Mark Moore Fine Art is currently showing available works by Robert Therrien on its website, including two versions of 'Untitled (Red Chapel)' from 1984 and 'No Title (Keyhole)' from 2003. The gallery’s artist page presents the works as part of its available inventory, with prices listed as price upon request for the chapel pieces and $15,000 for the brass keyhole edition. The page was published on July 28, 2026.
Therrien, who lived from 1947 to 2019, is represented on the gallery site through a biographical text that situates his work in relation to memory, domestic space and the everyday object. The gallery describes his practice as one in which seemingly simple subjects — including snowmen, bows and oilcans — take on multiple layers of reference, while oversized sculptures of stacked plates, tables and chairs shift between the ordinary and the surreal. That emphasis on scale and recognition is central to the way Therrien’s work has been presented in the gallery’s materials.
The available-works page also highlights the artist’s broader trajectory. Born in Chicago, Therrien emerged on the Los Angeles art scene in the late 1970s after graduate study at the University of Southern California, Los Angeles, and photography studies at the Brooks Institute in Santa Barbara. According to the gallery text, he adopted formal aspects associated with Minimalism and Conceptualism while allowing pared-down sculptures and monochrome wall reliefs to carry poetic reference and implied narrative. The page further notes that he was represented by Leo Castelli in New York and Konrad Fischer in Düsseldorf during the 1980s and 1990s, when his work received increasing international recognition.
The gallery’s biography connects 'Untitled (Red Chapel)' and 'No Title (Keyhole)' to Therrien’s long-running interest in the studio, in-house display and recurring motifs. The text cites the Museum of Contemporary Art, Los Angeles’s 1984 presentation of six re-creations of his Pico Boulevard studio as the first exhibition of his stand-alone rooms, and says the studio remained a conceptual catalyst throughout his career. It also notes that in 1990 Therrien moved to a two-story building he designed and built according to the layout of that earlier studio, using it as a home, repository, workshop and gallery.
Additional context on the artist page traces later survey exhibitions at the Museo Nacional Centro de Arte Reina Sofía in Madrid in 1991, the Los Angeles County Museum of Art in 2011, the Albright-Knox Art Gallery in Buffalo in 2013 and Parasol unit in London in 2016. The gallery says these shows underscored Therrien’s investigations of what he called 'figure-ground play,' in which an image can seem to advance and retreat at the same time. The page also notes that his later room works reduced objects and spaces through materials, monochrome palettes and crowded or eerily sparse interiors.
Mark Moore Fine Art’s page for Therrien presents only a small number of works, but it places them within a detailed artist profile that stresses the continuity of his motifs across sculpture and works on paper. The available works listed on the page are 'Untitled (Red Chapel)' from 1984 in enamel on wood and 'No Title (Keyhole)' from 2003 in brass, each offered through the gallery’s website and marked as available subject to prior sale.
