Andrew Gordon Moore Resume


One Man:

A.G. Moore Gallery,Harthaven, MA (1990, 1991, 1993, 1995, 1997, 1999, 2003, 2006, 2009, 2012)

New Britain Museum of American Art, New Britain, CT (11/6/93-1/9/94)

Retrospective, Nesto Gallery, Milton Academy (1988, 2000)

The Granary Gallery at the Red Barn Emporium, West Tisbury, MA (1987-88)

The Field Gallery, West Tisbury, MA (1986)

The Old Sculpin Gallery, Edgartown, MA (1982, 83, 84, 85)


Group Shows:

Moore and Moore and Moore, Martha’s Vineyard Museum., Edgartown, MA (2014)

Francesca Anderson Gallery, Newbury St., Boston (1986-87)

The Main St. Gallery, Nantucket, MA (1986)

Center for Maine Contemporary Art, Biennial Juried Exhibition, Rockport, Me. (1996, 1997, 2000, 2004)

Fitchburg Art Museum, New England New Talent (1998)

The Drawing Show, Boston Center for the Arts (2000)



Vineyard Gazette, September 2014, Celebrating Art as the Moore Family Business

Martha’s Vineyard Arts & Ideas, September 2014. Moore, Moore, Moore and Goff

Vineyard Gazette, August 2013. Artist Captures Spirit of Island.

Martha’s Vineyard Times, August 2011, Island Influence on Landscape Artists

Vineyard Style Magazine, Fall 2007, Creating a Place, The Methodical and Evocative Paintings of Andrew Moore

Martha’s Vineyard Magazine, July 2003,

American Artist Magazine, The Crossover Between Watercolor, Egg Tempera, and Oil, June 1998

Education and Honors

2016 Massachusetts Cultural Council Fellowship
Artist Grant- Earth Watch funded trip to Brazilian Rain forest, 1993

University of Virginia, School of Architecture Charlottesville, Virginia
Bachelor of Architecture, 1985
Alpha Rho Chi Medal Leadership, Merit & Service

Dean Close School, Cheltenham, England
Exchange Student, 1981
Received A-Level degree in Art

Milton Academy, Milton, Massachusetts
Wigglesworth Art Prize, 1979 and 1980

Statement of Intent

A man lives two days with each one. The first is of the body. Here, man explores his world through his senses. The second day is of the mind, where man turns physical experience to spiritual understanding and growth. My paintings attempt the whole day- the concrete and the abstract.

I am an New England artist. Important to me is our history of painters whose lives and work are inseparable. As a fisherman, sailor, and self taught naturalist, I am involved in the changes of season, time and weather- and the resulting activities of man and nature in coastal New England. How can an artist not live what he paints? If he does not, his work contains no life.
I am also a representational painter. For me, this tie to the real is not a crutch. Any successful painting must have an abstract strength: a clear understanding of composition, form, color and the many other tools of design. In addition, though, representational painting explores the concrete, the world underfoot. Understanding this world is complex. Stare at a small area of shoreline and consider the materials, textures, colors, shapes, and patterns. Then consider such effects as light, time, season, weather, and what you were thinking about as you stood there. The impression changes. What is the constant?

The constant is the whole day, a combination of the abstract and the concrete. This is what I attempt to paint.