Tag Archives: DC gallery

MALIZA KIASUWA reviewed in The East African

10 Jul

THURSDAY JULY 08 2021

By FRANK WHALLEY

Multimedia collages

Elsewhere, flying the flag abroad for the richness and variety of this region’s art scene is Maliza Kiasuwa with simultaneous exhibitions of her multimedia collages in London, UK and Washington DC.

Dense and allegorical, both explore her own origins woven into an investigation of the wider African experience within the context of post-colonial societies.

Thus in the London show, at the prestigious Sulger-Buel Gallery, are some 16 collages under the general title of Ancestry, while in Washington at Morton Fine Arts the theme is developed with 19 collages and wall hangings, also from her Pride of Origins series.

They give a broader view of the continuing inequalities of exchange between Africa and the West while the artist examines herself and her position as a woman of European and African descent.

With works created in her studio on the shores of Lake Naivasha, both exhibitions include images from the corpus of tribal artefacts from an arc reaching from West Africa (a Senufo mask), through Cameroon and the Western DRC (the white spirit masks of the Shiri-Punu group) taking in the reliquary figures of the Bakota, to the Eastern DRC with the use of a striped Songye mask.

These help to give Kiasuwa’s collages context and being familiar from museums, books and thousands of cheap copies, act too as entry points; touchstones for further consideration of the artworks.

They also echo, perhaps sub-consciously, the artist’s own journey from West to East… born in Bucharest to a Romanian mother and a Congolese father, then moving to Kinshasa and on to Nairobi before settling in Naivasha.

Thus matters of place and identity are close to Kiasuwa’s heart, as is the impact of industrial development forced onto a traditional rural society, considered in her 2019 Yesterday is Today series of soft sculptures shown at the Circle Art Gallery in Nairobi.

By the time you read this, the exhibitions might have been taken down but happily, given their distance, they remain intact for a virtual visit; in London at https://www.sulger-buel-gallery.com/artists/132-maliza-kiasuwa/overview/ and in Washington at https://www.mortonfineart.com/artist/maliza-kiasuwa

Available Artwork by MALIZA KIASUWA

3 Questions Digital Series with AMBER ROBLES-GORDON – U.S. Department of State / Art in Embassies

30 Mar

Amber Robles-Gordon is a Puerto Rican-born, mixed media visual artist based in Washington, DC. Known for recontextualizing non-traditional materials, her assemblages, large sculptures, installations, and public artwork, in order to emphasize the essentialness of spirituality and temporality within life. Driven by the need to construct her own distinctive path, innovate, and challenge social norms, her artwork is unconventional and non-formulaic. Her creations are representational of her personal experiences and the paradoxes within the imbalance of masculine and feminine energies with our society.

Ultimately, the intention is to examine the parallels between how humanity perceives its greatest resources, men, and women versus how we treat our possessions and environment.

For over five decades, Art in Embassies (AIE) has played a leading role in U.S. public diplomacy through a focused mission of vital cross-cultural dialogue and understanding through the visual arts and dynamic artist exchange. The Museum of Modern Art first envisioned this global visual arts program in 1953, and President John F. Kennedy formalized it at the U.S. Department of State in 1963. Today, Art in Embassies is an official visual arts office within the U.S. Department of State, engaging over 20,000 participants globally, including artists, museums, galleries, universities, and private collectors. It encompasses over 200 venues in 189 countries.

Professional curators and registrars create and ship about 60 exhibitions per year, and since 2000, over 70 permanent collections have been installed in the Department’s diplomatic facilities throughout the world. Art in Embassies fosters U.S. relations within local communities world-wide – in the last decade, more than 100 artists have traveled to countries participating in AIE’s exchange programs and collaborated with local artists to produce works now on display in embassies and consulates. Going forward, AIE will continue to engage, educate, and inspire global audiences, showing how art can transcend national borders and build connections among peoples.

