Archive | Exhibitions RSS feed for this section

AMBER ROBLES-GORDON exhibiting at Sagrado University in Puerto Rico

13 Jul

Galería de Arte de la Universidad del Sagrado Corazón

LUGAR DE ALIENTO Y NACIMIENTO

Proyecto por nuestra Artista Visitante Amber Robles Gordon

En Sagrado, el bienestar de nuestra comunidad es lo primero. Continuamos monitoreando el desarrollo de eventos relacionados con la propagación mundial del coronavirus (COVID-19). Como medida de precaución, Sagrado está implementando la práctica del distanciamiento social. Por lo tanto, la Galería de Arte permanecerá cerrada hasta nuevo aviso.

A través de los años, hemos creado una comunidad que se une para apreciar diferentes experiencias estéticas. Queremos continuar esto sin poner en riesgo a nuestros visitantes. Por lo tanto, estamos poniendo a disposición esta experiencia en línea. Entre las nuevas ofertas compartimos el trabajo de Amber Robles Gordon, quien fue nuestra artista visitante durante el semestre de otoño y, a partir de esa experiencia, ha creado nuevas obras bajo el título “Un lugar de aliento y nacimiento”.

amber-robles

Amber Robles-Gordon, es una artista visual de medios mixtos. Conocida por recontextualizar materiales no tradicionales, sus ensamblajes, grandes esculturas, instalaciones y obras de arte públicas, para enfatizar la esencialidad de la espiritualidad y la temporalidad dentro de la vida.

Impulsada por la necesidad de construir su propio camino distintivo, innovar y desafiar las normas sociales, su obra de arte es poco convencional y no formulada. Sus creaciones son representativas de sus experiencias personales y las paradojas dentro del desequilibrio de las energías masculinas y femeninas con nuestra sociedad. En última instancia, la intención es examinar los paralelos entre cómo la humanidad percibe sus mayores recursos, hombres y mujeres versus cómo tratamos nuestras posesiones y medio ambiente.

“Tuve la suerte de ser la artista visitante de la Galería de Arte de la Universidad Sagrado Corazón, durante este año académico. Esta oportunidad me permitiría conocer el lugar donde por primera vez respiré. Luego de mis dos visitas a Puerto Rico a finales del 2019, decidí a comienzos del 2020 alquilar un apartamento en Puerto Nuevo para comenzar a producir la serie “A Place of Breath and Birth”, pautada para presentarse al final del año académico (abril de 2020) en la Galería. Debido a los terremotos persistentes, y el riesgo que representan para la comunidad Sagrado, mi exhibición se vio pospuesta, más tarde con el inicio de la pandemia COVID-19, todo a nivel mundial se alteró y tuve que regresar a Washington D.C. Las nuevas obras producidas bajo el título Un lugar de aliento y nacimiento se trasladaron a mi plataforma en línea y formarán parte de mi exhibición individual titulada Secession, a presentarse en el Katzen Art Center de la American University. (webpage https://www.amberroblesgordon.com/place-of-breath-and-birth-exhibition-puerto-rico).

Esta sería mi primera oportunidad de exhibir en el Caribe y profundizar mi relación con mi lugar de nacimiento, Puerto Rico, (la Isla del Encanto).

Por eso había titulado la exposición, Lugar de aliento y nacimiento. Comparto con ustedes unas palabras de mi declaración de artista, la que dio origen a esta serie que todavía está ardiendo y guiando mi descubrimiento por mis orígenes todos los días.

