Archive | April, 2015

Artwork in VICTOR EKPUK’s solo “Hip Sistas in Flux : The Visual-Lingual Braid” at Morton Fine Art

30 Apr

Sneak preview of artwork from Nigerian born artist VICTOR EKPUK’s solo exhibition “Hip Sistas in Flux : The Visual-Lingual Braid”, opening Friday May 1st at Morton Fine Art.

Where?

Morton Fine Art, 1781 Florida Ave NW (at 18th & U Sts), Washington, DC 20009

(202) 628-2787, mortonfineart@gmail.com, http://www.mortonfineart.com *Contact the gallery for available artworks*

When?

Friday, May 1st, 2015 from 6pm – 8pm

The artist will be in attendance.

All images copyright of the artist, Victor Ekpuk.

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CHARLES WILLIAMS – McColl Center for Art + Innovation Summer 2015

29 Apr

charles williams web

 

Contact MORTON FINE ART for available artwork by CHARLES WILLIAMS.

(202) 628-2787

mortonfineart@gmail.com

http://www.mortonfineart.com

 

Exhibition Photos of GA GARDNER’s GETTHRU in Cologne Germany

23 Apr

GA GARDNER’s GETTHRU, Thru Contemporary Arts exhibition in Cologne, Germany

At the opening reception for “People Textures Environment” in Cologne Germany, the first exhibition by Thru Contemporary Arts.

www.getthru.org

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VICTOR EKPUK solo “Hip Sistas in Flux : The Visual-Lingual Braid” at Morton Fine Art

16 Apr
Hip Sistas in Flux: The Visual-Lingual Braid
A solo exhibition of new artworks by VICTOR EKPUK
Friday, May 1st- May 21st, 2015

OPENING DAY RECEPTION 
Friday, May 1st, 6pm-8pm
The artist will be in attendance.

Asian Uboikpa (Hip Sista) Series #10, 2015, acrylic on canvas, 60″x48″
EXHIBITION LOCATION

Morton Fine Art (MFA)
1781 Florida Ave NW (at 18th & U Sts)
Washington, DC 20009

HOURS

Tuesday – Saturday 11am – 6pm
Sunday 12pm-5pm
Victor Ekpuk has a concurrent museum solo exhibition titled
Auto-Graphics : Works by Victor Ekpuk running from April 18th – August 2nd, 2015 at the Hood Museum of Art in Hanover, NH. 
 
Hood Museum of Art
Dartmouth College
Hanover, NH 03755
About VICTOR EKPUK

The central theme of Ekpuk’s work is the exploration of the relationships, challenges and responses to changes that characterize the human condition. Of particular interest to his artwork is Nsibidi, an indigenous African system of writing that employs graphic signs, and codes to convey concepts. Inspired by this ancient writings, forms in his works are reduced to basic essence resulting in new symbols or codes in script-like drawings that are used to express contemporary experiences. When combined with Nsibidi signs, these “scripts” also provide the background narrative to his compositions. Most often these narratives are better perceived when they are felt rather than read literally.

 

Victor Ekpuk’s artwork can be found in the permanent collections of the following noteworthy institutions:

Smithsonian Institution Nation Museum of African Art, Washington DC

The Hood Museum, Dartmouth College, Hanover, NH

Newark Museum, New Jersey

The World Bank, Washington DC

University of Maryland University College Art Collection

The US Department of State

 

 
About Hip Sistas in Flux: The Visual-Lingual Braid

Asian Uboikpa (Hip Sista) series is an engagement of the aesthetics of women of African descent. This series of paintings and drawings started as exploration of the art of hairstyles and body markings: a form of self-expression among young women of southeastern Nigeria. It has expanded to acknowledge similar attitude towards body image and self-expression among young black women in the Diaspora. Asian Uboikpa in Ibibio language references proud young women or virgins, while Hip Sista is an African American idiom used to describe a highly fashionable woman.

Perhaps this attitude of proudly inviting a public gaze by being hip through changing one’s body image with elaborate hairstyles and body adornments is no coincidence. Through genetic memory, these African cultural practices continue to find expression among women of the African Diaspora.

The perpetual flux of the old and the contemporary, of Africa and the Diaspora and the persistence of cultural memory are the main considerations in these works.