Available artwork by AMBER ROBLES-GORDON

Morton Fine Art

52 O St NW #302

Washington, DC 20001

(202) 628-2787 (call or text)

info@mortonfineart.com

mortonfineart.com

Amber Robles-Gordon discusses her series “The Temples of My Familiars”

17 Mar

Video by Jarrett Hendrix

“The Temples of My Familiars” series is about the intersections between my identity, the diverse visual languages in my artwork and the narratives they reference. The title is most definitely borrowed from the 1989 Alice Walker novel, The Temple of My Familiar. A womanist narrative about several women of color and their evolutionary process to know self, their identity and their struggle for happiness within a patriarchal society. However, I chose the title because of the distinct visual reference my sculptural geometric-like renderings took on once I inverted them. They became temples, a place of spiritual practice and sacrifice in which I could place my familiars —my visual languages. A place where they could be re-rooted, re-formulated, and take on a new life.

Being an artist has facilitated a very specific type of data collection, visual documentation, analysis and a vast array of methods of self-expression and personal exploration regarding issues that concern me. During a recent journey through past work, contemplations, beginnings and endings; I encountered fragments of myself. These fragments vibrated silently, yet continuously, like piercing questions waiting to be answered. The various languages beckoned and bemoaned to be unified. Once combined, the equations gracefully revealed themselves in harmony. Each artwork, 24 x 18 in, mixed media collage, within the series begins with title “The Temples of My Familiars” and then has a distinct sub-title. -AMBER ROBLES-GORDON, 2019

Contact Morton Fine Art for available artwork by AMBER ROBLES-GORDON.

http://www.mortonfineart.com

AMBER ROBLES-GORDON

(Washington, DC b. Puerto Rico)

EDUCATION

2011 M.F.A., Howard University, Washington, D.C.

2005 B.S. in Business Administration, Trinity College, Washington, D.C.

SELECTED SOLO EXHIBITIONS

2021 American University, Katzen Arts Center, Washington, DC

2019 Universidad del Sagrado Corazon, San Juan, Puerto Rico 2018 Washington College, Chestertown, MD

2018 Third Eye Open, Morton Fine Art, Washington, D.C.

2017 At the Altar, Arts Center/Gallery Delaware State University, Dover, DE

2017 Pennsylvania College of Art and Design, Lancaster, PA

2012 Milked, Riverviews Art Space, Lynchberg, Virginia

2012 With Every Fiber of My Being, Honfleur Gallery, Washington, D.C.

2011 Milked, National League of American Penn Woman, Washington, D.C.

2011 Wired, Installation and Exhibit, Pleasant Plains Workshop, Washington, D.C.,

2010 Matrices of Transformation, Michael Platt Studio Gallery, Washington, D.C.

2007 Can You Free Me?, Ramee’ Gallery, Washington, D.C.

1997 The Artwork of A. Robles-Gordon, Dance Place Exhibition Space, Wash., D.C.

1995 The Art, The Brittany, Arlington, VA

COLLECTIONS

Judith A. Hoffberg Archive Library, University of California, Santa Barbara, CA

Masterpiece Miniature Art Exhibition, Kuala Lumpur, Malaysia

Capital One Bank, McLean, VA

District of Columbia’s Art Bank, Washington, DC

Schomberg Center for Research in Black Culture, New York, NY

The Gautier Family Collection, Washington, DC

Department of General Services, Washington, DC

Martha’s Table, Washington, DC

Democracy Fund, Washington, DC

LISA MYERS BULMASH “The Home Inside My Head” reviewed in The Washington Post

27 Dec

Congratulations to LISA MYERS BULMASH for the rich review of her solo exhibition “The Home Inside My Head” in today’s print edition of The Washington Post by Mark Jenkins. (Arts & Style Section 12/27/20)

Lisa Myers Bulmash

Also spurred by pandemic-era exile from everyday life, Lisa Myers Bulmash conceived a Morton Fine Art show “The Home Inside My Head”. The Seattle artist combines found and personal objects into 3-D collages that conjure both African American history and her family’s own story. The pieces juggle the antiquarian and the immediate to express what Bulmash’s statement calls “a Black and female viewpoint”.

