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‘Dogtown’ A Solo Exhibition of New Artwork by LAUREL HAUSLER

26 Jun
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Artist Laurel Hausler pictured with ‘Noir Rose’, 2018, oil and gouache on canvas, 36″x 48″

‘In my mind, there are three meanings of Dogtown.

There are the “Dogtowns” scattered throughout the US, usually desolate dusty places once frequented by rogues and unlucky outcasts.

There is a Dogtown-THE Dogtown- in Cape Ann, Massachusetts. This Dogtown is a historical abandoned settlement, once populated by outsiders, widows, witches and roaming packs of dogs. Today, it is still a wild place and one that should be preserved. Situated amidst Pleistocene boulders, the area continues to be a source of lore.

This exhibition is the third and imagined Dogtown- a mythical place that combines all of the latter aspects—and their metaphysical reflections. It’s a Blair Witch Project woods, a stony, inscrutable wilderness where women and witches live as they wish with dogs for companionship and protection—a place of ritual, noir and labyrinthian mystery, symbolizing persistence in the face of life’s craggy brutality.’ 

-LAUREL HAUSLER, 2019

ABOUT the Artist 
Laurel Hausler was born in Virginia. She works to create mysterious beauty in all media, and to remember and portray that which might be lost and forgotten. The works in this show are composed of graphite, gouache and oil paint on canvas.
Her artwork is featured in book publications including Cutting Edge; New Stories of Women in Crime by Women Writers, edited by Joyce Carol Oates and Retrograde, by Kat Hausler.
DOGTOWN marks her fifth solo exhibition at Morton Fine Art in Washington, DC. and is currently on view through July 3rd! 
ABOUT Morton Fine Art
Founded by curator Amy Morton in 2010 in Washington, DC, 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 or enthusiast, 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
52 O St NW #302
Washington, DC 20001
Wed – Sat 12pm-5pm and Sun-Tues by appointment
For further information and images, please contact Amy Morton: mortonfineart@gmail.com

VICTOR EKPUK’s “Eye See You” on view at Smithsonian Arts and Industry Building for We the People festival in DC

22 Jun

 

 

Please join artist VICTOR EKPUK in conversation while viewing his monumental installation piece Eye See You in Halcyon’s By the People festival in Washington, DC, curated by Jessica Stafford Davis.

Nearly scraping the ceiling of the Arts & Industries Building, Ekpuk’s 18-foot-high “Eye See You” is the most imposing piece he’s ever exhibited in the District. -Mark Jenkins. (The Washington Post)

Sunday June 23, 2019
2:00pm
Smithsonian Arts and Industry Building on the National Mall
Jefferson St, SW Washington DC  

Washington Post In the Galleries: JULIA MAE BANCROFT ‘Through Glass Lace’

25 May
Violet'sWindow_web

‘Violet’s Window’, 2018, ink, gouache, pencil and oil pastel on paper, 20″x 20″

Julia Mae Bancroft

There are fewer photo transfers in Julia Mae Bancroft’s “Through Glass Lace” than in her previous Morton Fine Art show, but the weight of old photographs remains heavy. The D.C. artist’s mixed-media pictures are almost all in black and shades of gray, with just occasional touches of pale pink or green. Bancroft conjures the past as drained of color but crowded with memories.

Texture is as crucial as image to Bancroft’s style. The pictures incorporate pulp, fiber, papier-mache and hand-stitched embroidery, and they are on sheets of paper mounted to stand slightly away from their backdrops. The layers represent what the artist’s statement terms “a glass lace screen” while “piecing together a fragmented narrative.”

That narrative doesn’t seem to be autobiographical. Some of the photo imagery is older than Bancroft, evoking the 1960s and much earlier times. The same is true of the artist’s technique, notably the needlework. The reminders of traditional women’s crafts ground Bancroft’s ghostly reveries in real-world labor.

~ Mark Jenkins, 2019

Julia Mae Bancroft: Through Glass Lace Through May 22 at Morton Fine Art, 52 O St. NW, No. 302.

ThinkingofFalling_web

‘Thinking of Falling’, 2019, ink, gouache and collage on paper, 22″x 11.5″

Remaining available artworks by JULIA MAE BANCROFT can be viewed here on our website and are also accessible for viewing in person at Morton Fine Art.

