Archive | January, 2012

Save the Date! Private Preview for ROSEMARY FEIT COVEY and LAUREL HAUSLER’s show “EXCAVATE”

24 Jan

EXCAVATE

An Exhibition of New Work by ROSEMARY FEIT COVEY & LAUREL HAUSLER

February 17th – March 14th, 2012

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OPENING RECEPTION

Friday, February 17th, 2012 6pm – 8 pm

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PRIVATE PREVIEW

Wednesday, February 15th, 2012  2pm – 6pm

Thursday, February 16th, 2012  11am-6pm 

 

 

Morton Fine Art (MFA) presents Excavate, an exhibition of new work by artists Rosemary Feit Covey and Laurel Hausler. The exhibition will be on display at Morton Fine Art from February 17th through March 14th, 2012. The opening reception will be held on February 17th from 6 to 8 pm with both artists in attendance.

 

 

Rosemary Feit Covey (Alexandria, VA, b. South Africa, wood engravings, mixed media):

One of the preeminent wood engravers working today, Rosemary Feit Covey’s masterful and emotionally powerful black and white engravings can be found in prominent museum and library collections around the world. In a career spanning three decades, she has exhibited internationally and received countless awards for her wood engravings. Last year her self-appropriated mixed media artworks debuted in her solo exhibition Death of the Fine Art Print at Morton Fine Art.

 

Laurel Hausler (Washington, DC, b. USA, paintings):

A Washington, DC native, Laurel Hausler’s love of literature, antiquity and the absurd inspire the stories behind her work. Admired for resisting a self-conscious approach to process, the artist reveals lines, scratches, rips and gestures on her surfaces that demonstrate her decision-making process through the work’s evolution to its finished state.

 

About Excavate:

Rosemary Feit Covey and Laurel Hausler have been paired in this two woman exhibition to highlight their respective artistic processes and approach to subject matter. Rosemary Feit Covey whittles away the surface of her wood block with extreme precision, utilizing a time-staking and unforgiving engraving process until her detailed image appears. Laurel Hausler works in a subtractive process by covering her canvas with multiple layers of paint, wax, charcoal or found objects and then removes the layers to reveal the subject. Both women are fearless in their psychological approach to subject matter – raw and depth oriented, they explore subsurface in the realm of the unconscious, not afraid of the obscure.

Into The Light Exhibit At The Athenaeum In Alexandria

20 Jan

 

Into The Light Exhibit At The Athenaeum In Alexandria

BY Amanda Pelletier
January 20th, 2012

 

If you’re looking for a way to insert a dose of culture into your weekend, I highly recommend venturing down to Old Town Alexandria to pay a visit to the Athenaeum where “Into the Light” is currently on display. Curated by Amy Morton, “Into the Light” is an exhibition of artwork by Esther Yi and Victoria Shaheen.

Although the two artists work with different mediums, Yi and Shaheen both experiment with the theme of light. For her installation entitled “White Heat, White Light”, Shaheen cast light bulbs in plaster, creating what she describes as “a beautiful and poetic dystopian circle in her artwork”. In this exhibition, Esther Yi has taken black and white images of masterpieces by the likes of da Vinci and Jan Van Eyke and cast them in a new light-using a process known as mordancage, creating a melting effect.

 

Esther Yi’s work on display at the Athanaeum (Photo Credit: Jason Tucker)

Amy Morton owns and operates an innovative gallery in DC, which showcases museum-quality contemporary art in a relaxed, accessible environment. Morton describes herself as an advocate for emerging artists, highlighting the work of young artists- some who are fresh out of school. True to her philosophy, Morton handpicked Victoria Shaheen and Esther Yi after seeing their artwork on display at “Next at the Corcoran”, the senior thesis exhibition for the Corcoran College of Art and Design. “An emerging artist show of this caliber offers an exciting opportunity for collectors to view and acquire work ahead of the curve by these exceptional young artists”, said Morton at the exhibition’s artist reception last month.

 

Amy Morton with “White Heat, White Light” by Victoria Shaheen (Photo Credit: Jason Tucker)

Hurry down to Alexandria to see this exhibit before it closes on Sunday. If you’re in the U Street area, be sure to stop in to Morton Fine Art at 1781 Florida Avenue to view more visionary artwork.

WHEN: Exhibit on display until Sunday, January 22. Gallery hours are Thursday, Friday, and Sunday from 12 p.m. to 4 p.m. and on Saturday from 1 p.m. to 4 p.m.

WHERE: 
Athenaeum 
201 Prince Street
Alexandria, VA 22314

ADMISSION: Free

http://askmissa.com/2012/01/20/into-the-light-exhibit-at-the-athenaeum-in-alexandria/

Last week to view “Into The Light” by Victoria Shaheen & Esther Yi at the Athenaeum

17 Jan
Morton Fine Art is pleased to curate “Into the Light”, an exhibition of artwork by Esther Yi and Victoria Shaheen at The Anthenaeum in Old Town Alexandria, VA.

Curated by Amy Morton for Morton Fine Art.

Into the Light will be on display from Thurs, 8 December 2011 – Sun, 22 January, 2012.

Gallery Hours:
Thursday, Friday and Sunday: 12pm – 4pm
Saturday: 1pm – 4pm

Choichun Leung in American Contemporary Art Magazine

12 Jan
American Contemporary Art Magazine, December 2011

American Contemporary Art Magazine, December 2011

When in NYC…

10 Jan

…one of my favorite places to visit is the NEUE GALERIE featuring German and Austrian Art.

