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American Lifestyle Magazine features artist MAYA FREELON ASANTE

17 Jan

‘Bleeding Art’ an interview with Maya Freelon Asante written by Shelley Rose featured in American Lifestyle Magazine Issue 87, 2018.

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‘Visionary and artist Maya Freelon Asante discovered her preferred medium by happenstance.   While living with her grandmother during art school, she found water-damaged tissue paper in the basement and became fascinated by the bleeding of the color.  This fortuitous accident became her muse, and she has been using tissue paper to create her art ever since.’

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“When I create the large tissue quilts, I always ask the community to help in the creation process.  [To me], community means, ‘I am because we are’ Ubuntu.”   ~Maya Freelon Asante

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Please contact us here at the gallery by emailing mortonfineart@gmail.com for a PDF readable version of this article as well as additional information and images.  Available artwork by MAYA FREELON ASANTE can be viewed here on our website.

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The Washington Post features JULIA MAE BANCROFT a review of ‘Mending Moments’

30 Dec

In the galleries: Julia Mae Bancroft stitches the past to the present

 December 28 at 4:00 PM

“Mamie’s House,” on view through Jan. 4 at Morton Fine Art. (Julia Mae Bancroft/Morton Fine Art)

 

It’s not only the predominantly gray palette that gives Julia Mae Bancroft’s artwork a ghostly feel. The mixed-media pictures in her Morton Fine Art show, “Mending Moments,” feature old-timey houses and interiors. Arrayed inside are women in long dresses, sometimes with faces transferred from vintage photos. The Virginia-bred D.C. artist graduated from the Corcoran College of Art and Design only a few years ago, yet seems fixed in an earlier era.

The “mending” in the show’s title refers in part to Bancroft’s use of embroidery. She stitches as well as draws and paints, working thin, white strands into compositions that sometimes also incorporate layers of paper pulp. The threads can be abstract elements or represent literal things, such as human hair. The vertical strings that cloak “Moonlit Overcast” suggest both hanging moss and the mists of time.

The effect can be spooky. The subject of “Sitting in Her Empty Chair” has a indistinct face and a clawlike hand. “Reverie,” the most 3-D piece, is built upon an iron grate with a tombstonelike shape. Bancroft, it appears, doesn’t merely ponder the past. She actively disinters it.

Julia Mae Bancroft: Mending Moments Through Jan. 4 at Morton Fine Art, 1781 Florida Ave. NW. 202-628-2787. mortonfineart.com.

 

Available artwork by JULIA MAE BANCROFT as well as her artist bio with statement can be found by following the highlighted link to Morton Fine Art’s website. Please contact the gallery for additional details.

Morton Fine Art partners with Art Money

14 Dec
Morton Fine Art partners with Art Money – making it easier & more affordable to buy art. Take your art home and pay for it later. 10 payments. Interest free. Art Money is available from $1,000 to $50,000.  
 

About Art Money

Art Money makes owning art easy and affordable. Payments are spread over 10 monthly installments. After paying a minimum 10% deposit, you can take your artwork home and pay the remaining balance over 9 months, interest free.

 

With an Art Money interest free loan, an artwork that costs $5,000 is only $500 a month over 10 payments (your first payment is your deposit).

 

Art Money helps you enjoy art, support local artists and galleries and contributes to the long-term sustainability of local art and culture.
Use the loan calculator to see how affordable Art Money makes buying art.

Art Money is currently available in over 400 selected galleries in the United States, Australia, New Zealand and internationally. New galleries are partnering with us daily. Find a participating Art Money gallery here.

Click HERE to learn more about applying for Art Money.

Visit Morton Fine Art’s selection of available artwork HERE.

Art & Culture Magazine Houston features artist NATHANIEL DONNETT

7 Dec

We are thrilled to share news that Houston, TX based artist Nathaniel Donnett has been featured in this month’s Art & Culture Magazine Houston in regards to his current solo exhibition ‘In One Form or Another; Verse One’ on view at Houston’s Art League through January 20th.  This exhibition is funded by grants from the City of Houston through Houston Arts Alliance.

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“HOUSTON—For Nathaniel Donnett, whose work finds expression in a wide range of modes, the studio has a way of expanding beyond the walls of his art-making space into the larger world. For In One Form or Another; Verse One, his exhibition at Houston’s Art League on view through Jan. 20, Donnett is tying his own work to a long history of vibrant protest movements created by African Americans, while slyly referencing geometric abstraction.”  ~ Arts & Culture Magazine

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In other exciting news The Ulrich Museum in Witchita, Kansas has acquired an original work by Donnett for their collection titled ‘Leonora Draper’.  The piece, pictured above, incorporates human and synthetic hair, and graphite on paper!

You can find images of available work by Nathaniel Donnett on our website, and please contact the gallery for any additional details or inquiries!

 

KESHA BRUCE’s iconic (Re)calling & (Re)telling series featured in Rethinking Schools

8 Nov

Congratulations to Morton Fine Art’s KESHA BRUCE for having four images from her iconic (Re)calling & (Re)telling photo series featured in “Black is Beautiful” by Kara Hinderlie in Rethinking Schools!

