Jazz-minh Moore, a Supplementary Biography
One of the most commercially successful artists on the show – along with The Sucklord, Michelle Matson, and Sarah Cabot – Jazz-minh Moore has gallery representation and a polished, roughly uniform practice based on paintings of photographs. “Polished”, though, doesn’t necessarily mean “good”, and the show’s challenges are often designed specifically to mess with artists who may be too attached to a single style. As with Sucklord, Work of Art could represent a transition for Moore, who hasn’t yet made anything with the sort of depth a theory-drowned art world wants to see.
ART WORLD CRED
Jazz-minh Moore is represented by Lyons Wier Gallery in Chelsea, and she's had eight solo shows and a substantial amount of positive press from the world of living room painting. That adds up to a certain amount of success, but it’s still the wrong kind of success to start capitalizing the ‘c’ in “contemporary artist”. For the record, she is an acquaintance with Judith Braun, who competed on Work of Art last year.
Jazz-minh has had a substantial number of shows. Gushy reviews often misconstrue her paintings of photographs as “cutting edge,” probably because they resemble Marvel Comics. Here's a favorite from the Charleston City Paper: “Jazz-minh Moore's paintings are raw…She usually takes 30-40 photographs of friends and family and chooses the one with the most authenticity and movement.”
Tacked on to the end of almost every one of Jazz-Minh's bios is that she grew up in a hippie commune, just like Peregrine from last year. It doesn’t seem entirely empty, as a statement: you can take the girl out of the hippie commune, but she’s still going to wander around a music festival in orange body paint every now and then. This is all supposed to frame her as a maverick, but her work – muddy-colored paintings of photographic snapshots, tweaked by a slight deviation from conventional canvas shape – doesn’t quite match up.