La intención de la propuesta para una exposición individual en P.R. fue empoderar a mi yo de cinco años. Para darle la fuerza para luchar por ella misma y su lenguaje. Nací en San Juan, Puerto Rico y crecí en Arlington, Virginia. Mi primer idioma era el español, pero a los cinco años llegué un día de la escuela y le dije a mi madre: “ya no hablaré en español”. A partir de entonces, sólo respondí a mi madre que habla español e inglés en inglés. Más tarde, llegué a comprender que entregué mi lengua española, una parte crítica de mi identidad cultural, para poder “adaptarme”; a una versión de mí misma que posiblemente podría coincidir con “el molde prescrito”; que otros tenían para una niña de piel morena como yo. En ese momento, mi familia y yo vivíamos en una zona de los EE. UU. donde había pocas personas que se parecían a mí y hablaran español. Aunque con el tiempo, los insultos cesaron, las micro-agresiones, preguntas insensibles, suposiciones y juicios persistieron. A lo largo de esta vida, una y otra vez, he tenido que elegir identificarme con mi color marrón / negrura sobre los otros lazos culturales que unen a otras personas de habla hispana con su cultura. Aunque, mi narrativa personal es el foco principal de estas obras de arte, continuaré contextualizando la misma dentro de los hilos políticos, socioeconómicos y ambientales que definen y a menudo se utilizan para controlar, alienar o maltratar a los puertorriqueños en general y a los afro- puertorriqueños en particular. Además, mi obra de arte trata sobre las intersecciones de la feminidad, el patriarcado, el hibridismo y el americanismo. En última instancia, espero que esta narrativa y esta obra de arte den voz a otros que caminan en tonos marrones, que respiran dentro de una forma femenina y que no se ajustan a las normas … pero son audaces y orgullosos.
Isla de Encanta

Isla Del Encanta 18 x 24 2020

Haz un click sobre las imágenes para ver una versión más grande.

Elemental_ tierra aire agua fuego

Elemental: Tierra, Aire, Agua y Fuego 18 x 24 2020

Más tarde, llegué a comprender que entregué mi lengua española, una parte crítica de mi identidad cultural, para poder “adaptarme” a una versión de mí mismo que posiblemente podría coincidir con la caja prescrita que otros tenían para una niña de piel morena como yo.

En ese momento, vivíamos en el continente de los EE. UU., Y vivíamos en un área donde había pocas personas que se parecían a mí y hablaban español. Aunque con el tiempo, los insultos cesaron; Las micro-agresiones, preguntas insensibles, suposiciones y juicios persistieron. A lo largo de esta vida, una y otra vez, he tenido que elegir identificarme con mi color marrón / negrura sobre los otros lazos culturales que unen a otras personas de habla hispana con su cultura.

Tendederos Communidad Energia Eterna

Tendedero Comunidad y Energía Eterna 18 x 24 2020

Aunque, mi narrativa personal será el foco principal de estas obras de arte; Continuaré contextualizando la obra de arte dentro de los hilos políticos, socioeconómicos y ambientales que definen y a menudo se utilizan para controlar, alienar o maltratar a los puertorriqueños en general y a los afro-puertorriqueños en particular. Además, mi obra de arte trata sobre las intersecciones de la feminidad, el patriarcado, el hibridismo y el americanismo. En última instancia, espero que esta narrativa y esta obra de arte den voz a otros que caminan en tonos marrones, que respiran dentro de una forma femenina y que no se ajustan a las normas … pero son audaces y orgullosos.

Botanica del Amor Autorreflexion y Espiritualidad

Botánica del Amor, Autoreflexión y Espiritualidad 18 x 24 2020

Michael Booker’s 360 interactive virtual tour and artist talk for his solo “Godspeed”

1 Jun

360 interactive virtual tour with artist talk for MICHAEL BOOKER’s long awaited solo exhibition, Godspeed. Launching on Morton Fine Art’s YouTube channel. Navigate around the video with your touchscreen, touch pad or mouse. Contact the gallery for price list and acquisition.

Visit our Website

MICHAEL BOOKER’s solo exhibition Godspeed and 8 minute artist talk at Morton Fine Art, Washington, DC. Navigate around the video with your touchscreen, touch pad or mouse.
Video credit: Jarrett Hendrix
Godspeed 
A solo exhibition of artwork by MICHAEL BOOKER
June 1st – June 24th, 2020
360 INTERACTIVE VIRTUAL TOUR
On Morton Fine Art’s YouTube Channel TODAY
Artist Talk included
Contact the gallery for price list, additional information and acquisition.
(202) 628-2787 (call or text)
mortonfineart@gmail.com (email)

Fruit of My Fruits, 2020, 40″x30″, fine liner pen, watercolor and collage on paper

About Godspeed
Influenced by quilts used during the Underground Railroad to send hidden messages to the traveling slaves, the drawings in Godspeed document a journey of escapism for travelers in search of a better life, for themselves and for generations to come. Quilts are used as sign markers, shields, portals, and gateways to help secure safe passage towards an “Afrotopia.” Hip Hop music, African wax fabrics, and the quilts of Gee’s Bend give form and guidance to the figures and patterns, encompassing African American history, culture, and mysticism.
– MICHAEL A. BOOKER, 2020