 

 

 

Click HERE to view available artwork by KESHA BRUCE.

 

 

 

MFA Welcomes Artist KATHERINE TZU-LAN MANN

25 Jul
Morton Fine Art is thrilled to introduce artist KATHERINE TZU-LAN MANN to our roster.
“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.
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.
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 MANN, 2017
Beard2 web
Beard, acrylic, sumi ink, wood cut and silkscreen on paper, 60″x 61″
Shade web
Shade, acrylic and sumi ink on stretched paper, 60″x 40″
Untitled web
Untitled, acrylic, sumi ink, wood cut and silkscreen on paper, 59″x 55″
Window web
Window, acrylic and ink on paper, 72″ x 72″
If you would like to learn more about Katherine Mann or would like to see her work, please contact the gallery to set up an appointment. We look forward to your visit.

Video: VICTOR EKPUK Installation of Mural at North Carolina Museum of Art!

20 Jun

Washington DC based Nigerian artist VICTOR EKPUK recently completed a mural,  Divinity, for the North Carolina Museum of Art in Raleigh, NC. It was part of their newly opened African art galleries. You can see a time-lapse of him creating the mural above.

To see more available works by VICTOR EKPUK, please visit his page on our website HERE or contact the gallery.

Below, you can find an article written about his installation in the Indy Week:

Victor Ekpuk’s Divine Mural at the North Carolina Museum of Art Heralds New Life for Its African Galleries

Victor Ekpuk's new mural at NCMA was commissioned to augment the museum's expanded African art gallery.

Photo by Ben McKeown

Victor Ekpuk’s new mural at NCMA was commissioned to augment the museum’s expanded African art gallery.

Ekpuk’s work covers a thirty-by-eighteen-foot wall in one of NCMA’s new African art galleries, which have been expanded in the museum’s East Building to include works from across the continent spanning sixteen centuries. Opening to the public by the end of June, the galleries will almost double the number of African works on display, including never-before-seen textiles and works on paper in light-controlled areas.

El Anatsui‘s “Lines that Link Humanity,” a quilt-like sculpture of aluminum and copper wire, hangs on a wall adjacent to Ekpuk’s work. Valises opposite the mural contain objects including a Yoruba divination board and ornately carved totems. Approaching this commission with no preconceived composition, Ekpuk sat in the space for a day considering the neighboring works before he pulled out his iPad to begin sketching.

“It’s more about the aura of the objects that were pulling me as I got closer to some of them,” Ekpuk says. “Some of them I’m familiar with. Some of them not so much. The power and aura of the objects themselves created an atmosphere where I felt a sense of divinity.”

Rendered in white chalk on a black wall, Ekpuk’s composition forms an abstracted figure wrapping long arms around the perimeter. Hundreds of signs and symbols are densely packed within the arms, which are themselves filled with little circles. The large figure has a placid, stylized face at the top, and its distended arms terminate in huge hands that gather the chaos of the symbols together.

The mural has a presence and an intricate density comparable to that of Anatsui’s sculpture. Ekpuk counts Anatsui as an elder, and they’ve shown together in a 1994 group exhibit in Lagos. Ekpuk was one of five up-and-coming Nigerian artists paired with a trio of established African artists.

The Yoruba divination board, however, inspired the mural’s form. Ekpuk talks about how a diviner shakes objects in the tray-like board in order to answer questions or make predictions by interpreting their proximities. Instead of objects, Ekpuk fills his mural with symbols that draw upon nsibidi, a Nigerian system of ideograms. But the symbols are so crowded and intertwined that any attempted reading will be foiled. It’s hard to focus on one sign to see what it might refer to or depict. Instead, one’s vision darts around and takes in the overall density.

“I know it teases your brain to think that you could read it,” Ekpuk laughs, “but it’s not writing that tells you A or B or C. I never try to analyze them or say that they are any one particular thing. I open it up so that people can just see what they see in it.” Echoing this semiotic openness, Ekpuk deflects talk of any overt political message in the work. But neither is it apolitical.

“I walked into the space and, initially, I thought, Let’s not just do another social-political thing. At the same time, I’ve found that art is always politics. Sometimes I don’t think about politics, but once I start making art, this feeling starts coming out in the work. After I made this, I thought, Oh, I’m actually responding to this siege that I feel right now in the political climate in America.'”

Ekpuk describes the composition as a divine embrace, but the arms could be read as a crowded space of containment, like a refugee camp or border wall. The empty zeros might exude the banal homogeneity of power.

Ekpuk won’t say it’s a wrong reading, just that he sees something different. He’s inclined to cede the artist’s intention by making a willfully undetermined work. He’s leaning toward leaving the mural untitled so that a visitor can react to what it is rather than what it means. [Editor’s note: Ekpuk ultimately decided to title the work “Divinity.”]

“It forces you to abandon what you know and have an opportunity to be aware of something else,” he says. “Not everything has to be explained. If you want to bring what you know, then you’re just going to hit the wall. Perhaps it’s sort of a comfort work, rather than an angry work. It’s a reminder that, whether we believe in it or not, there is a divine source of our strength. It’s beyond us.”

This article appeared in print with the headline “Symbol Crash”