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KATHERINE TZU-LAN MANN’s solo “Water Ribbon” highlighted in Baltimore Fishbowl

8 Sep

BmoreArt’s Picks: September 7-13

By Bmoreart Staff -September 7, 2020

BmoreArt’s Picks: September 7-13

BmoreArt’s Picks presents the best weekly art openings, events, and performances happening in Baltimore and surrounding areas.

This Week: We are featuring online events that you can participate in from the comfort of your own couch and some that you can safely leave the house for, plus a few calls for entry to get involved locally and nationally. Stay home, stay healthy, stay engaged in the arts.

BmoreArt’s Picks presents the best weekly art openings, events, and performances happening in Baltimore and surrounding areas. For a more comprehensive perspective, check the BmoreArt Calendar page, which includes ongoing exhibits and performances, and is updated on a daily basis.

To submit your calendar event, email us at events@bmoreart.com!Katherine Tzu-Lan Mann: Water Ribbon
Wednesday, September 8 | Ongoing through October 6
@ Morton Fine Art

Morton Fine Art is pleased to present Water Ribbon, a solo exhibition of new works on paper by Washington, D.C.-based artist Katherine Tzu-Lan Mann, on view from September 8th – October 6th, 2021. Featuring a collection of recent pieces by the artist, the exhibition offers an evocative perspective on contemporary ecologies during a time at which environmental destruction and the consequences of climate change loom ever larger.

Utilizing acrylic, sumi ink, and collage, Mann draws from traditions of Chinese landscape painting to create mesmerizing, vibrant depictions of organic matter. Mann begins her process by pouring liquid pigments onto paper, allowing them to dry and yielding a stain of color from which the work is then based. Through an embrace of the indeterminate qualities of her materials—the ink or paint takes its own course, without the artist dictating its shapes or forms—Mann demonstrates a symbiotic relationship to her materials that serves as an apt metaphor for coexistence with the natural world. What results from Mann’s subsequent additions to the paper are rich, layered tableaus imbued with an affective interplay of ideas.

Of the challenges posed by her recent work, Mann describes her rumination upon “the
resuscitation of landscape painting in a world where ‘landscape’ is represented and defined through an ever-widening field of digital, graphic, and visual forms.” At times almost dizzying, the pieces shown in Water Ribbon eschew Western conventions of spatial perspective and inert figuration, instead embracing qualities of movement and monumentality central to Chinese landscape painting traditions.

Bright hues and a multiplicity of patterns are nestled among Mann’s illustrations of flora and fauna, with streams of ink evoking vines and riverbeds. Lying in the tension between the artificial and the organic, Mann’s renderings suggest an intertwining of systems rather than a constant grappling for control or domination. Splashes of ink seep across each image, traversing various shapes and forms. Elsewhere, translucent swathes of paint filter views of plant life, appearing like stained-glass windows through which to gaze.

“In my most recent work, I hope to live in the tradition of landscape painting, experiencing it for what it has always been: an occasion for radical experimentation and confrontation with the world, in the broadest sense of the term that sustains us,” said Mann. Amongst all the chaos and beauty, Water Ribbon proposes a mode of coexistence attuned to change, reciprocity, and an honoring of diverse forms of life.

Baltimore Fishbowl Membership SUPPORT OUR WORK

Kei Ito | Artist Talk
Thursday, September 9 • 6pm
@ UMD Stamp Gallery

Screening in the Univesity of Maryland Stamp Nanticoke Room

In conjunction with this exhibition, join the Stamp Gallery for an artist talk by artist Kei Ito, artist of acquisition Under My Skin #1.

Kei Ito is a visual artist working primarily with camera-less photography and installation art who is currently teaching at the International Center of Photography (ICP) in NYC. Ito received his BFA from Rochester Institute of Technology followed by the MFA from Maryland Institute College of Art in 2016. Ito’s work addresses issues of deep intergenerational loss and connections as he explores the materiality and experimental processes of photography.

Ito’s work addresses issues of deep intergenerational loss and connections as he explores the materiality and experimental processes of photography, specifically the idea around visualizing the invisible such as radiation, memory and life/death. His work, rooted in the trauma and legacy passed down from his late grandfather – a survivor of the atomic bombing of Hiroshima, meditates on the complexity of his identity and heritage through examining the past and current threats of nuclear disaster and his present status as an US-immigrant. Most of Ito’s prints are made with exposing light sensitive material to sunlight, often timing the exposures with his breath, influenced by his grandfather’s words describing the day the atomic bomb was dropped on Hiroshima “…was like hundreds of suns lighting up the sky.” These X-ray like prints are usually installed in a way that provokes a monument.