 

30 second video of MICHAEL BOOKER’s fine liner pen and watercolor artworks featured in his solo exhibition Godspeed

 

Installation image of Fruit of My Fruits and In Due Time

Photo credit: Jarrett Hendrix

About MICHAEL BOOKER

Michael Booker is a mixed media artist originally from Jackson, Mississippi who currently resides in Maryland. He received his BFA in Studio Art – Painting from Mississippi State University in 2008, and received his MFA in Studio Art from University of Maryland in 2012. He has exhibited in various galleries across Mississippi, Alabama, North Carolina, Maine, Maryland, Virginia, and Washington DC. His work has been acquired by the David C. Driskell Center in College Park, MD. Currently, he is an Assistant Professor of Art at Montgomery College Takoma Park/Silver Spring. Booker is represented by Morton Fine Art in Washington, DC.

Sunkissed Child, 2020, 14.25″x10.5″, fine liner pen, watercolor and marker on paper

 

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: 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. Upcoming: by appointment only. Mask required.

360 interactive virtual tour of KESHA BRUCE’s solo “We Can Birth Worlds”

25 Mar

Deeply inspired by her spiritual practice and surroundings in the Arizona desert, Kesha Bruce creates reflective and rich artworks intended to be visual landscapes to dream into in her solo exhibition We Can Birth Worlds.

 

 

About We Can Birth Worlds
Kesha Bruce’s work explores the complex connections between history, personal mythology, and magical-spiritual belief in the African diaspora. Her latest work is concerned primarily with exploring the ways vibrant color and abstract symbols can not only trigger powerful emotion but begin to conjure narratives.

Inspired by the belief that hand-made objects can be imbued with the spiritual energy and the intention of the maker, Kesha Bruce employs a labor-intensive creative process of dying, ripping, knotting and the cutting away of fabric to create each painting. The resulting pieced, patched, and assembled surfaces use repetition and pattern to hint at dream languages or perhaps hidden sacred texts.

A direct outgrowth of her daily spiritual practice, these new works are an effort to translate the expansiveness of the artist’s inner joy and reclamation of freedom into a visual language.
With We Can Birth Worlds, Kesha Bruce aims to create visual landscapes to dream into. Landscapes for present and future Black joy, possibility, and liberation.

 

 

 

About KESHA BRUCE

Born and raised in Iowa, she completed a BFA from the University of Iowa before earning an MFA in painting from Hunter College in New York City.
Kesha Bruce has been awarded fellowships from the New York Foundation for the Arts (NYFA), The Vermont Studio Center, The CAMAC Foundation, and the Puffin Foundation.
Her work is included in the collections of The Smithsonian Museum of African American History and Culture (14 pieces), The Amistad Center for Art and Culture, The University of Iowa Women’s Center, The En Foco Photography Collection, and MOMA’s Franklin Furnace Artist Book Collection.

Represented since 2011, We Can Birth Worlds is her seventh solo exhibition at Morton Fine Art.

Available Artwork by KESHA BRUCE

 

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

Wed – Sat 12pm-5pm
Sun-Tues by appointment

**Hours are currently suspended to prevent further community spread of COVID-19. Virtual tours and detail images and video available upon request. We are still conducting business in a different and safe way.**

 

 

KATHERINE HATTAM’s artwork featured in the Brisbane Times

20 Mar

 

 

Old books and riotous colour collide as Katherine Hattam’s art makes playful statements

By John McDonald

Katherine Hattam. Lives: Thornbury, Melbourne. Age: 69. Represented by: Arthouse Gallery, Sydney; Daine Singer Gallery, Melbourne

(And Morton Fine Art, Washington, DC, USA)

The black swan of trespass, by Katherine Hattam; oil on linen, 217cm x 155cm (framed), $17,500; Artwork Photograph by Clare Rae.
The black swan of trespass, by Katherine Hattam; oil on linen, 217cm x 155cm (framed), $17,500; Artwork Photograph by Clare Rae.CREDIT:

Her thing. Colourful paintings incorporating collage and considerable word-play.

Our take. Katherine Hattam has spent her life in and around the Melbourne art scene. Her father, Hal Hattam, was the art world’s obstetrician of choice and a talented amateur painter. Katherine has been exhibiting regularly since the late 1980s, and lately her son, William MacKinnon, has made a name for himself as an artist.