Location:  1048 Fifth Avenue New York, NY 10028.

Museum Hours:  Thursday, Friday, Saturday, Sunday, and Monday 11 a.m. to 6 p.m. (closed Tuesday and Wednesday)

Currently on display: The Ronald S. Lauder Collection: Selections from the 3rd Century BC to the 20th Century/Germany, Austria and France

October 27, 2011-April 2, 2012

…And don’t forget to grab something delicious at the museum cafe. Another FAVORITE.

Café Sabarsky, which bears the name of Neue Galerie co-founder Serge Sabarsky, draws its inspiration from the great Viennese cafés that served as important centers of intellectual and artistic life at the turn of the century. It is outfitted with period objects, including lighting fixtures by Josef Hoffmann, furniture by Adolf Loos, and banquettes that are upholstered with a 1912 Otto Wagner fabric. A Yamaha S4 grand piano graces one corner of the Café, and is used for all cabaret, chamber, and classical music performances at the museum.

Get to Know MFA’s Australian Artist KATHERINE HATTAM

3 Jan
Katherine Hattam with one of her latest exhibits, Federation Square. Photo: Angela Wylie

Katherine Hattam with one of her latest exhibits, Federation Square. Photo: Angela Wylie

Colours of the hectic city

Gabriella Coslovich for The Age, Australia

November 15, 2010

Katherine Hattam’s art is inspired more by places around Melbourne than by family friend Fred Williams.

ART has been an intrinsic part of Katherine Hattam’s life. Her father, Harold Hattam, was a leading Melbourne gynaecologist and art collector, who eventually gave up medicine, a profession he loved, to take up painting, whose call he could not resist.

His friends included some of Australia’s greatest artists – among them Fred Williams, Arthur Boyd, John Perceval and Charles Blackman – whose work he and wife Kate collected long before it became fashionable. Indeed, it was Boyd who first noticed the remarkable talent of Harold’s daughter Katherine.

”I did these big black and white drawings in my bedroom and I can remember Arthur Boyd came to my parents’ house and he said, ‘Take her out of school’, and my parents both went, ‘No’,” Katherine says.

Not that she minded terribly much. Academically gifted, Katherine went to university and studied English literature and political science, developing a fascination with psychoanalysis along the way. Her love of art, however, never left her – and, unlike her father, she forged a career in it from the start.

Hattam is largely self-taught. She made and exhibited work for 10 years before starting a master’s in fine art at the Victorian College of the Arts. By then, she was 38, twice married and the mother of three.

Her work has been bought by significant public and private institutions, including the National Gallery of Australia, National Gallery of Victoria and Queensland Art Gallery. But Hattam still struggles with the ”impossible combination of obsession and self-doubt” that is perhaps the mark of an artist’s life. Her latest solo exhibition, which opened at the John Buckley Gallery in Richmond on the weekend, was 2½ years in the making, with plenty of ”duds” destroyed along the way. Experimentation and failure was a fundamental part of the process and led to a breakthrough – Hattam’s first exhibition composed entirely of paintings. About half are in gouache, a medium that points to the influence of her father and Fred Williams.

”As a teenager I went on several painting trips with my father and Fred Williams, to the You Yangs and outlying Melbourne suburbs. Both used gouache on paper to paint out in the landscape. Fred worked fast and with intensity, and I remember watching on a couple of occasions him hosing down one or two which he was not happy with when he got home,” she says.

Stylistically, though, the influence of Williams or her father is slight. Hattam’s paintings have more of a Matissean flavour, and this latest lot are so energised and vibrant, pulsating in glowing pinks, reds, oranges and yellow, that they caused one woman to remark how fitting it was to have a show about ”spring” now that the season had finally arrived in Melbourne.

In fact, the show is not at all about spring, but about Melbourne and is inspired by some of Hattam’s favourite places such as Merri Creek, Federation Square, Princes Park and the Tan track.

”I look at the show now and it looks like a celebration of Melbourne. I went for a walk last night at Princes Park, about seven o’clock, it was a hot, summery evening, I love that, where everyone is out exercising and you have all these amazing coloured clothes, socks, sneakers and caps.”

But the paintings are more than mere colourful landscapes. Hattam’s work is a mesmeric tapestry, hovering between the abstract and the figurative, and includes autobiographical elements and recurring symbols that speak of her interior world, and the tension between the domestic and artistic life.

The bright geometric patterns in the painting Federation Square (pictured above) allude not only to the square’s paving and facade, but also to a stained glass window at her sister’s home in Brooklyn, New York. Other paintings feature Hattam’s dogs Minnie and Olive, and her cat Melba – all three creatures are strikingly (and conveniently) black and white. As for the repeated image of the snakes and ladders board game, it’s a metaphor for the ups and downs of life.

About to turn 60, Hattam remains dynamic and questioning. She regularly attends the shows of younger artists whose works excite and inspire. Among them is her son, William Mackinnon, with whom she has collaborated in the past. Both of them feature in a group show opening at Utopian Slumps next week.

And yet, just as her parents had done with her, Hattam dissuaded young William from going to art school.

”I just think it’s too precarious a life,” Hattam says. ”I love the work, but I hate the precariousness.”

http://www.theage.com.au/entertainment/art-and-design/colours-of-the-hectic-city-20101114-17spu.html