He was the recipient of the 2020 Marva and John Warnock Biennial Artist in Resident Award and participated in other artist residencies such as: MASS MoCA, the Center for Fine Art Photography, CPW, and Creative Alliance. Ito’s works are collected by major institutions including: the Museum of Contemporary Photography in Chicago, Norton Museum of Art, En Foco, the Candela Collection and California Institute of Integral Studies. His internationally recognized solo and group shows can be read in reviews and articles published by Washington Post, Hyperallergic, BmoreArt, Chicago Magazine, Studio Magazine, ArtMaze Magazine, and BBC Culture/Art.

Website: Kei-ito.com
Instagram: Kei.ito.art

Viewers who wish to join the lecture virtually on Zoom may do so at https://go.umd.edu/keiitotalk

Read more at BmoreArt.

ADIA MILLETT’s solo exhibition “The Moon is Always Full” at Morton Fine Art in DC

29 Mar

Showcasing a range of paintings and textiles by California-based artist ADIA MILLETT, The Moon Is Always Full investigates a cosmic utopia where the moral and metaphysical intermingle and converge.

Portal, 2018, 24″x24″, acrylic on panel

The Moon Is Always Full

A solo exhibition of paintings & textile artwork by ADIA MILLETT

March 25 – April 22, 2021

Contact the gallery for private viewing appointment, price list, additional information and acquisition.

(202) 628-2787 (call or text)

info@mortonfineart.com


Available artwork by ADIA MILLETT

About The Moon Is Always Full
Weaving threads of African American experiences with broader ideas of identity, and collective history, my work investigates the fragile interconnectivity among all living things. Fragmented, constructed, and reassembled, I shed light on the multifaceted and complex parallels between the creative process and the nature of personal identity. My paintings feature abstracted, geometric shapes that imply movement – colorful forms expand and collapse freely among glittery backgrounds with hints of landscape and structural objects such as rooftops, windows and doors. While the textiles draw on the domestic and artistic traditions of quilt-making, they are pieced together, combining culturally diverse fabrics. While my work pays homage to the past through the use of repurposed fabrics and historical iconography, its bright atheistic imagery is informed by the future. The art reminds us of the importance of renewal and rebuilding, not only through the artistic process, but also through the possibility of transformative change. – ADIA MILLETT

Using a range of process-oriented techniques, Millett takes things apart, removes, replaces, cuts, pastes, sews, and rebuilds to discover the space where transitions occur and where stories of impermanence unfold. Her work weaves together threads of Black American experiences with broader ideas of identity and collective history, suggesting the fragile interconnectivity among all living things. Constructing works assembled from vibrant and textured fragments to fashion a meaning greater than its individual elements, Millett illuminates the multidimensional parallels between the creative process and the nature of personal identity.

ADIA MILLETT, originally from Los Angeles, California received her MFA from the California Institute of the Arts. In 2001, she moved to New York City for the prestigious Whitney Museum Independent Study Program, followed by the Studio Museum in Harlem residency program. Millett has been a standout in numerous group exhibitions including the well-received “Greater New York” show at PS1 in Long Island City, New York and “Freestyle” at the Studio Museum in Harlem, New York. Her work has been featured in exhibitions at the Barbican Gallery in London; The Craft and Folk Museum in LA; The New Museum of Contemporary Art, New York; The Museum of Contemporary Art, Atlanta; The Santa Monica Museum of Art; and The Contemporary Art Center, New Orleans. Millett has taught as an artist in residence at Columbia College in Chicago, UC Santa Cruz, Cooper Union in NY, and California College of the Arts. Millett currently lives and works in Oakland. She has been represented by Morton Fine Art since 2020.
About Morton Fine Art

Founded in 2010 in Washington, DC by curator Amy Morton, 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 art collecting can be cultivated through an educational stance, MFA’s mission is to provide accessibility to museum-quality contemporary art through a combination of substantive exhibitions and a welcoming platform for dialogue and exchange of original voice. Morton Fine Art specializes in a stellar roster of nationally and internationally renowned artists as well as has an additional focus on artwork of the African Diaspora.

