Tag Archives: african american contemporary art

New Works by ANDREI PETROV

13 Jan
Based in New York City, ANDREI PETROV explores memory in his organic abstract paintings. His paintings probe the distortion, incompleteness and rare moments of clarity in the shadows of memory. Each piece portrays the intrinsic struggle and selective inclusion or exclusion of details in the process of recollection. At times, sharpness occurs in the rear of the picture plane while the out of focus, obscured areas, exist in a larger scale toward the foreground and make reference to the inscrutable nature of long and short term memory.
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ANDREI PETROV, Exodus, 2017, 25″x40″, oil on canvas
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ANDREI PETROV, Untitled 1, 20″x30″, oil on canvas

NATHANIEL DONNETT in “Silos” exhibition at American University

13 Sep

 

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Silos

September 6 through October 23, 2016

 

 

Wanda Raimundi-Ortiz, Detail of TristeReina (Sorrow Queen)

Wanda Raimundi-Ortiz, Detail of TristeReina (Sorrow Queen), 2016. Graphite on paper, 22 x 30 in.
Courtesy of the artist.

 

Wesley Clark, Black Don't Crack but it Sho' Catch Hell

Wesley Clark, Black Don’t Crack but it Sho’ Catch Hell, 2016.
Wood, acrylic, metal, 85 x 116 in.
Courtesy of the artist.

 

Ellington Robinson, Quilombo

Ellington Robinson, Quilombo, 2015-2016.
Drawing installation, 30 x 22 in.
Courtesy of the artist.

 

Exhibition Description

Curated by Jeffreen M. Hayes, Ph.D

As a microcosm of our society, the art world maintains a system of marginalization based on racial and cultural difference. Artists identified as “other” function in silos, just as they do in society. This exhibition presents eight artists who examine these silos, otherness, and the cultural and social ramifications of marginalization based on one’s identity, whether self-defined or inscribed. Bearing witness, as these artists do, not only identifies the pressing issues of our time but also challenges the norm of marginalization, absence, and exclusion. Through the work of Wanda Raimundi-Ortiz, Duron Jackson, Yaw Agyeman, Wesley Clark, Wilmer Wilson IV, Stacy-Lynn Waddell, Ellington Robinson and Nathaniel Donnett, Silos gives voice to the silence(d).

Related Events

September 9, 5:30 – 7:30 pm: Members’ Preview with Silos tour by curator Jeffreen Hayes, Ph.D.

September 10, 6-9 pm: Opening Reception

October 11, 6-7 pm: Artist’s Talk

Click HERE to view available artwork by NATHANIEL DONNETT

MAYA FREELON ASANTE featured in Callaloo Art & Culture in the African Diaspora

14 Jun
We are proud to announce that artist MAYA FREELON ASANTE has been prominently featured in the journal – Callaloo Art & Culture in the African Diaspora – published by  The Johns Hopkins University Press. Founded in 1976 by Editor Charles Henry Rowell, this renowned journal celebrates 40 years in print.
MAYA FREELON ASANTE’s feature can be found in Volume 38, Number 4, Pages 801-804 and 896-898. Some of you may recognize your acquisitions featured!
Contact Morton Fine Art for the full pdf version. 
Morton Fine Art
1781 Florida Ave NW
Washington, DC 20009
(202) 628-2787
mortonfineart@gmail.com

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Tips for the Emerging Art Collector

26 Apr

When starting an art collection, purchasing art can be a very daunting task. Many find the idea of it intimidating and overwhelming. However, the truth is that it doesn’t have to be that difficult. There are all kinds of ways in which art collecting is open to everyone…one just needs to take that first step. Art isn’t always a $10 million painting and you don’t always have to find it in a gallery in New York City.  This post is going to share some tips on how to begin your journey down the fun path of collecting art.

Julia Fernandez Pol, Reef Series 8, 23.5"x18.5", bas-relief hand painted monoprint

Julia Fernandez Pol, Reef Series 8, 23.5″x 18.5″, bas-relief hand painted monoprint

Tip #1: Buy art you like/love/couldn’t live without.