-Victor Ekpuk
About Morton Fine Art
Founded as an innovative solution to the changing contemporary art market, Morton Fine Art (MFA) is a fine art gallery and curatorial group that collaborates with art collectors and visual artists to inspire fresh ways of acquiring contemporary art. Firmly committed to the belief that anyone can become an art collector, MFA’s mission is to provide accessibility to museum-quality contemporary art through a combination of innovative exhibitions and a new generation of art services.

Join OSI AUDU at the Detroit Institute of Arts, Sunday April 19, 2015 at 2pm

15 Apr

 

detroit institute of arts logo

Detroit Institute of Arts

  • 5200 Woodward Avenue
  • Detroit, Michigan 48202

    AFTER-IMAGE: DUALISM THROUGH COLOR

    Osi Audu
    Contemporary Artist

    SUNDAY, APRIL 19, 2015, 2 P.M.

    Osi Audu focuses on the Yoruba concept of consciousness, which has both a physical and a spiritual dimension. In referencing the Yoruba sculpture known as ile ori (house of the head) in his works, Osi seeks to articulate this dual nature of being and conscious experience, which he traces to his childhood in Nigeria. He draws from his on-going experimentation with color and invites his audience to participate in a visual interactive experience.

    Sponsored by Friends of African and African American Art.
    Image Credit: Outer and Inner Head IV (diptych), 2011, acrylic, wool and graphite on canvas; Osi Audu, born Nigeria. Photo courtesy of the artist

    – See more at: http://www.dia.org/calendar/event.aspx?id=4899&iid=#sthash.hrmpQzNj.dpuf

    “Auto – Graphics : Work by VICTOR EKPUK” opens at the Hood Museum of Art, Dartmouth

    14 Apr

    Please contact Morton Fine Art for available artworks by VICTOR EKPUK.

    Morton Fine Art, 1781 Florida Ave NW, Washington, DC 20009

    (202) 628-2787, mortonfineart@gmail.com, http://www.mortonfineart.com

     

    AUTO-GRAPHICS

    Victor Ekpuk, Composition No. 13 (Sante Fe Suite), 2013, graphic and pastel on paper. Courtesy of the artist. © Victor Ekpuk Market Day, 2007, China marker on archival pigment print. Collection of the artist. Sanctuary, from the series Composition, 2008, graphite and pastel on paper. Collection of the artist. Santa Fe, 2013, graphite and pastel on paper. Collection of Fidelity Investments, Albuquerque, New Mexico.

    Works by Victor Ekpuk

    April 18–August 2, 2015

    Nigerian-born artist Victor Ekpuk is best known for his improvisational use of nsibidi, a form of writing with symbols associated with the powerful Ekpe men’s association of southeastern Nigeria. Ekpuk’s aesthetic engagement with nsibidi emerged during his fine art studies at Obafemi Awolowo University in Ife, Nigeria, where students were encouraged to explore the logics of pattern and design in indigenous African art forms. His fascination with nsibidi during these years—its economy of line and encoded meanings—led to his broader explorations of drawing as writing, and to the invention of his own fluid letterforms. As a mature artist, Ekpuk has so internalized the rhythm and contours of his “script” that it flows from his hand like the outpouring of a personal archive.

    This exhibition was organized by Krannert Art Museum, University of Illinois at Urbana-Champaign, and curated by Allyson Purpura. It was partially supported by a grant from the Illinois Arts Council Agency. The exhibition’s presentation at the Hood Museum of Art, Dartmouth College, was generously supported by the Leon C. 1927, Charles L. 1955, and Andrew J. 1984 Greenebaum Fund and the Cissy Patterson Fund.

    Hood Museum of Art
    Dartmouth College
    Hanover, NH 03755
    603.646.2808
    hood.museum@dartmouth.edu

    RELATED EVENTS

    23 April, Thursday, 12:30 p.m.
    MEMBER EXCLUSIVE
    Tour and Lunch with Artist Victor Ekpuk
    Join artist Victor Ekpuk and Curator of African Art Smooth Nzewi for an intimate look at the artist’s installation in Lathrop Gallery, followed by lunch and discussion in the conference room. Registration is required. $25.00 per person. Open to current members. To register, call (603) 646-0414 or email Julie.Ann.I.Otis@dartmouth.edu. Space is limited.

    24 April, Friday, 4:30 p.m.
    ARTIST LECTURE
    “Excavating Memories”
    Victor Ekpuk, artist
    Ekpuk will discuss how he mines historical, cultural, and social memories to shape his aesthetics.