Morton Fine Art
52 O St NW #302
Washington, DC 20001

COVID-19 protocol: By appointment. Mask required. Contact the gallery for supplementary artwork documentation such as detail images and short videos. Safe, no contact door to door delivery available. Shipping nationally and internationally.

Art in Embassies Abuja includes Osi Audu, Kesha Bruce, Victor Ekpuk and Amber Robles-Gordon

27 Feb

Morton Fine Art is pleased to announce the inclusion of artwork by artists OSI AUDU, KESHA BRUCE, VICTOR EKPUK and AMBER ROBLES-GORDON in Art in Embassies Exhibition, United States Embassy Abuja. With heartfelt thanks for the inclusion to Ambassador Mary Beth Leonard.

Established in 1963, the U.S. Department of State’s office of Art in Embassies (AIE) plays a vital role in our nation’s public diplomacy through a culturally expansive mission, creating temporary and permanent exhibitions, artist programming, and publications.

AIE’s exhibitions allow citizens, many of whom might never travel to the United States, to personally experience the depth and breadth of our artistic heritage and values, making what has been called a “footprint that can be left where people have no opportunity to see American art.”

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LISA MYERS BULMASH “The Home Inside My Head” reviewed in The Washington Post

27 Dec

Congratulations to LISA MYERS BULMASH for the rich review of her solo exhibition “The Home Inside My Head” in today’s print edition of The Washington Post by Mark Jenkins. (Arts & Style Section 12/27/20)

Lisa Myers Bulmash

Also spurred by pandemic-era exile from everyday life, Lisa Myers Bulmash conceived a Morton Fine Art show “The Home Inside My Head”. The Seattle artist combines found and personal objects into 3-D collages that conjure both African American history and her family’s own story. The pieces juggle the antiquarian and the immediate to express what Bulmash’s statement calls “a Black and female viewpoint”.

One series, “Rare & Exquisite,” places oversize models of endangered butterflies atop maps of regions of the United States collaged from Colonial-era (and thus not entirely reliable) charts. The effect is to correlate the threatened species — affixed with heavy railroad spikes that evoke hard labor –with Black people whose place in this country has always been at risk.

Examples of another antique tool, the wooden washboard, serve as frames in the “Bought and Paid For” series. The washboards hold books and ovals made of twine, which enclose overlapping transparencies of family photos. The pictures depict various old structures, including houses, and children at play. Again, Bulmash contrasts rough materials with fragile beings.

It seems apt that another piece is based on a torn piece of old sheet music repaired by kintsugi, the Japanese technique of using gold to both accentuate and exalt the cracks in a broken vessel. Bulmash’s assemblages can be seen as a bid to mend history.

Click HERE to read the review in full.

On view by appointment at Morton Fine Art through January 6th, 2021. Located at 52 O St NW #302, Washington, DC 20001.

(202) 628-2787 (text or call)

info@mortonfineart.com

http://www.mortonfineart.com

Available Artwork by LISA MYERS BULMASH

Virtual exhibition and artist narration of LISA MYERS BULMASH’s solo exhibition “The Home Inside My Head” at Morton Fine Art

24 Nov

Virtual tour and artist narration of LISA MYERS BULMASH’s first east coast solo exhibition, “The Home Inside My Head” at Morton Fine Art in Washington, DC.

Video credit: Jarrett Hendrix

Contact the gallery for private viewing by appointment, price list and acquisition. (202) 628-2787 (text or call) info@mortonfineart.com http://www.mortonfineart.com

“For most of this year, we’ve had to make a home inside our heads — because a virus was blocking the way out to “normal” life. That was fine by me at first: home is my castle and retreat. But there’s no vacation from yourself, or the deepest fears for your children’s future. Even a rich interior life becomes over-stuffed with emotions, memories and uncomfortable truths. The works in “The Home Inside My Head” reflect this ambivalence. The “Bought and Paid For” series was born from the love and deep gratitude for my ancestors’ struggles to give me greater opportunities. But even during my sheltered childhood, I recognized not every house feels like home as I experienced it. Not every parent prepares their child for ugly realities like institutional racism. As a 21st century Black woman, I need to make work that explores my disillusionments as well as my hopes for America. Collages like “One Nation, Under Reconstruction” are my attempts to name these experiences as truthfully as I can. I center a Black and female viewpoint in my work, as examples of a specific story illuminating the general human condition. But there’s something else. We can’t continue to tell each other the same stories featuring the same old heroes. Those icons accomplished amazing things everywhere but at home. We need to imagine our next home before we can live in it: this is the place where we build new narratives.” – LISA MYERS BULMASH, 2020