This is the first thing any collector will tell you. There is nothing like a regretted purchase, especially when it comes to art. That is why it is strongly suggested that you buy works that really speak to you. When buying a work of art, you want to make sure that it is something that you will still want to look at after it’s been on your wall for some amount of time. Works that make you stop and notice something new in them every time you look are the best kinds of works. If you see a piece in a gallery and you can’t stop thinking about it or continuously go to see it, that’s probably the art collector inside telling you something. At Morton Fine Art, we have the option of taking art works out on approval so that you can hang them in your home/office for a short period of time to get a feeling of what it would be like living with the piece.

Self goggles 4 - 8x10 - oil on mylar web

Charles Williams, Self Portrait with Goggles 4, 10″x8″, oil on mylar

Tip #2: Artwork doesn’t have to match your sofa. Or other pieces in your in collection.

This is a good follow up to the “Buy art you love” tip. It can be a touchy subject as on a few occasions, some people have come into the gallery looking for something to match a piece of furniture or a wall in their space. While it is really awesome when works of art match, it can stifle the creative freedom that makes art collecting fun. Buying your first piece of art doesn’t have to dictate the direction your collection will go. You can mix landscapes with figurative works, abstracts with realism. For example, works on paper are a great way to keep  In the end, it’s really about how they make you feel. Your art collection is a story about you and the experiences you’ve had in your life time.

Trance Dance, 2002, 26"x19", oil and pastel on handmade paper

Trance Dance, 2002, 26″x 19″, oil and pastel on handmade paper

Tip #3: More often than not, art IS in your budget.

A lot of potential collectors get scared off from buying art because they automatically assume the works are going to be out of their price range. Stories from auction houses about works that sell for millions don’t help alleviate this misconception. There are different ways galleries can help you figure out how to buy your first piece. When you are going to a gallery to buy art for the first time, don’t be afraid to ask questions. Also, keep in mind that certain factors will determine the price of a piece. Medium for example, can dictate the price of an artwork. From my own personal experience, I’ve built my collection (which include works by Vonn Sumner, Katherine Hattam, Nathaniel Donnett and Kesha Bruce) around buying works on paper because I find that they fit within my budget more so than works on canvas. That shouldn’t, however, prevent you from figuring out which mediums you like best.

Other ways can be through extended payments. For example, art works can be put on payment plans. Galleries will break up the cost of a piece into more easily payable payments over a 2-3 month period. This is helpful because it will help you budget and feel more secure in your art purchase. However, don’t always assume a gallery will offer you a plan. If you are really interested in a piece, ask the gallerist about their financial options.

If you are interested in starting your art collection or are looking to add something new to your already started collection, please contact the gallery. New collectors, ask about our New Collector Initiative!

NATE LEWIS “Biological Tapestries” reviewed in Washington City Paper

19 Apr

 

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“Biological Tapestries” Through April 27 at Morton Fine Art Artist Nate Lewis’ first solo exhibition cuts deep.

“Cloaked in Fratres Forever,” by Nate Lewis (2016)

Nate Lewis didn’t train to be an artist. Instead, he went into nursing, just like his father.

It wasn’t until his final year of school that Lewis became interested in art—first music, then drawing—as a way to disengage from the stress of the medical profession. For the better part of the last decade, Lewis has been honing his artistic practice while working in high-stakes, emotionally draining intensive care units. He currently works as a registered nurse in the recovery area of the critical care ward at George Washington University Hospital.

His first solo show, “Biological Tapestries,” now on view at Morton Fine Art, features 16 papercut works that blend Lewis’ interest in human healing with artistic expression. “Biological Tapestries” is an outgrowth of the trauma and redemption he’s experienced in his work environment. The works are compositionally minimal, even austere—mostly portraits that are simple and straight on, printed on porous paper in stark black and white. Lewis then sculpts the paper by snipping, slicing, and perforating the silhouette of the bodies to create three-dimensional figures that emerge from the canvas.

Lewis’ medical training and saint-like patience from years of caretaking are apparent in his practice. The paper-cutting process is laborious and detailed; it often takes him up to 38 hours to complete larger works (the biggest piece in the show is only 40 inches by 26 inches). The surgical precision that Lewis employs is, for all intents and purposes, as necessary to the integrity of these bodies as it would be in a real operation—one false knife swipe and an appendage might be lost. The stakes, naturally, are lower when it comes to paper.