In The Landscape of Language, Hattam’s third solo exhibition at Arthouse, she continues to use old paperbacks as collage in her larger paintings. The book titles invite us to look for meanings that may or may not exist, beyond whatever memories they conjure up in the artist’s mind. Hattam favours old Penguins that would have disintegrated by now anyway.

In terms of colour, and the riotous Australiana that runs through these canvases, this is one of her boldest outings. Hattam’s swans may be black but her kangaroos can be bright blue or pink.

Her subjects range from domestic still lifes to allegorical landscapes. On the way, she pauses to consider the attempts by the First Fleet’s William Dawes to learn the Eora language; environmental issues (symbolised by Hokusai’s menacing wave); and a favourite picture by American master Philip Guston.

In a painting called Pantheon (1973), Guston wrote a list of the artists he most revered. Hattam has undertaken a feminist revision, replacing Guston’s all-male list with a female cast. As statements go, it’s more playful than strident.

Can I afford it? For a well-established artist, Hattam’s prices are very affordable. The most expensive picture in this exhibition is the oil painting, The black swan of trespass (pictured above, 217cm x 155cm), at $17,500. This would equal her existing record price. There are 12 works selling for the low price of $2200. This includes small oil paintings such as Pink kangarooSwans dream phthalo, and The friendship garden (each 43cm x 31cm).

Where can I have a squiz? Arthouse Gallery, 66 McLachlan Avenue, Rushcutters Bay, Sydney,
until March 28; arthousegallery.com.au.

 

AND stateside at Morton Fine Art, 52 O St NW #302, Washington, DC USA.

Click HERE to view available artwork by KATHERINE HATTAM.

 

 

 

Introducing virtual exhibition tours as Morton Fine Art and Gallery B suspend daily hours

13 Mar
Visit Morton Fine Art’s YouTube Channel for virtual tours of our solo exhibition of Kesha Bruce’s “We Can Birth Worlds” at Morton Fine Art in DC and our group exhibition at Gallery B in Bethesda. We are still conducting business, in a new way.
After much consideration, and out of concern for the health and welfare of all our community, Morton Fine Art has concluded that it is necessary to suspend daily open hours at both Morton Fine Art in DC and our group exhibition at Gallery B in Bethesda, effective immediately.
We instead encourage virtual tours from Morton Fine Art’s YouTube channel.
All works are available for acquisition and additional details can be requested by emailing the gallery at mortonfineart@gmail.com or calling or texting (202) 628-2787. We are still conducting business, in a new way.
We very much appreciate your patience and understanding as we all negotiate this unprecedented situation. Please continue to follow the guidance of the CDC and public health officials. We hope that our earnest actions will help contribute to a better health outcome for our entire community.
Best always,
Amy and Julia
Virtual Tour MFA Artist Kesha Bruce Solo Exhibition 'We Can Birth Worlds'
Virtual Tour of KESHA BRUCE’s solo exhibition “We Can Birth Worlds” at Morton Fine Art in DC
Contact the gallery for an accompanying price list and additional details.
Virtual Tour #1 of Morton Fine Art & *a pop-up project at Gallery B in Bethesda, March 2020.
Virtual Tour #1 of Morton Fine Art & *a pop-up project at Gallery B in Bethesda
Virtual Tour #2 of Morton Fine Art & *a pop-up project at Gallery B in Bethesda, March 2020.
Virtual Tour #2 of Morton Fine Art & *a pop-up project at Gallery B in Bethesda
Virtual Tour #3 of Morton Fine Art & *a pop-up project at Gallery B in Bethesda, March 2020.
Virtual Tour #3 of Morton Fine Art & *a pop-up project at Gallery B in Bethesda
Contact the gallery for an accompanying artwork pricing and artist information.
About Morton Fine Art and *a pop-up project
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.
Redefining the traditional gallery model, Morton Fine Art (MFA) enhances 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
52 O St NW #302
Washington, DC 20001
Updated hours to be determined.

ROSEMARY FEIT COVEY’s print “Quiet Desperation” currently on view at Katzen Arts Center at American University.

7 Feb

ROSEMARY FEIT COVEY’s print “Quiet Desperation” currently on view at Katzen Arts Center at American University.