VONN SUMNER in “Wayne Thiebaud Influencer: A New Generation” on view January – June 2021 at Jan Shrem and Maria Manetti Shrem Museum of Art

26 Oct

Wayne Thiebaud Influencer: A New Generation

The profound influence of Wayne Thiebaud on a new generation of artists is front and center in this celebration of the longtime UC Davis art professor’s centennial. Pairings explore how Thiebaud forecast the future of painting through his personal journey to find meaning and reinvention in the medium’s history in ways that are both current and timeless. Works by contemporary artists who have been inspired by Thiebaud as a fellow painter as well as those of former students reveal unexpected connections and sources of inspiration.

Curators: Rachel Teagle and Susie Kantor

An exhibition featuring
Andrea Bowers, Julie Bozzi (’74, MFA ’76), Christopher Brown (MFA ’76), Robert Colescott, Gene Cooper, Richard Crozier (MFA ’74), Fredric Hope, Alex Israel, Grace Munakata (’80, MFA ’85), Bruce Nauman (MA, ’66), Jason Stopa, Vonn Cummings Sumner (’98, MFA ’00), Ann Harrold Taylor (MFA ’85), Michael Tompkins (’81, MFA ’83), Clay Vorhes, Patricia Wall (’72), Jonas Wood and Lynette Yiadom-Boakye

On view January 31–June 13, 2021

Available Artwork by VONN SUMNER

Morton Fine Art, 52 O St NW #302, Washington, DC 20001

(202) 628-2787 (text or call)

info@mortonfineart.com

mortonfineart.com

MERON ENGIDA’s solo exhibition “Solidarity” reviewed in Washington Post

17 Oct

Meron Engida

By Mark Jenkins Oct. 16, 2020 at 7:00 a.m. EDT

Color, pattern and family are what Ethiopia-bred D.C. painter Meron Engida remembers about her homeland. Or at least that’s what the neo-expressionist emphasizes in “Solidarity” at Morton Fine Art, her first U.S. solo show. Most of Engida’s canvases are crowded with women in domestic scenes, their faces rendered in simple black lines, except for the bright red oblongs that often represent lips. Children appear in many of the vignettes, and one of the few pictures that depicts just two people shows a mother and infant. It’s a self-portrait, but then that’s essentially what all these paintings are.AD

The circles, florals and zigzags that decorate their clothing also appear around and atop the figures, either painted or incised into the pigment, merging subject and embellishment. That unity suggests the influence of fabric design, as does the flatness of Engida’s style. Bright reds and blues punctuate the compositions, but the dominant tones are earthy. The tans and browns express a range of skin tones in ethnically diverse Ethiopia. In Engida’s stylized vision of that country, the landscape is primarily human.

Meron Engida: Solidarity Through Oct. 28 at Morton Fine Art, 52 O St. NW, No. 302. Open by appointment.

Available Artwork by MERON ENGIDA

Delicate, Declarative: Artist Maya Freelon’s Ephemeral Work in Walter

6 Oct
WALTER Magazine

Delicate, Declarative: Artist Maya Freelon’s Ephemeral Work

North Carolina visual artist Maya Freelon balances strength and fragility in her massive water-stained tissue paper installations.
by Liza Roberts | photography by Chris Charles

Maya Freelon’s tissue paper sculptures are abstract, a confluence of kaleidoscopic color and organic shape. They move with a breeze, the passing of a person, the opening of a door. They make powerful, lasting statements with impermanent, inexpensive materials. Most of all, they are inquisitive. What is art? they ask. What’s it made of? Who gets to make it? Who decides? 

The work is about “challenging norms—social norms, economic norms and art norms—by turning tissue paper into a fine work of art,” says Freelon. “It’s about the fragility of life, and transformation, and the ability to see beauty in a lot of different things.” 

Often made in collaboration with groups of people, her work celebrates “the communal aspect… the ancestral heritage, the connection to quilt-making in my family and the African-American tradition of making a way out of no way.” Metaphorically and literally, Freelon’s work is a manifestation of its maker: beautiful and forthright, vulnerable but unflinching; lithe, elegant and defiantly individual.

