Archive | July, 2013

NATHANIEL DONNETT in American Art Collector Magazine, August 2013

30 Jul

AAC Mag cover aug 2013

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

AAC Mag Donnett Aug 2013

MAYA FREELON ASANTE – behind the scenes photo shoot for Luxe Interiors & Design Magazine

23 Jul

Photo credit: Sophia Guerci

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Morton Fine Art – Booth Shots of ArtHamptons 2013

19 Jul
Sophia Guerci and Amy Morton at ArtHamptons 2013

Sophia Guerci and Amy Morton at ArtHamptons 2013

The oil paintings of JULIA FERNANDEZ POL

The oil paintings of JULIA FERNANDEZ POL

 

 

 

 

 

 

 

 

 

 

 

 

Morton Fine Art at ArtHamptons 2012, Booth shot of MAYA FREELON ASANTE and JULIA FERNANDEZ POL

Morton Fine Art at ArtHamptons 2012, Booth shot of MAYA FREELON ASANTE and JULIA FERNANDEZ POL

Amy Morton and STEPHON SENEGAL at ArtHamptons. Stephon Senegal "019", 52"x13"x13", bronze sculpture

Amy Morton and STEPHON SENEGAL at ArtHamptons.
Stephon Senegal “019”, 52″x13″x13″, bronze sculpture

Artwork by Nigerian born VICTOR EKPUK

Artwork by Nigerian born VICTOR EKPUK

NATHANIEL DONNETT's conceptual narratives on paper bags

NATHANIEL DONNETT’s conceptual narratives on paper bags

Morton Fine Art at Art Hamptons 2013, Booth 411

5 Jul

Inline image 3

Inline image 1

 
Thursday, July 11 2013 | 6:30-9:30pm | VIP Opening Preview Party

Regular Fair Hours:
Friday, July 12         | 11am – 8pm
Saturday, July 13    | 11am – 8pm
Sunday, July 14      | 11am – 6pm

Location

The Sculpture Fields of Nova’s Ark

60 Milestone Road (off roundabout on Scuttle Hole Road)

Bridgehampton, NY

Morton Fine Art will be located in Booth 411.

Artists Represented

Maya Freelon Asante

Nathaniel Donnett

Victor Ekpuk

Julia Fernandez Pol

Stephon Senegal

About Morton Fine Art (MFA)

Founded in 2010 in Washington, DC, Morton Fine Art (MFA) represents a diverse roster of emerging to mid career national and international contemporary artists.  MFA’s primary focus, although not exclusive, is abstract and figurative work. Featured mediums include a rich variety of artworks on paper and canvas as well as sculpture. Dedicated to the belief that anyone can become an art collector, Morton Fine Art (MFA) is an accessible and education-oriented fine art gallery devoted to inspiring fresh ways of acquiring contemporary art.

HAMPTONSINVITE

The Washington Post: Critical Review of ROSEMARY FEIT COVEY’s “Red Handed”

3 Jul

The Washington Post, Sunday June, 30, 2013, p. E2

Humanity’s collective guilt: A hellish experience

by Mark Jenkins

'Red Handed' : Rosemary Feit Covey's pictures, looser and messier than her usual woodblock prints, are reminiscent of Hieronymus Bosch's work or Goya's Black Paintings.

‘Red Handed’ : Rosemary Feit Covey’s pictures, looser and messier than her usual woodblock prints, are reminiscent of Hieronymus Bosch’s work or Goya’s Black Paintings.

In Celtic heraldry, the red hand represents a bloody, hard-won heritage. For Rosemary Feit Covey, whose “Red Handed” is on display at Morton Fine Art, the image has a different meaning: guilt. Her “installation experience” of mixed-media paintings and drawings catches the world red-handed, and the outcome looks like Hell.

That is, Covey’s suite recalls Hieronymus Bosch’s images of teeming, tormented humanity, as well as Francisco Goya’s despairing Black Paintings. Hundreds of red-handed, black-on-white androgynous figures line the walls, and even writhe underfoot. The South Africa-born, Washington-based artist has transferred some of her paintings to vinyl mats and arrayed them, overlapping variously, on the floor. She stopped short of the ceiling, but the experience of entering the gallery is immersive nonetheless.

Covey is known for her detailed wood block prints, a few of which are on display around the edges of this show. Her “Red Handed” pictures are looser, messier and more impulsive; precisely etched lines yield to expressionist strokes and spatters, sometimes atop collaged layers. Although gray, blue and brown tint some of the images, the emphasis on black and red suggests the artist’s background in simple, graphically direct printmaking. Long horizontal murals claim the room’s three walls, and on two of them the compositions are interrupted by other paintings, most of them miniatures. If Covey doesn’t document all nine circles of Dante’s Hell, she does offer multiple levels.

As a theme, guilt is wide-ranging, but these thronging pictures don’t suggest individual responsibility and solitary regret. The fault is clearly collective, widely known and unconcealable. Perhaps that’s why Covey was inspired to present these paintings as an installation. Everyone has done wrong at some point, so all those singular faults add up to mass culpability. To enter “Red Handed” is to be implicated.

Rosemary Feit Covey: Red Handed

On view through July 5 at Morton Fine Art, 1781 Florida Ave. NW; 202-628-2787; http://www.mortonfineart.com