If you’re in Adams Morgan and you’re feeling fine, stop in to Morton Fine Art and get a dose of culture.
Adams Morgan may be best known for its bars and nightlife, but you should visit during the day and check out Morton — it’s quiet and dignified, but edgy and au courant.
Morton Fine Art wears many hats. They want you to come look at the art and appreciate it, but they also want you to start collecting it. Morton offers advice to the burgeoning collector via a professional consultant. Not only will they help you choose the art, they’ll come to your home or office and install it for you in the best possible spot. You’ll grow to love it more every day.
Their dynamic model of changing exhibits means you always get a fresh selection. And because some of the most educated art minds are selecting what hangs on the gallery’s walls, you know you’re choosing from only the best.
Gallery owner and founder Amy Morton says an important part of collecting art is knowing what you like, and the best way to learn is to look at as many different types of art as possible. So get out there and spend some time in some of the DMV’s smaller galleries!
Morton’s, 1781 Florida Ave. NW, is open Tuesday through Saturday from 11 a.m. to 6 p.m. and Sundays from noon to 5 p.m.
Congratulations to ROSEMARY FEIT COVEY for her participation in the very competitive artist residency program at Arteles Creative Center in Finland!
Arteles Creative Center in Finland is one of the largest and most international creative residencies in Scandinavia.
Welcoming over 100 selected visual artists/ musicians/ writers/ performance artists/ photographers/ designers / architects per year.
It is an inspiring place to produce original work and collaborate with other energetic and ambitious artists & creative professionals for a concentrated period of time from 1 to 2 months.
Arteles is offering you the possibility to be free to create and to go ‘out of the box’ without having any outside or art world pressure. We encourage experimentation and innovation – and therefore give voice to works that otherwise have nowhere else to be produced or displayed.
Our living and studio spaces are designed to support creative activities and social exchange and we can host 10-12 residents simultaneously.
The center is located in the middle of extraordinary nature of Hämeenkyrö, Finland (European Union Landscape Award in 2009) where you can soak in the fresh air, enjoy the silence, go for wandering walks in the forests, swimming in the many lakes nearby, go skiing and skating at winter time, do hiking and trekking trips in the nearby nature or have daily relaxing in a traditional wood-fire sauna. You can also get to know the fascinating and rich old culture of Finland viewed through Kalevala Epic, full of trolls, witches, myths and its inherent ties with nature.
This post is hosted on the Huffington Post’s Contributor platform. Contributors control their own work and post freely to our site.
“Within any one person there are crowds of people, different characters that show themselves at different times.” – Gay Talese
In Vonn Sumner’s new painting Crowd—a kind of group self-portrait—eighteen hooded figures jostle for a place in the lineup. Some, with their eyes hidden, seem to be lost in private reveries, some seem aware of the presence of others, and a few stare out at the viewer, alert and even a bit hostile. One pair of figures seems to attempt a conversation while others look away, beyond the borders of the canvas. Others just sulk.
The individuality of each figure is deflected by his similarity to his moody clones, making any and every variation in posture and facial expression especially telling. The overall effect is decidedly weird, as Sumner seems to be teasing his audience, summoning up their voyeuristic interest while also deflecting it. “I’m willing to tell you some things about myself,” the painting seems to say, “but I’m still wrestling with myself to figure out just what those things might be.”
Crowd somehow manages to be both an image of self-absorption and a set of partial confessions at the same time. It’s about being yourself while finding yourself, and about giving just enough of yourself to others. Sumner has clearly been thinking about his place in the world, but he also knows that over-thinking is a danger: if you don’t put yourself and your ideas out there to face judgment your life may become an eternal funk.
The sock hats that appear in Sumner’s recent paintings are an inexpensive “found object;” they are sold in hardware stores for use during spray painting and wall texturing. The hats remind Sumner of a wide variety of types of headgear including the turbans and other head-coverings he glimpsed in the works of the 15th century Siennese artist il Sassetta, as well as Muslim hijabs and the hoodies of urban teenagers. The artist is content to let all of these references and implications run wild, so that his viewers have to make their own assumptions about whether to be perplexed, threatened or amused by his imagery.