RETURN TO THE TRIANGLE

This month, Freelon’s massive water-stained tissue paper quilts, including pieces made by as many as 100 far-flung community collaborators, will hang from the walls and ceilings of Raleigh’s Contemporary Art Museum (CAM) as part of the Durham artist’s first solo museum exhibition in North Carolina. Also on view will be her tissue ink monoprints, images of streaking color and motion that capture the dripping ink of saturated tissue paper through a process Freelon patented. Some of these include archival family photos, some are on traditional rectangular canvases, some have been crafted in asymmetric shapes and coated in a thick epoxy glaze. Even if the museum can’t open for the public to view these works in person, the show will be installed and shared virtually, says CAM director Gab Smith. 

Freelon’s fans around the country and the globe will be glad to hear it. At Miami Art Week last year, she was named one of five young artists to watch. In 2018, she installed massive, wafting tissue paper stalactites at the Smithsonian Arts and Industries Building in Washington, D.C. She’s lived and worked in Madagascar, Eswatini and Italy as part of the U.S. State Department’s Art in Embassies program. She’s collaborated with Google and Cadillac, and her work is in the collections of the Smithsonian National Museum of African American History and Culture, the University of Maryland and the University of North Carolina at Chapel Hill, among others. 

Back here in Raleigh, locals helped Freelon use torn tissue and glue sticks to make quilts to hang from the trees outside the North Carolina Museum of Art (NCMA) to celebrate the museum’s expanded African art gallery in September of 2017. NCMA chief curator Linda Dougherty commissioned Freelon’s “quilting bee” installation after seeing a sculpture she’d created for one of the embassies. “Maya had done this beautiful, suspended piece, and I was amazed,” Dougherty says. “I love the ephemeral nature of her materials… they’re meant to be there for the moment, intentionally. It gives her a freedom to experiment. I love that open-endedness.”

INHERITANCE

Freelon’s talent and expressive ability were apparent early on, and she comes by both naturally as the daughter of two renowned artists and the great-granddaughter of another. Her mother, the jazz singer Nnenna Freelon, is a six-time Grammy Award nominee. Her father was revered architect Phil Freelon, the architect of record of the African-American History and Culture Museum on the Mall in Washington, D.C. His own grandfather was Allan Freelon, a noted Impressionist painter whose work was celebrated during the Harlem Renaissance. Her namesake and godmother was the poet Maya Angelou (“Auntie Maya”), a close friend of “Queen Mother” Frances Pierce, Freelon’s beloved grandmother. Angelou once described Freelon’s work, which she bought for her own collection, as “visualizing the truth about the vulnerability and power of the human being.” 

Freelon was a precocious teenage talent at Williston Northampton School in Massachusetts, where she transferred to finish high school after two years at the Durham School of the Arts. There, she mostly painted portraits, but “she was always a colorist, very good with color,” says Marcia Reed, her painting instructor at the school, who says that even then, she possessed an impressive “energy and driving force.” By 2006, she was a graduate student at the School of the Museum of Fine Arts in Boston, living with her grandmother Pierce. 

It was there that she came upon a stack of multicolored tissue paper in the basement of the house. The paper had most likely been in the same spot for fifty years. Drips from a leaky pipe had mottled the stack over time, moving the color from piece to piece, turning the sheets into gossamer rainbows. Freelon was transfixed, and soon consumed with turning the water-stained tissue paper into art, and using water herself to mark and alter tissue paper, intent on “making something out of nothing.” That discovery, borne out of her connection to her family, became her signature medium. 

“Often, artists think they need to work with precious materials,” says Allan Edmunds, founder and director of the Brandywine Workshop and Archives in Philadelphia, where Freelon completed a residency years ago. Her use of tissue paper to make art both sets her apart and connects her to ingenious forebears, says Edmunds. “It’s in the tradition of working with what is available to you and being even more creative because you’ve created a challenge for yourself. I put her in league with El Anatsui.” Coincidentally, it is work by this Ghanaian artist—glittering, undulating woven fabric of found bottle caps—that’s a centerpiece of the NCMA’s permanent collection in the newly-renovated African art gallery that Freelon helped celebrate with her collaborative tissue quilts. 