    25 April, Saturday, 11:00 a.m.
    Second-floor galleries
    SPECIAL TOUR
    Auto-Graphics: Works by Victor Ekpuk
    Allyson Purpura, Curator of African Arts at the Krannert Art Museum, University of Illinois, Urbana-Champaign, and curator of Auto-Graphics, will lead a tour exploring the works on view and ideas behind the exhibition.

    25 April, Saturday, 1:00–2:30 p.m.
    FAMILY WORKSHOP
    Experimenting with Line
    Explore the expressive power of Victor Ekpuk’s line in his collages, digital prints, and supersized drawings. In the studio, make large drawings filled with your own symbols and line designs. For children ages 7–12 and their adult companions. Enrollment is free, but limited. Please register through the museum’s online calendar by April 23.

    29 April, Wednesday, 6:00–8:00 p.m.
    ADULT WORKSHOP
    The Hand-Drawn Line: Works by Victor Ekpuk
    Join this discussion-based workshop to explore how Ekpuk uses rhythm, pattern, scale, composition, and the hand-drawn line to create works that are at once bold and restrained. In the studio, experiment with materials to create your own work inspired by the exhibition. No previous art experience necessary. Participation is limited. Please register through the museum’s online calendar by April 27.

    16 May, Saturday, 2:00 p.m.
    INTRODUCTORY TOUR
    Auto-Graphics: Works by Victor Ekpuk

    26 May, Tuesday, 12:30 p.m.
    LUNCHTIME GALLERY TALK
    “Marks and Mark-Making in Afro-diasporic Art”
    Michael Chaney, Associate Professor, Vice Chair, English Department, Dartmouth College
    This informal presentation links both the contemporary artwork of Victor Ekpuk and traditional ukara cloths to an unlikely analog in the hybrid production of nineteenth-century slave artisan Dave the Potter. As with the strange writing inscribed on the sides of Dave the Potter’s jars, the coded writing system known as nsibidi opens up our understanding of diasporic art and the principles of communication embodied in it.

    13 June, Saturday, 2:00 p.m.
    SPECIAL TOUR
    Auto-Graphics: Works by Victor Ekpuk
    Smooth Nzewi, Curator of African Art

    16 June, Tuesday, 12:30 p.m.
    LUNCHTIME GALLERY TALK
    “Memory and Victor Ekpuk’s Wall Drawings”
    Smooth Nzewi, Curator of African Art

    NATALIE CHEUNG’s “Facsimile” and ANDREI PETROV’s “B.C./A.D” reviewed in the Washington Post

    10 Apr

    the washington post logo

     

     

    “Cappadocian Field Trip” and other abstract oil paintings by Andrei Petrov evoke erosion. (Andrei Petrov/Courtesy of Morton Fine Art)

    “Cappadocian Field Trip” and other abstract oil paintings by Andrei Petrov evoke erosion. (Andrei Petrov/Courtesy of Morton Fine Art)

     

    April 10, 2015

    NATALIE CHEUNG’s “Facsimile” and ANDREI PETROV’s “B.C./A.D.” reviewed in the Washington Post

    Natalie Cheung & Andrei Petrov

    Photograms and chemigrams are both forms of camera-less photography yet have a very different feel. Natalie Cheung illustrates the contrast with “Facsimile,” at Morton Fine Art. The smaller photograms, created by placing objects on photo paper and then exposing it, are hard-edged, black-and-white and essentially tidy. The chemigrams, painted with chemicals on photo paper, are larger and looser. The billowing black and red-brown forms suggest ink painting but also, at their most ominous, blood-
    spatter patterns. One piece resembles a razor blade, dripping with black plasma. Even if it may not be what the Washington artist intended, these pictures are beguilingly dark, fluid and strange.

    The abstract oils of Andrei Petrov’s “B.C./A.D.,” also at Morton, evoke glaciation, erosion and water seeping through rock. Such associations fit the Washington-born New York artist’s method: He both builds and subtracts from his paintings, scraping and sanding to achieve a hard-worked surface and compositions that feature seeming cracks and crevices. The colors include some bright blues but are mostly shades that suggest minerals. Although “Swiss Bliss” somewhat resembles a landscape, most of the works lack that picture’s sense of distance. Whatever it is that Petrov depicts, he puts the viewer very close to its center.

    Facsimile: Alternative Process Photographs by Natalie Cheung and B.C./A.D.: Nature-Based Abstract Oil Paintings by Andrei Petrov On view through April 16 at Morton Fine Art, 1781 Florida Ave. NW. 202-628-2787. http://www.mortonfineart.com