Tag Archives: Contemporary

NATALIE CHEUNG and NATE LEWIS Reviewed in The Washington Post

25 Apr

WASHINGTON POST ~ In the galleries ~ April 21, 2017

 Natalie Cheung: Increments in Time and Nate Lewis: Tensions in Tapestries On view through April 26 at Morton Fine Art, 1781 Florida Ave. NW. 202-628-2787. mortonfineart.com.

Natalie Cheung’s “31 Hours,” cyanotype on paper, on view through April 26 at Morton Fine Art. (Natalie Cheung/Courtesy of Morton Fine Art)

To judge by their titles, change must be the subject of Natalie Cheung’s cyanotypes. Each picture in her Morton Fine Art show, “Increments in Time,” is named after a period of as little as one and as many as 76 hours. This is how long it took water to evaporate from the photographic paper, yielding studies in blue, black and white.  The D.C. artist has turned the process, once used for architectural blueprints, into something abstract and unpredictable. Her pictures may resemble Rorschach tests and microscopic views, but all they truly illustrate is the process by which they were made. Their poetry is an accident of chemicals and duration.


Nate Lewis’s “Signals II,” hand-sculpted paper photo print, at Morton Fine Art. (Nate Lewis/Courtesy of Morton Fine Art)

To Nate Lewis, whose “Tensions in Tapestries” also is at Morton, the African American body is a landscape to be transformed. He cuts and scrapes black-and-white photographic portraits, removing pigment while adding patterns and flocked textures. The effect recalls African weaving and skin embellishment, but also reflects the influence of the D.C. artist’s job as an intensive-care nurse, seeking to heal the most damaged. In pieces such as “Funk and Spine,” the surface of a woman’s body is almost entirely remade, yet sinew, bone and essence endure.

– Mark Jenkins

Natalie Cheung: Increments in Time and Nate Lewis: Tensions in Tapestries On view through April 26 at Morton Fine Art, 1781 Florida Ave. NW. 202-628-2787. mortonfineart.com.

Currently On View: VONN SUMNER’s “Wall”

19 Jan

vonn-sumner_wall_2017_casein-tempera-on-panel_16-x16-web

VONN SUMNER

Wall, casein and tempera on panel, 16″ x 16″

I’ve been using walls as a motif in my paintings for about 13 years, but I never thought of them as something sinister before this last year. Initially, walls were expedient for my pictorial and psychological purposes: they help define what we reveal and what we conceal; they become visual metaphors for the many mysteries that we carry.
 
Some walls are very beautiful-old brick walls in New York, brightly colored walls in Mexico and Guatemala, ancient walls in Rome-I have loved looking at all of these.I live in the Los Angeles area and there are many interesting walls between the street and buildings, with glimpses of trees sticking up, and I like imagining what is on the other side as I drive past. I love the walls in the backgrounds of paintings, especially those in early Sienese and Florentine Renaissance paintings. Most of the walls I have painted were based on my memory of a brick wall in the backyard of the house I grew up in. So my association with walls was personal and very positive.
But that has, of course, changed in the past year when talk of walls was suddenly and unexpectedly in the news. At first it sounded ridiculous, even humorous, as I did not really take it seriously. Then I was reminded that as long as we have been building walls, we have been using them to keep people on the other side of them-out of fear. I realize now that my romantic relationship to walls is a very privileged one. Now I am very sad that this wall idea, long a cliché, has become current once again. They are, of course, pointless in the end, merely symbolic-always begging to be toppled.
-VONN SUMNER, January 2017

Currently On View: New Works by NATHANIEL DONNETT

17 Jan

philando_webNATHANIEL DONNETT

Philando, graphite, synthetic and real hair on paper, 11.5″ x 11.5″

Oscillating between abstraction inspired by the Ndebele people of South Africa and social concerns of police brutality, NATHANIEL DONNETT creates thoughtful mixed media narratives titled Philando and Eric. He includes the use of hair as a medium and as a cultural communicative expression.
eric_web
NATHANIEL DONNETT
Eric, graphite, synthetic and real hair on paper, 12″ x 12″

New artwork by JULIA MAE BANCROFT

25 Jun
We are proud to announce the arrival of new artworks by DC based artist JULIA MAE BANCROFT.  A graduate of the Corcoran College of Art & Design, Bancroft intricately and thoughtfully hand-stitches her mixed media artworks on paper. Each piece incorporates natural fibers including hemp, Merino wool and bamboo to complement her figurative monoprint drawings which are also laced with oil paint, watercolor paint and conte crayon. A typical artwork in her series Mending Moments takes 50-60 hours to complete.