Making something out of nothing is part of the inspiration for the title of Freelon’s exhibit at CAM: Greater Than or Equal To. Freelon also sees the title as an inquiry: “As an artist, as a Black person, as a female, I am constantly raising this question to myself,” she says. How is value—of a person, a life, a work of art—determined, and who determines it? “If we don’t value lives, if we don’t value making this world equal, then we end up having a situation where certain people’s lives mean more than others.” Her use of the symbol ≥ “is to remind folks that it’s a constant question…an opportunity for you to be aware of your judgement and where you’re placing your value.” 

She knows where her revered grandmother Pierce would have placed that value. “I think of a quote from my grandmother, which is that we come from a family of sharecroppers who never got their fair share,” she says. Grandmother Pierce’s grandchildren and “every Black person making the world a better place” were “our ancestors’ wildest dreams,” she also said. Freelon considers: “To have survived what it took to get here, and then slavery, and then segregation and racism—we’re living within it, and we’re still existing, and now we have a chance to thrive.” 

Personally, Freelon says she’s more than thriving. “I’ve never felt prouder, or better or more grateful that I took the leap, that all of my focus goes to making art and sharing it with the world… I feel like I’m just getting started.”

USING HER VOICE

As Freelon grows in her art, she’s aware of her growing platform, as well. In a video posted on social media on Juneteenth, she says: “My artwork is about using accessible materials to challenge racist paradigms that have been set forth and perpetuated by the white art world.” The video shows her setting fire to her art; an effort to seize attention in support of the Black Lives Matter movement, and to make her message heard. “It’s about creating my own currency and value, and it’s about making space for and inspiring the next generation of Black artists.” In social media and in conversation, Freelon encourages her fellow Black artists to stand up for themselves, to challenge structures that don’t work for them and to know the value of their work. 

One day in late June, the day before her birthday and not long before the first anniversary of the death of her father, Freelon is reflective. She is at Vanhook Farm in Hillsborough, a bucolic place where she and her children spend a lot of time. The farm–Black-owned, Freelon points out—has long been in the family of her partner of two years, Jess Vanhook. The location is both a solace and a symbol for Freelon. “I’ve thought about our ancestors and how for them, possessing the land means that you are taking control of your own future,” she says. “You’re asking the earth to produce something for you that has value. I realized that I was doing that as an artist, cultivating something that’s made by my own hands, determining my own value and worth.” 

Even as Freelon watches over her nine-year-old son Aion, her three-year old daughter Nova, and Vanhook’s five-year-old nephew Prince, she’s focused on her art and what’s pressing on her mind. That includes supporting and mentoring younger Black artists, telling them the things she wished she’d known earlier on, both practical and philosophical: “Make sure you have an emergency fund. Make sure you apply to at least five grants a year. Be prepared to apply for art residencies that offer free studio space. Reach out to artists you admire, look at their CVs.” In a July Instagram post, she asked followers for the names of Black women artists she can pass on to museums and curators. She wants them to believe in themselves, wants them to “know that their power is their work.” 

Freelon says she had to learn all of that “on the fly.” If somebody had told her earlier, she says, “I could have made better choices, more informed choices. We need more community and connection between artists.” 

If Freelon sounds older than her 38 years, it could be because she experienced a lot early on. She has been married and wrenchingly divorced, and experienced tragedy with the death of a newborn baby, a three-day-old son named Wonderful. She connects her work directly with that experience. “There are just so many complexities to life, the fragility of it. And back to the artwork: it’s tissue paper. If it gets wet, it will break into a million pieces, but when it is dry, it has power and strength. When you unify those elements, it becomes a force to be reckoned with.” 

Art has taught her, despite the challenges she has faced, that everything she needs is within her. “Nobody can determine your future,” she says. As a younger woman, “I think I felt like I needed my parents, or I needed my husband, or I needed things or people to help push me to where I need to be, where in actuality, when everything was stripped away from me, and it was just me left, that’s all I had. That’s when I realized the drive and the energy and the purpose that’s inside.” 

And that’s what her art brings her. In her work, Freelon says, “I find peace. I find sanity. I find my purpose. I find—in working with my hands—I find community.

“I find love.”

JOIN WALTER FOR AN IMMERSIVE EXPERIENCE CELEBRATING DIVERSITY, COMMUNITY AND ART. NORTH CAROLINA NATIVE AND NATIONALLY RECOGNIZED ARTIST MAYA FREELON WILL DISCUSS HER NEW EXHIBIT, GREATER THAN OR EQUAL TO, AND OFFER GUESTS A LOOK INTO HER CREATIVE PROCESS. CLICK HERE TO JOIN! 