Grouping of artwork in Katzen Art Center’s exhibition “Good Form, Decorum, and in the Manner: Portraits from the Collections of the Washington Print Club Members” including ROSEMARY FEIT COVEY’s wood engraving, “Quiet Desperation”.

Photo credit: Katzen Arts Center

ROSEMARY FEIT COVEY’s wood engraving “Quiet Desperation”

Courtesy of the Artist and Morton Fine Art

 

 

“Good Form, Decorum, and in the Manner: Portraits from the Collections of the Washington Print Club Members” features works ranging from the early masters of printmaking to contemporary artists. These prints question what it means to capture a person’s likeness across time and cultures.⁠

 

About  Katzen Arts Center:

Housed in the dynamic and multidisciplinary Katzen Arts Center, the American University Museum builds its programming on the strengths of a great college and great university. We focus on international art because American University has a global commitment. We show political art because the university is committed to human rights, social justice, and political engagement. We support the artists in our community because the university takes an active and responsible role in the formation of our contemporary art and culture.

We present exhibitions that mirror American University’s aspiration to be the premier Washington-based, global university. Our programming puts the best art of our region in a national and international context. Our collections enable us to present the art history of Washington, while our Kunsthalle attitude brings the most provocative art of our time to our place.

Katzen Arts Center, 4400 Massachusetts Ave NW, Washington, DC 20016

Tuesday – Sunday from 11am-4pm

Available artwork by ROSEMARY FEIT COVEY

 

 

Morton Fine Art invites you to Open Studios, Saturday 11/16/19 from 12pm-6pm

12 Nov

 

 

Our November 16th Open Studios, in collaboration with STABLE, invites the public to tour Morton Fine Art and the creative work spaces of the artists and designers at 52 O Street & STABLE from 12-6pm.
Conveniently located a short walk from the NOMA Metro Station on the Red Line and Mt. Vernon Square/Convention Center on the Yellow and Green Lines, 52 O Street is located in the Truxton Circle neighborhood in Washington DC. Street parking available.
Morton Fine Art
52 O St. #302
Washington, DC 20001
(202) 628-2787

Don’t miss it!
Open Studios @52ostreetstudios next Saturday, November 16th from 12pm – 6pm in collaboration with @stablearts

 

 

VONN SUMNER’s “Only Painted Fire” exhibition at Morton Fine Art

9 Nov

On view:

Morton Fine Art

52 O St #302

Washington, DC 20001

(202) 628-2787

http://www.mortonfineart.com

mortonfineart@gmail.com

 

Neo-Byzantine (Red Hot), 2019, 24″x20″, oil on panel

 

 

Betrayal Wall,  2019, 24″x24″, oil on panel

 

El Ingres-Frida (Appropriation of Culture), 2019, 24″x24″, oil on canvas

 

Balloon Dumpster (The Party’s Over), 2019, 16″x20″, oil on panel

About Only Painted Fire
In the summer of 2018, I travelled to Italy to see many of my favorite paintings in person for the first time: the early Renaissance frescoes of Giotto, Masaccio, and Piero della

Francesca. Though I was very familiar with the work through reproduction, seeing it with my own eyes was a transformative experience. When I returned home to California, I began a nearly life-size copy of one of my favorite panels of the Giotto frescoes at the Scrovegni chapel in Padua (alternately referred to as The Betrayal of Christ or Judas’ Kiss). I wanted to inhabit the painting, rather than just look at it; I wanted to feel what it was like to make those paintings.

 

During the process of copying this painting, I became intrigued with Giotto’s stylized depiction of fire, which blazed at the end of several torches along the top of the painting. I realized I had never really painted fire, and for some reason this became an

irresistible challenge. At the same time, I was following the news and trying

to make sense of the polarized and turbulent political climate of our time.

Perhaps due to my newfound fascination with painting fire, certain phrases that

commentators and pundits would use grabbed my attention: “dumpster-fire” and

“trash-fire” especially, used as hyperbolic expressions of frustration and

outrage. 

 

I began to think more deeply about the uses and depictions of fire, symbolically and literally, and the ways in which humans have used fire in rituals. Fire is dangerous and out of control, which also makes it beautiful and sexy and alive. Fire is violent and

destructive, which leads to change, regeneration and rebirth. We speak of

‘trial by fire’ and ‘lost torches’; passionate people can be ‘on fire’’ and

have ‘fire in their belly.’ In California we have “Fire Season” and “high fire

danger” alerts. There are “fire eaters” to entertain us, and parties that “burn

down the house” and light “the roof on fire,” etc… All of these phrases and

notions have been on my mind this past year as I have painted fire and searched

for personal and artistic renewal.