Not every paper sculpture depicts a body in its entirety, to various effect. Some of the works come across as a memorial in nature, such as “Save Me This Time,” which features a torso with arms folded across its chest, as if laid to rest, unable to be physically saved. Others are slightly macabre, even if not intended to be so, by focusing on one specific body part—like a singular arm, no body in sight.

None of the all-male figures in the portraits are named, although Lewis’ artist’s statement suggests that they represent the patients and family members he interacts with in the hospital. The delicately layered slashes and densely patterned pinpricks that make up the artist’s paper patients impart a material fragility, as if one more incision could do them in, leaving nothing but shredded paper behind.

Like the injured and ill he cares for day in and day out, Lewis renders himself similarly vulnerable within the series. For instance, “Glio” features a forward-facing portrait of the artist, his face increasingly obscured by leaf-like snips that continue multiplying beyond his head, across the blank space of the page. The title seems to recall a clinical case Lewis perhaps encountered on the job—a quick search for “glio” reveals that a glioblastoma is a fast-growing brain tumor.

By reimagining and embodying the maladies of his patients, “Biological Tapestries” seems like an act of extreme empathy on Lewis’ part. Yet his self-portraits are also redolent of martyrdom. Lewis must methodically puncture, cut, and slice his own body until his features are nearly indiscernible. His process is almost a form of conceptual self-immolation in service of those he cannot help.

But for all of its painstaking craftsmanship and empathic ideals, “Biological Tapestries” lacks the tenderness of real vulnerability and pain. Despite being a series wrought from reflection on moments of intense mortal reckoning and human compassion, there is a certain amount of clinical detachment. The figures—both whole and partial—remain upright and static, their bodies on display like a teaching cadaver. They are beautiful in their design, but ultimately interchangeable.

1781 Florida Ave. NW. Free. (202) 628-2787. mortonfineart.com.

Click HERE to view available artwork by NATE LEWIS.

NATE LEWIS featured in DCist

14 Apr

dcist

From Operating Table to Canvas, Nate Lewis Finds Intricate Art

Thirty-year-old Nate Lewis never so much as doodled in the margins of a notebook for the first 20 years of his life. He grew up wanting to be a nurse like his father, so he got a nursing degree from Virginia Commonwealth University in 2009. Art really wasn’t on his radar.

Towards the end of college, his classes started to wear him out, so he distracted himself during lectures by sketching. His older sister Leah, 32, peeked over his shoulder one day and complimented the work. The following Christmas, she got him some art supplies and a book: Betty Edwards’ Drawing on the Right Side of the Brain.

From those humble beginnings, Lewis has come a long way. He’s opening his first solo exhibition this Friday at Morton Fine Art, a collection of 14 intricately crafted paper sculptures that present the human anatomy in a variety of forms.

Lewis hails from the small town of Beaver Falls, Pennsylvania—population: 9000—where his main pastimes included listening to music and playing baseball and basketball. “I was essentially a jock growing up,” he says.

Nursing appealed to him first as a venue in which he could study science and the human body. Only gradually did he realize that being a nurse meant taking intimate care of people at their most fragile and vulnerable. That scared him at first, but when he embraced the role, he found it fulfilling.

“When you walk into the room at 7 a.m. to take care of these patients, the families just open up with everything to you. You become part of this critical time in their family history,” Lewis says. “You have an intimate relationship and trust with these family members.”

After going through school, he took up work at several critical care facilities, including a surgical intensive care unit and a stroke unit. At that time, his main artistic interests were in music. He took a violin class because his mother was using one at the same time.

“I think that was my art more than anything, just listening to it. I wanted to play,” Lewis says. “I loved the strings, I just loved the violin and I just loved the sound of it.”

Playing put Lewis in the right headspace to start exploring his drawing skills. At first his sister told him to “draw some life”—buildings and other city surroundings. But Lewis quickly found that subject boring.

“Just drawing something to get better at it, I didn’t enjoy it,” Lewis says. “I wanted art to be fun.”