ROSEMARY FEIT COVEY’s artwork in Virtual MPAartfest 2020 at McLean Project for the Arts

2 Oct

Don’t miss ROSEMARY FEIT COVEY’s artwork in Virtual MPAartfest 2020, a two week online juried fine art and craftshow/sale featuring the work of local and regional visual artists.
This online event features contemporary art, special musical
performances from some of the DC-area’s best musical talents*, a
virtual version of the much-loved New Dominion Women’s Club
Children’s Art Walk, the participation of many McLean Community
organizations, and daily artist studio talks with our participating
artists.
WHEN: Sunday, October 4 through Sunday, October 18, 2020
WHERE: www.MPAartfest.org
HOW: Admission is FREE for online events.

For more information visit www.mpaart.org/

Ethiopian artist MERON ENGIDA’s debut U.S. solo exhibition “Solidarity” at Morton Fine Art in DC

30 Sep

 

 

Virtual tour and artist talk of MERON ENGIDA’s debut U.S. solo exhibition, Solidarity.
Launching on Morton Fine Art’s YouTube channel.  Contact the gallery for private viewing appointments, price list and acquisition.
MERON ENGIDA's debut U.S. solo exhibition "Solidarity" with artist talk at Morton Fine Art, DC
MERON ENGIDA’s solo exhibition Solidarity and artist talk at Morton Fine Art, Washington, DC.
Video credit: Jarrett Hendriix
Solidarity
A solo exhibition of paintings by MERON ENGIDA
September 22nd – October 28th, 2020
VIRTUAL TOUR and ARTIST TALK
On Morton Fine Art’s YouTube Channel TODAY
Contact the gallery for private viewing appointment, price list, additional information and acquisition.
(202) 628-2787 (call or text)
MERON ENGIDA, Solidarity 3, 2020, 33″x35.5″, acrylic on canvas
About Solidarity
My art has been my language to express myself and my voice. My work explores personal experiences and my Ethiopian cultural heritage. Oftentimes my subject matter reflects my life as a mother in a multiracial family. My figures are diverse and often huddled together, with wide eyes. Children and lambs are the visual vocabulary I use to express innocence and forgiveness. I intend to create dialogue about diversity and women – for example, a face with open mouth represents women freely exploring and expressing themselves. Women also hold in more pain than they let out and hold each other demonstrating resilience. My most recent series addresses challenges of race and identity. One painting depicts figures from all of the Ethiopian tribes together, celebrating each other’s uniqueness. My inner feelings and values call for the love, embrace and celebration of humanity, transcending past and present, despite our differences. – MERON ENGIDA, 2020
MERON ENGIDA, See the Love, 2020 36″x36″, acrylic on canvas
MERON ENGIDA, Solidarity 11, 2020, 36″x36″, acrylic on canvas
About MERON ENGIDA
Born in Ethiopia, MERON ENGIDA received her degree from Addis Ababa University School of Fine Arts and Design in 2007.
She has exhibited her paintings extensively in Addis Ababa, Ethiopia including at the National Art Gallery. Solidarity marks her inaugural U.S. solo exhibition at Morton Fine Art in Washington, DC. She notes, “When I start a painting, there are no rules. Sometimes I work from pictures but most of the time I create from imagination. Sometimes I start with a drawing and other times with acrylic paint on canvas which I layer with tones, symbols, and a motif. The figures emerge with expressive features, emotions, and texture. I work on the paintings with trusting mark-making, not knowing where I’m going. My creative process continues until I am surprised and content and then I revisit later to see if it is indeed finished.”
She is represented by Morton Fine Art in Washington, DC.
MERON ENGIDA, Solidarity 5, 2020, 30.5″x76.5″, acrylic on canvas
MERON ENGIDA, Solidarity 9, 2020, 33.5″x32″, acrylic on canvas
About Morton Fine Art
Founded in 2010 in Washington, DC by curator Amy Morton, 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 art collecting can be cultivated through an educational stance, MFA’s mission is to provide accessibility to museum-quality contemporary art through a combination of substantive exhibitions and a welcoming platform for dialogue and exchange of original voice. Morton Fine Art specializes in a stellar roster of nationally and internationally renowned artists as well as has an additional focus on artwork of the African Diaspora.
Morton Fine Art
52 O St NW #302
Washington, DC 20001
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