 

The resulting paintings are not meant as a definitive or conclusive statement, rather as evidence of one painter engaging with the world, following a gut instinct, and doing “research paintings” in order to see what happens. The work can be seen symbolically or

literally, or both; and I invite the viewer to bring their own interpretations

and resonances to the occasion. No matter how we look at our current cultural

moment, regardless of ideology or affiliation, it seems we are living through a

time of great change. These paintings are in some way a response to that

condition.

 

– VONN SUMNER, 2019

 

 

Dumpster Fire III,  2019, 16″x16″, oil on panel

 

Dumpster Fire IV, 2019, 18″x18″, oil on panel

 

Dumpster Fire II, 2019, 18″x14″, oil on canvas

 

KOR, 2019, 16″x12″, oil on canvas

 

About VONN CUMMINGS SUMNER

 

Vonn Cummings Sumner grew up in the San Francisco Bay Area, the son of a picture framer and a school teacher. Seeing the art that his father was framing, as well as travel in Europe, Central America and India shaped Sumner’s visual aesthetic during his formative years.

 

He attended the University of California, at Davis, where he earned both a Bachelor’s degree and an M.F.A. in painting, with highest honors. While at Davis he worked closely with Wayne Thiebaud both as a student and as a teaching assistant. Sumner also took summer classes at the San Francisco Art Institute, and is influenced by the Bay Area Figurative movement that centered around that school in the postwar period.

 

Sumner has exhibited nationally and internationally since 1998. He has been featured or reviewed in many publications including New American Paintings, Elle Décor, The Washington Post, The Huffington Post, L.A. Weekly, Art Ltd., Riviera magazine, Hi Fructose, Cartwheel Art, The Painter’s Table, Boom magazine, and Quick Fiction. Sumner has shown regularly throughout the Los Angeles area since 2003, including in a solo museum show- Vonn Sumner: The Other Side of Here- at the Riverside Art Museum in the fall of 2008. A second solo museum exhibition, Vonn Sumner: Stages, followed in 2011 at the Phillips Museum of Art on the campus of Franklin & Marshall College in Pennsylvania. Sumner’s paintings have been shown internationally in Venice, Italy; Manchester, England, and Switzerland. He is represented by Morton Fine Art in Washigton, DC.

 

Only Painted Fire marks his forth solo exhibition at Morton Fine Art.

 

 

Standing Man (on fire), 2019, 16″x12″, oil on canvas

 

Trashfire IV, 2019, 18″x14″, oil on canvas

 

Trashfire III, 2019, 18″x14″, oil on canvas

 

Neo-Byzantine (Japonaiserie), 2019, 24″x20″,  oil on paper mounted on panel

 

A Fire Without a Trashcan, 2019, 16″x12″, oil on canvas

 

Trashfire II, 2019, 14″x12″, oil on canvas

 

Trashfire I, 2019, 12″x9.5″, oil on canvas

 

Link to available artwork by VONN SUMNER

The Washington Post ~ In the galleries: Rosemary Feit Covey

16 Oct
WP

Written by Mark Jenkins October 4, 2019

Rosemary Feit Covey

There’s a pleasing symmetry between what Rosemary Feit Covey depicts and how she depicts it. Most of the works in “The Dark Re-Imagined,” the Alexandria artist’s show at Morton Fine Art, begin with wood engraving. The white-on-black images are usually supplemented with painted colors and sometimes built up with thread or small found objects. But the incised lines are fundamental, and apt for conveying such hidden natural systems as a fish skeleton or a network of submerged fungi.

AmethystDeceivers_web

‘Amethyst Deceivers 11’ (2019) by Rosemary Feit Covey. Wood engraving, thread, painting on canvas, 36″x 48″ 

Feit Covey has worked with doctors and scientists — including at Georgetown University Medical School’s morgue — so her art is grounded in biological knowledge. Yet the works in this show are not mere illustrations. They attempt to convey the abundance of life, the inevitability of death and the link between the two. In such intricate compositions as the swirling “Fish,” the individual blurs into the collective, much as dead things are reabsorbed into living ones. Like a clump of black earth, Feit Covey’s pictures are dark but fecund.