Morton Fine Art

52 O Street NW #302, Washington DC 20001

Hours: Wednesday – Saturday : Noon – 5pm

Sunday – Tuesday : by appointment

JULIA MAE BANCROFT’s “Through Glass Lace”

9 May

We are pleased to share new mixed media artworks by JULIA MAE BANCROFT currently featured in her solo exhibition, “Through Glass Lace”, currently on view at the gallery until May 22, 2019.  Each artwork takes a minimum of 40-60 hours to create.

 

Jellyfish Heart, 2019, 29.5”x 17”, ink, gouache, and collage on paper

 

 

Violet’s Window, 2018, 20”x 20”, ink, gouache, pencil and oil pastel on paper

 

In my latest body of work Through Glass Lace I continue to evolve the idea of piecing together a fragmented narrative by way of layering medium and texture.  Imagining a glass lace screen through which we can blur the lines between  strength and fragility, imagination and reality, macro and micro.

I chose to focus on creating emotion within the atmospheric spaces, allowing the reflective figures to float across the layers.  In this series we are free to explore the boundlessness of intimacy and how our internal conversations parallel and reflect the spaces we trace.

-JULIA MAE BANCROFT, 2019

 

Thinking of Falling, 2019, 22”x 11.5”, ink, gouache, and collage on paper

 

Alone in My Backyard, 2018, 22”x 23”, ink, gouache, and collage on paper

 

Lace Moon, 2019, 22.5”x 12”, ink and gouache on hand textured paper

Bancroft intricately and thoughtfully applies layers of imagery onto paper using oil pastel, gouache, watercolor, various fibers and ink transfers. Many of the pieces also incorporate embroidery hand stitched directly into the altered surface, complementing the figurative drawings. The intentional absence of color allows the viewer to focus on the obscured perspectives and depth of texture throughout the narrative. Bancroft’s unique and intensive layering process produces developed artworks that take up to 40-60 hours to complete.

 

Murmur, 2019, 14”x 38” (triptych), ink and gouache on hand textured paper

 

Infinite Pools, 2018, 22.5”x 12”, ink, gouache, and collage on paper

 

After the Rabbit’s Bride, 2019, 22”x 33” (diptych) oil, ink, gouache, and collage on paper

A few images of “Through Glass Lace” on view at Morton Fine Art. Hours are Wednesday – Saturday 12pm-5pm and Sunday – Tuesday by appointment.

 

“Through Glass Lace” at Morton Fine Art

photo credit: Alex Mcnaughton

 

“Through Glass Lace”

photo credit: Alex Mcnaughton

 

Enjoy! Please be in touch with any inquiries or requests for pricing.

Morton Fine Art

52 O St NW #302

Washington, DC 20001

(202) 628-2787

mortonfineart@gmail.com

http://www.mortonfineart.com

Concurrent solos by KATHERINE TZU-LAN MANN and ASTRID KOHLER presented by Morton Fine Art & *a pop-up project at Gallery B

11 Apr

 

KATHERINE TZU-LAN MANN

Echoing Green

April 3 – April 27, 2019

 

ASTRID KOHLER

Conflux

April 3 – April 27, 2019

 

Opening Reception

Friday, April 5th from 6-8pm

 

EXHIBITION LOCATION

Morton Fine Art at Gallery B

7700 Wisconsin Ave, Ste E

Bethesda, MD 20814

 

HOURS

Wednesday – Saturday 12pm – 6pm

 

 

KATHERINE TZU-LAN MANN, Leaves into Birds, 2019, 60″x36″, acrylic and sumi ink on stretched paper over canvas

 

 

About Echoing Green

My work’s abstractions arise from the subjects I portray: ecological and geological cycles, processes of chemical corrosion and natural efflorescence. With roots in traditions of Chinese landscape painting, my monumentally sized paintings and installations evolve a fantastic, abstract vision of the natural world. My latest work confronts the challenge: 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. How can a painting capture flux, abundance, waste, fertility, and the collision and collusion of diverse forms? How can it respond to the pressure we place on our era’s fragile ecosystem? My paintings explore both questions by sustaining tension between what is artificial and what is natural, between what is chemical and what is biological, between organic and inorganic. The paper on which I paint is not only a recognition of a tradition of Chinese painting; it is also a medium of vulnerability and expansiveness, susceptible to crease and tear as well as to collage and collation. My own role in the creation of the paintings strikes a balance between the purposive and the protective. I trust to process, chance, and change, but I encourage, direct, and facilitate all of these. 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.