So he followed his muse, drawing increasingly elaborate images pairing an instrument with an organ—a trumpet with a set of lungs coming out, a phonograph made of red blood cells, a pair of brains that doubled as headphones. He brought his sketch pad and pencil to coffee shops near his home, then in Falls Church. It gradually dawned on him that his unconscious mind was simply translating the experiences he was having at work in the hospital, giving shape to the abstract concepts behind the medical procedures he witnessed.

The drawings grew into a T-shirt line, followed by some experimentation with a black pen. Then he realized he could use the blade as a pen to make smaller and more layered designs. By January 2014, he had started making full pieces like the ones he’s now displaying, cranking out as many as twelve per month. The largest pieces—26 inches by 40 inches—can take between 26 to 38 hours to create, Lewis said.

Since then, Lewis has been focused on displaying his creations and, as of October 2014, selling them. All the while, he’s maintained a steady paycheck at various hospitals, including George Washington Hospital, where he currently works in the recovery area of the critical care unit. That job is less emotionally taxing than some of his previous ones, he admits.

Among numerous accolades, Lewis won the regional edition of the Bombay Sapphire Artisan Series contest last year and earned grants from the D.C. Commission of the Arts & Humanities for the last two years running. He’s done shows in Brooklyn and San Francisco, and he placed in the top ten of a contest at the Hamiltonian Gallery on U Street. Through a friend, he sent his work to the Morton Fine Art Gallery in Adams Morgan, which quickly signed him to a contract and supported him at the Art Basel convention in Miami.

Amy Morton, the founder of the gallery, took to Lewis’ style soon after seeing it, according to gallery assistant Julia Bancroft. The mixture of texture and simplicity, as well as Lewis’ local placement, make him a good fit for the gallery’s roster, Bancroft says.

“He’s just hitting it off in the city and gaining some recognition,” Bancroft says. “We’re just really happy to support him.”

Looking ahead, Lewis hopes to slowly make a foray into photography. Eventually, he could see his artistic career dominating his professional life full-time. But he’s in no rush to abandon his medical career.

“It’s scary to think about going from a regular consistent paycheck to relying on selling things that people don’t need. But you’ve got to take a leap when it’s time,” Lewis said. “I’m in no hurry.”

Art serves a meditative role for Lewis, but he’s more concerned with communicating indescribable experiences to the widest possible audience.

“Art has done a lot for me and it’s showed me a lot of things about myself and about others,” Lewis said. “And it’s something that I just need to continue to cultivate.”

Lewis’ exhibition will open with a reception at 6 p.m. tomorrow and run until April 27 at Morton Fine Art (1781 Florida Ave NW). The gallery is open Tuesday to Saturday from 11 a.m. to 6 p.m. and Sunday from 12 to 5 p.m.

Click HERE to view available artworks by NATE LEWIS.

CHARLES WILLIAMS’ “Day Time” triptych arrives at Morton Fine Art

8 Mar

New oil on panel paints by artist CHARLES WILLIAMS. These new artworks are stunning, and the perfect complement to his “Nighttime” series which were included his September 2015 solo “Swim” at Morton Fine Art, in his traveling museum solo exhibitions, and at Aqua Art Miami.

 

CHARLES WILLIAMS, "Day Time 1", 12"x12", oil on panel

CHARLES WILLIAMS, “Day Time 1″, 12″x12”, oil on panel

 

CHARLES WILLIAMS, "Day Time 2", 12"x12", oil on panel

CHARLES WILLIAMS, “Day Time 2″, 12″x12”, oil on panel

CHARLES WILLIAMS, "Day Time 3", 12"x12", oil on panel

CHARLES WILLIAMS, “Day Time 3″, 12″x12”, oil on panel

 

Please contact Morton Fine Art for available artwork by CHARLES WILLIAMS.

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

(202) 628-2787

mortonfineart@gmail.com

http://www.mortonfineart.com

Video trailer for CHARLES WILLIAMS upcoming exhibition at Central Piedmont Community College

4 Mar

Enjoy this trailer for CHARLES WILLIAMS upcoming solo exhibition at Central Piedmont Community College in Charlotte, NC

 

 

Click here to view available artwork by CHARLES WILLIAMS.