 

Follow this link to view Available Artwork by Rosemary Feit Covey on MFA’s website.

 

Rosemary Feit Covey’s available work is stored on site at Morton Fine Art, stop by anytime during open hours or make an appointment to view these incredible creations up close in person.  Wednesday – Saturday : 12 – 5pm,  Sunday – Tuesday : by appointment Contact:  mortonfineart@gmail.com -or- (202) 628-2787.

 

 

ROSEMARY FEIT COVEY’s solo “The Dark Re Imagined” opens Saturday 9/14/19

5 Sep
Inspired by evolutionary biology, ROSEMARY FEIT COVEY pushes the boundaries of printmaking in her solo exhibition “The Dark Re Imagined”. In this series of artworks she has collaborated with scientists and integrates fungus, lichens, animals, decay and broken insects.
ROSEMARY FEIT COVEY
The Dark Re Imagined
September 14 – October 9, 2019
Opening Reception
Saturday, September 14th from 2-6pm
Artist Talk at 4pm
EXHIBITION LOCATION
Morton Fine Art
52 O St NW #302
Washington, DC 20001
HOURS
Wednesday – Saturday 12pm – 5pm
Sunday – Tuesday by appointment
ROSEMARY FEIT COVEY, Just One Day 2019, 36″x24″, painting, found objects and plastic on canvas
ROSEMARY FEIT COVEY, Amethyst Deceivers 11, 2019, 36″x48″, wood engraving, thread, painting on canvas
About The Dark Re Imagined
My current work on fungus and lichens, broken insects and evolutionary biology is not scientific in the sense of medical illustration but a continuation of a life time artistically reacting to mortality’s hold on our subconscious. My earlier work was more overtly psychological. Now I glory in exploring texture and new methods of printmaking. After decades working alone I embrace collaboration. Working with other artists and scientists who all share passion for their chosen subjects and understand mine, they are generous in answering my questions with care and enthusiasm. As the young entomologist, Rebecca Cathleen Wilson told me in one of our many conversations, “we study insects because we love them but to do so we have to kill them, working with you gives them another life”. – ROSEMARY FEIT COVEY, 2019
ROSEMARY FEIT COVEY in her studio
About ROSEMARY FEIT COVEY
Rosemary Feit Covey was born in Johannesburg, South Africa. Her work is housed in over forty major museum and library collections worldwide, including Yale University Art Gallery, the New York Public Library Print Collection, the National Museum of American History, Harvard University, and the Papyrus Institute in Cairo, Egypt. In 2012 over five-hundred of her prints were acquired for the permanent collection of Georgetown University Library, Special Collections. She is the recipient of a Rockefeller Foundation Fellowship (Bellagio Italy), an Alpha Delta Kappa Foundation National Fine Art Award and a fellowship to Georgetown University Medical Center as the 2007-2008 Artist-in-Residence. Her solo museum exhibitions include the Butler Museum of American Art, the Delaware Center for Contemporary Arts and the International Museum of Surgical Science in Chicago. In 2014, a retrospective of her prints, paintings and installation work was held at Johns Hopkins University’s Evergreen Museum. Her larger public art has been installed world wide, including at Burning Man and at Culture Summit 2017 in Abu Dhabi. Articles on her work have been featured in magazines including Art in America, Juxtapoz, and American Artist Magazine. She has fully illustrated books for Simon & Schuster and William Morrow as well as for fine art presses.
While an artist in residence at Georgetown University Medical School, Feit Covey wrote one chapter and illustrated the text for the book, Maldynia: Multidisciplinary Perspectives on the Illness of Chronic Pain, published by CRC Press. Previously she worked with a brain tumor patient for three years chronicling his illness artistically. This work was featured on Studio 360, Public Radio International, and in articles for The Los Angeles Times and CR Magazine. Since 2017 she has collaborated with evolutionary biologist Paul Andrews working on a ground breaking book using evolutionary biology to understand depression and evaluate pharmacological and psychological treatments for depression. This work will be published by Oxford University Press in 2020 or 2021. An article on this work appeared in Sci-Art Magazine in 2018. Currently, she is working with two botanists and an entomologist who have greatly aided in inspiring and informing her most recent series of work.
She is represented by Morton Fine Art in Washington, DC.
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
Wed – Sat 12pm-5pm and Sun-Tues by appointment