-KATHERINE TZU-LAN MANN, 2019

 

 

 

About KATHERINE TZU-LAN MANN

Katherine Tzu-Lan Mann received her BA from Brown University and MFA from the Maryland Institute College of Art. She is the recipient of a Fulbright grant to Taiwan, the AIR Gallery and Lower East Side Printshop Keyholder Fellowships in New York, NY, and the Individual Artist Grant, Arts and Humanities Grant, Mayor’s Award and Hamiltonian Fellowship in Washington, DC. She has attended residencies at Virginia Center for the Creative Arts, Blue Sky Dayton, Vermont Studio Center, Salzburg Kunstlerhauss, Triangle Workshop, Anderson Ranch Art Center, Bemis Center for the Arts, Djerassi Resident Artists Program, Facebook, and the Jaipur, India Carbon 12 Residency. Some of the venues where Mann has shown her work include the Walters Art Museum, Corcoran Gallery of Art, Rawls Museum, the US consulate in Dubai, UAE, and the US embassy in Yaounde, Cameroon. Mann is currently an instructor at the Maryland Institute College of Art. She is represented by Morton Fine Art in Washington, DC.

 

 

Available artwork by KATHERINE TZU-LAN MANN

 

 

 

 

ASTRID KOHLER, fucking Vogelkonig 2, 2018, 4.75″x4.75″, watercolor and acrylic on paper

 

 

 

About ASTRID KOHLER and Conflux

 

German painter ASTRID KOHLER combines old and new in her latest series Conflux. Artwork includes 19th century German portraits which have been over-painted with Kohler’s imaginative and playful images of perched birds and jumping baby ducks. Antique pastoral backgrounds have been layered with contemporary additions of leafy shoots of bamboo, and outlines of stylized, gold clouds.

 

Her still life paintings, some of which are layered with epoxy, are visually accentuated with dramatic pops of color, unexpected narrative elements and oftentimes contain animated wildlife. Her ten piece series “fucking Vogelkonig” features delicate birds masterly painted with a three-haired brush and then crowned with neon orange headdresses which juxtapose the artist’s incredible technical ability as a realist painter with fluid, gestural lines and attitude.

 

Kohler seeks new ways of arranging space and blending old and new to create tension for her creative inspiration. Conflux marks her first solo exhibition in the U.S. She is represented by Morton Fine Art in Washington, DC.

 

Available artwork by ASTRID KOHLER

 

 

About Morton Fine Art 

 

Founded in 2010 in Washington, DC, 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 or enthusiast, 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.

 

Want to view artwork in DC? Come by our permanent gallery space:

 

Morton Fine Art

52 O St NW #302

Washington, DC 20001

Hours: Wed – Sat 12pm-5pm and Sun-Tues by appointment

(202) 628-2787

mortonfineart@gmail.com

http://www.mortonfineart.com

 

 

About *a pop-up project

 

Redefining the traditional gallery model, Morton Fine Art (MFA) replaces a single gallery space with two locations: MFA’s permanent fine art gallery space and *a pop-up project, a temporary mobile art gallery of curated group shows. Morton Fine Art established it’s trademark, *a pop-up project, in 2010.

NATE LEWIS exhibits in “Plumb Line: Charles White and the Contemporary” at California African American Museum

21 Mar

 

exhibitions

current

Plumb Line: Charles White and the Contemporary

March 8 – August 25, 2019

curated by: Essence Harden, independent curator, and Leigh Raiford, Associate Professor of African American Studies at the University of California at Berkeley

A prolific painter, printmaker, muralist, draftsman, and photographer whose career spanned more than half a century, Charles White’s artistic portrayals of black subjects, life, and history were extensive and far-reaching. Plumb Line features contemporary artists whose work in the realm of black individual and collective life resonates with White’s profound and continuing influence.