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

(202) 628-2787

mortonfineart@gmail.com

http://www.mortonfineart.com

Artwork in KESHA BRUCE’s “Magic Spells & Reminders”

1 Mar

Don’t miss KESHA BRUCE’s solo exhibition “Magic Spells & Reminders”. On view at Morton Fine Art through March 17, 2016.

 

EXHIBITION LOCATION

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

HOURS

Tuesday – Saturday 11am – 6pm
Sunday 12pm-5pm

 

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About Magic Spells & Reminders

Magical-Spiritual belief is at the root of every artwork I create.  “Magic Spells & Reminders” began as a series of reoccurring shapes which appeared within my daily drawings.  These shapes soon solidified and grew into a set of symbols that I began to think of as a personal, magical alphabet.
Influenced by the dry heat and jagged, volcanic peaks of the Superstition Mountains, over the last 6 months I have created a spiritual lexicon inspired by endless sunlight and expansive blue sky of my new home in the Sonoran desert. Unlike my past work, these new works aren’t necessarily narrative in nature, rather they are intended to act as catalysts and reminders to bring about change.
The symbols themselves do not have fixed meanings. In fact, individual symbols may have several meanings, determined primarily by their placement within the painting and their juxtaposition to adjacent symbols. Just as many spiritual paths regard “speaking in tongues” as being a private language between a believer and The Divine, I regard the symbols I’ve created as a subconscious, visual vocabulary that represents spiritual concepts and ideas that range from the concrete to the ethereal and intangible.
The paintings I’ve created for “Magic Spells & Reminders” are meant to act as visual reminders of both spiritual and creative intent, tools or reflection and healing, statements of personal power, and in some cases a call to arms.
-KESHA BRUCE, 2016
 
Magic Spells & Reminders marks KESHA BRUCE‘s 5th solo exhibition at Morton Fine Art.
Morton Fine Art
1781 Florida Ave NW
Washington, DC 20009
(202) 628-2787
mortonfineart@gmail.com

MAYA FREELON ASANTE’s amazing artwork featured in Fine Art Focus on Design Sponge

12 Jan

design sponge logo

FINE ART FOCUS: MAYA FREELON ASANTE

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Over the past 12 years of blogging here at Design*Sponge, I’ve read and written about thousands of artists and designers. A small handful will always stand out to me for their innovation and bold choices in color and technique, but few have made a mark as powerful as mixed-media artist,Maya Freelon Asante.

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Maya is based in Baltimore, MD where she creates absolutely breathtaking installations using tissue paper. After talking last week about the way tissue paper can be used to create things like paper flowers, I love seeing how such a beautiful but humble material can be transformed into something as significant and moving as these pieces that Maya crafts. Back in 2005, Maya discovered a stack of tissue paper in her grandmother’s basement. Water in the basement had leaked into the paper and left a “bleeding” stain that so transfixed Maya that she decided to change her artistic focus to create work with this type of paper. Maya’s work has been shown internationally and is now displayed in the collections of the Reginald F. Lewis Museum and the U.S. State Department. Read on below to learn more about her gorgeous artwork. xo, grace

Artist: Maya Freelon Asante
About: Maya lives and works in Baltimore, Maryland. She received her BA from Lafayette College and her MFA from the School of the Museum of Fine Arts, Boston.
Work: Maya is a mixed-media artist who makes stunning, abstract sculptures and installations from tissue paper. Her work was described as, “visualizing the truth about the vulnerability and power of the human being,” by Maya Angelou.
More: You can read more about Maya’s work here, here, here, here andhere.

All artwork (c) Maya Freelon Asante. Images via maya-freelonasante.squarespace.com. Portrait by Greg Powers.

Hand+Made

  1. These images are stunning! I’m smitten with the green piece, and I bet they’re even lovelier in person. And always love seeing artists from my hometown!

  2. Absolutely gorgeous art. It looks like it has so much depth. These would be the perfect starting point for any room design!

    Click HERE to view the article in full.

     

    Contact Morton Fine Art for details and pricing for these featured artworks and others by MAYA FREELON ASANTE.

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