About Mending Moments:

Mending Moments is a title that describes both the literal process and conceptual ideas behind the artwork I make. I carefully “mend” the surface of my images by stitching various fibers directly into the paper by hand, rearranging its parts and binding the pieces back together to form a new ethereal moment for reflection.”

-Julia Mae Bancroft, 2016

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Please contact Morton Fine Art for additional details on acquiring artwork by JULIA MAE BANCROFT

 

Morton Fine Art (MFA)
1781 Florida Ave NW (at 18th & U Sts)
Washington, DC 20009
(202) 628-2787
mortonfineart.com
mortonfineart@gmail.com

Hours:  Tuesday through Saturday 11 am – 6 pm and Sunday 12 – 6pm

‘Lessons in Realistic Watercolor’ by MFA’s Mario Andres Robinson

1 Jun

 

“Watercolor by its nature cannot be controlled, and your success will depend upon your willingness to accept that fact.”  -Mario Andres Robinson

Master watercolorist Mario Andres Robinson, has recently produced an extraordinary book titled Lessons in Realistic Watercolor that includes step by step instructions on studio set up, using the medium in various techniques, as well as poignant personal insight into capturing the subtle nuances of a fleeting moment and the soul of American life.  Morton Fine Art has supported Robinson on our roster of artists for over five years now, we are incredibly proud of this achievement and so happy to know his unique perspective on an age old medium is being passed down to new generations of artists!  Many of the original artworks featured in the book are available here at MFA.  Enjoy the following excerpts and please contact us here at the gallery for details on acquiring one of Robinson’s superb original paintings.

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GA GARDNER Curates International Art Exhibition in Paris, France

5 May

 

We are very excited to share GETTHRU’s newest project with Boxout, exhibiting in Paris, France.  ‘Mixed Bag: An International Small Works Exhibition’ curated by Morton Fine Art’s own GA GARDNER is made possible by Gethru.org and the fundraising arm of the nonprofit organization!  Boxout provides art collectors with access to international works of art by making the original works available for sale through local galleries, art fairs and art spaces.

About the Exhibition:

Title:  Mixed Bag: An International Small Works Exhibition
Curator:  GA Gardner
Gallery:  59 Rivoli
Venue:  Paris France, www.59rivoli.org

Date: April 28 to May 8, 2016

Mixed-BAG-Paris-Card

 

Also check out this write up by Olive Vassel about the exhibition on euromight.com!

sunday_arts_guardianParis-show_april2016

 

New artworks by JULIA MAE BANCROFT

25 Apr
We are proud to announce the arrival of three new artworks by DC based artist JULIA MAE BANCROFT.  A graduate of the Corcoran College of Art & Design, Bancroft intricately and thoughtfully hand-stitches her mixed media artworks on paper. Each piece incorporates natural fibers including hemp, Merino wool and bamboo to complement her figurative monoprint drawings which are also laced with oil paint, watercolor paint and conte crayon. A typical artwork in her series Mending Moments takes 50-60 hours to complete.

About Mending Moments:

Mending Moments is a title that describes both the literal process and conceptual ideas behind the artwork I make. I carefully “mend” the surface of my images by stitching various fibers directly into the paper by hand, rearranging its parts and binding the pieces back together to form a new ethereal moment for reflection.”

-Julia Mae Bancroft, 2016

Pompilidae, 2016, 7″x9″, watercolor, oil pastel and various natural fibers hand-stitched on photograph


Locks Fly, 2016, 9.5″x14″, watercolor, oil pastel and various natural fibers hand-stitched on photograph


Awaiting, 2016, 15″x67″, watercolor, oil pastel, and conte on hand-stitched paper


Awaiting (DETAIL)

Please contact the gallery for acquisition.

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

(202) 628-2787

mortonfineart@gmail.com

http://www.mortonfineart.com