From abstraction to figuration, the artists of Plumb Line (listed below) find conversation with White through the largesse of their canvases, expansive renderings of black skin and black community, and in the treatment of black past and presence in ways that are both epic and intimate.

The plumb line, an architectural tool used to determine verticality, is a featured element in White’s Birmingham Totem, suggesting the work of black artists as architects of change. White himself can also be considered an artistic plumb line: a builder of black artistic opportunities and a compass directing us toward new aesthetic, liberatory possibilities.

Plumb Line is curated by Essence Harden, independent curator, and Leigh Raiford, Associate Professor of African American Studies at the University of California at Berkeley, for the California African American Museum. The exhibition is presented as a companion to the LACMA exhibitions Charles White: A Retrospective and Life Model: Charles White and his Students.

Complete list of artists: Derrick Adams, Sadie Barnette, Dawoud Bey, Diedrick Brackens, Greg Breda, Bisa Butler, Alfred Conteh, Njideka Akunyili Crosby, Ariel Dannielle, Kenturah Davis, Torkwase Dyson, Kohshin Finley, Derek Fordjour, Ficre Ghebreyesus, EJ Hill, Yashua Klos, Nate Lewis, Michelangelo Lovelace, Christopher Myers, Toyin Ojih Odutola, Deborah Roberts, Lava Thomas, Charles White, and Deborah Willis

Exhibitions. Programs. Workshops. Events. Conversations.

CAAM is not just a museum. We are a living, breathing experience, a thriving center for dialogue and discourse about art, culture, history, and identity. We promise you’ll find something to love and to take part in here — so visit, and visit often! Located in the heart of LA’s Exposition Park, we are also surrounded by some of the city’s most vibrant institutions, including the Natural History Museum, the California Science Center and the forthcoming Lucas Museum of Narrative Art. The Museum is open Tuesday through Saturday from 10:00 am to 5:00 pm, Sunday from 11:00 am to 5:00 pm, and is closed on Monday (except MLK Day!).

Admission is always free.

Driving and Parking

If you are driving, CAAM is at the corner of Figueroa Street and Exposition Boulevard, just west of the 110 Freeway. Please note that our parking lot entrance is at 39th and Figueroa. Please put that cross section into your maps search or GPS device.

 

 

Available artwork by NATE LEWIS

 

NATHANIEL DONNETT’s artwork on view at the Kemper Museum of Contemporary Art

16 Mar

Child’s Play: An Exploration of Adolescence

Friday, March 1, 2019 to Sunday, August 4, 2019
Kemper Museum of Contemporary Art

Child’s Play: An Exploration of Adolescence situates contemporary works of art from Kemper Museum’s Permanent Collection in conversation with concepts brought forth by neurologist and founder of psychoanalysis, Sigmund Freud (Austrian, 1856–1939). Freud suggested that humans can trace their compulsions back to their childhood. From this idea, Child’s Play explores artists’ depictions of children, their relationships with those around them, and with the world.

Artists Nathaniel Donnett and Nicholas Prior see Freud as inspiration for their projects. Using the scene of a playground as the setting for his collage work Freudianslipslideintodarkisms (2011), Donnett illuminates how childhood memories and experiences may directly inform our identities in adulthood. Prior’s Untitled #46 (2004) and Untitled #26 (2005) are based on Freud’s notion that an adult cannot accurately access memories of childhood in the way they were originally experienced.

Artists in this exhibition depict children’s experiences from varying perspectives that then reflect back on the world. In her photographic work, Julie Blackmon shows real and imagined aspects of her family life by capturing moments when children are crying, revealing a sense of a hectic home environment. Arthur Tress overlays images of children with images of games, school, and activities, again suggesting the Freudian concept that his adult self cannot accurately remember the feelings he originally felt as a child. Artist Kojo Griffin relies on his child psychology training to highlight relationships of children while possibly referencing Freud’s concept of “doubling”—self-love and narcissism found in children—inUntitled (2000).

Child’s Play links the arts and social sciences to engage viewers in the different ways artists depict childhood. Child’s Play: An Exploration of Adolescence is curated by Jade Powers, assistant curator at Kemper Museum.