor whose interest in politics led to a second career as an editorial cartoonist, died on July 28 in Brooklyn, where he lived. He was 61.
His death followed a long illness, said his companion, Roberta Waddell, curator of prints at the New York Public Library.
Mr. Mock was a lifelong painter whose work ranged from a cartoonish, politically charged Neo-Expressionism through portraiture and self-portraiture to bright, paint-laden abstractions. But he was best known for the satiric linocut illustrations on social and political issues that appeared on the Op-Ed page of The New York Times from 1980 to 1996, in other New York-based newspapers and in worldwide publications.
Notable for their sharp wit and bold, black-on-white forms, these linoleum prints reflected the influence of the German Expressionist Max Beckmann (1884-1950) and the Mexican printmaker José Guadalupe Posada (1852-1913).
In the late 1990’s, Mr. Mock’s social commentary segued into three dimensions with his “Money Lures” sculpture series, which consisted of large fishing lures made of commercially shredded American currency.
Born in Long Beach, Calif., in 1944, Mr. Mock learned lithography and block printing at the University of Michigan, where he earned a bachelor’s degree on a football scholarship in 1965. He settled in New York in 1968, had his first solo exhibition at 112 Greene Street, the loosely run artists’ cooperative in SoHo, in 1972, and was included in the 1973 Whitney Biennial. In 1980, Mr. Mock participated in the “Times Square Show,” which is often seen as the starting point of the East Village art scene, and he was also the official portrait painter of the 1980 Winter Olympics at Lake Placid, N.Y.
Mr. Mock was frequently involved with children’s art projects and taught art at Public School 6 in Manhattan from 1998 to 2002. The New York alternative space Exit Art held a survey of his work in 1986. In his most recent New York exhibition, at the Sideshow Gallery, in Williamsburg, Brooklyn, in 2004, his prints were shown with those of several Mexican political printmakers, including Posada.
I would also like to thank the great print assistants, Jason Clark, Ryan Lindburg, Bill Gregory, Alice Blood and Carmen Malsch that worked on this project for without their dedication and long hours this project would not have been possible.
- James Bailey, Professor & Director of MATRIX Press.
- James Bailey, Professor & Director of MATRIX Press.
RICHARD MOCK
THE CUTTING EDGE / A Retrospective Print Exhibition June 12-July 25, 2021 Kentler International Drawing Space, Brooklyn, NY Accompanied by Exhibition brochure with Essay by Joyce C. Polistena, Ph.D. (Art Historian / Pratt Institute, Brooklyn, NY) |
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