“People tend to be right on,” Sumner muses, “and I honestly don’t care that the characters are all me: its not a goal for them to be me.” In his leanings towards idiosyncratic means—and a hint of comic funk—Sumner bears the influence of U.C. Davis, where his mentors, including Wayne Thiebaud, reminded students that without humor there is a loss of perspective. In regards to the duality of “funny or not” Sumner doesn’t have a preference: “It doesn’t have to be one or the other. As in the works of Philip Guston, I think that imagery can be both tragic and comically absurd at the same time.”
Pink Pop is a portrait of Sumner’s father Richard, whose Palo Alto frame store provided early exposure to art and to the bohemian intellectuals who spilled out the edges of the nearby campus of Stanford University. “He was a magnet for interesting people,” Sumner recalls, “and I certainly benefited from having a front seat in that little theater. I miss it.” The same paradoxes that apply to Sumner’s images of himself apply to those of his father: he is both utterly familiar and somewhat hidden. It’s a reminder that you can love someone while still respecting their mysteries.
Perhaps the greatest strength of Vonn Sumner’s work is that he respects the power of mystery but also understands its limits. Knowing how much to say and how much to withhold is a vital skill for diplomats and painters. Saying too much veers towards gossip and saying too little risks rendering a work of art forgettable, which Sumner’s art most definitely isn’t.
Vonn Sumner: To Be Seen
July 30 – August 27th, 2016
170 S. La Brea
Los Angeles, CA 90036
Artist’s Talk and Walkthrough with Vonn Sumner and John Seed
Our D.C. store’s newest art installation is by artist Natalie Cheung (pictured).
Chance occurences that happen in nature are what drive artist Natalie Cheung to create new artwork. Her latest art installation can be found inside our Washington D.C. store (1631 14th St. NW). At 8 x 12 feet, this work is the largest piece of artwork she’s ever shown. We sat down with Natalie to ask what it was like creating this masterpiece.
Join us at our in-store event to meet Natalie July 27 from 6-8 p.m. at our Logan Square store. Enjoy sips, snacks and a talk from the artist. No RSVP is needed.
Natalie Cheung’s artwork inside our D.C. store.
How long have you been a contemporary artist? Please describe your work’s aesthetic.
Growing up in the DC area, I had a lot of exposure to museums and the arts programs, and I’ve always been drawn to visually interesting and creative activities. I am formally educated as a fine art photographer with a BFA from the Corcoran College of Art + Design, and a MFA from Tyler School of Art, Temple University. Ever since my schooling, I have been a working artist.
What inspires you to create and where do you feel most inspired?
A lot of my work is framed around chance occurrence that exist in nature, so I always feel compelled to make new artwork after taking a long hike or being exposed to new kinds of natural environments. I’m inspired by the small details and flaws in nature, and how together, they build a larger picture of the world we live in.
Describe your artwork that’s inside of our D.C. Store. What is it called and how did you create it?
At 8 x 12 feet, the work I have in the Shinola D.C. store is the largest artwork I have ever shown. I saw this as an opportunity to create a somewhat experimental installation. The black and white image is of a paper cut photogram (a camera-less photographic darkroom technique) I had cut.
The Rock Paper Scissors series is a blending of my cultural upbringing and my observations as a formally educated photographer. The idea of creating my own take on my mother’s intricate Chinese New Year paper-cuts photographically came to me when I saw a photograph of a city apartment building in a full black silhouette. The image was of an apartment facade, but completely abstracted at the same time. My paper cut compositions are spontaneous and intuitive shapes similar to those found in nature and man-made structures.
Get directions to our Washington D.C. store, here.
KESHA BRUCE, That They Might Be Lovely, 2008, Hand-signed and numbered Archival Pigment Print.
Photographs from (Re)calling & (Re)telling are
currently on view at The Smithsonian National
Museum of American History as a part of Through the African American Lens.
The exhibition features some of the more than 33,000
artifacts that have been collected by the Smithsonian’s
National Museum of African American History and
Culture (NMAAHC) since its creation in 2003.
Through the African American Lens is the NMAAHC’s 8th exhibition and is on display at the Smithsonian’s
National Museum of American History until
NMAAHC opens to the public on September 24, 2016.
Covering topics such as education, military service,
popular culture, religion, sports, and visual arts, the
exhibition demonstrates how the African American
story is quintessentially an American one of
determination, faith, perseverance, pride, and resilience.