One series, “Rare & Exquisite,” places oversize models of endangered butterflies atop maps of regions of the United States collaged from Colonial-era (and thus not entirely reliable) charts. The effect is to correlate the threatened species — affixed with heavy railroad spikes that evoke hard labor –with Black people whose place in this country has always been at risk.

Examples of another antique tool, the wooden washboard, serve as frames in the “Bought and Paid For” series. The washboards hold books and ovals made of twine, which enclose overlapping transparencies of family photos. The pictures depict various old structures, including houses, and children at play. Again, Bulmash contrasts rough materials with fragile beings.

It seems apt that another piece is based on a torn piece of old sheet music repaired by kintsugi, the Japanese technique of using gold to both accentuate and exalt the cracks in a broken vessel. Bulmash’s assemblages can be seen as a bid to mend history.

Click HERE to read the review in full.

On view by appointment at Morton Fine Art through January 6th, 2021. Located at 52 O St NW #302, Washington, DC 20001.

(202) 628-2787 (text or call)

info@mortonfineart.com

http://www.mortonfineart.com

Available Artwork by LISA MYERS BULMASH

New artwork arrivals by KATHERINE TZU LAN MANN

21 Dec

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 MANN

Click HERE to view available artwork by KATHERINE TZU LAN MANN.

Morton Fine Art, 52 O St NW #302, Washington, DC 20001

(202) 628-2787 (text or call)

info@mortonfineart.com

http://www.mortonfineart.com

Virtual exhibition and artist narration of LISA MYERS BULMASH’s solo exhibition “The Home Inside My Head” at Morton Fine Art

24 Nov

Virtual tour and artist narration of LISA MYERS BULMASH’s first east coast solo exhibition, “The Home Inside My Head” at Morton Fine Art in Washington, DC.

Video credit: Jarrett Hendrix

Contact the gallery for private viewing by appointment, price list and acquisition. (202) 628-2787 (text or call) info@mortonfineart.com http://www.mortonfineart.com

“For most of this year, we’ve had to make a home inside our heads — because a virus was blocking the way out to “normal” life. That was fine by me at first: home is my castle and retreat. But there’s no vacation from yourself, or the deepest fears for your children’s future. Even a rich interior life becomes over-stuffed with emotions, memories and uncomfortable truths. The works in “The Home Inside My Head” reflect this ambivalence. The “Bought and Paid For” series was born from the love and deep gratitude for my ancestors’ struggles to give me greater opportunities. But even during my sheltered childhood, I recognized not every house feels like home as I experienced it. Not every parent prepares their child for ugly realities like institutional racism. As a 21st century Black woman, I need to make work that explores my disillusionments as well as my hopes for America. Collages like “One Nation, Under Reconstruction” are my attempts to name these experiences as truthfully as I can. I center a Black and female viewpoint in my work, as examples of a specific story illuminating the general human condition. But there’s something else. We can’t continue to tell each other the same stories featuring the same old heroes. Those icons accomplished amazing things everywhere but at home. We need to imagine our next home before we can live in it: this is the place where we build new narratives.” – LISA MYERS BULMASH, 2020

New arrivals from Melbourne by Australian artist KATHERINE HATTAM.

18 Nov

“Katherine Hattam’s work sees the terrain of language as a wilder and more intimate place. This is not a home or a homeland, it is a landscape that belongs to itself. Perhaps it belongs to no one, but lives as all beings live, against the possibility of being owned by another…”

-Dr. Anne Norton

 Stacey and Henry Jackson President’s Distinguished Professor of Political ScienceUniversity of Pennsylvania, USA


Selected Collections include:

National Gallery of Australia, Canberra, ACT

National Gallery of Victoria, Melbourne, VIC

Ian Potter, Melbourne University, VIC

Bendigo Art Gallery, VIC

Warrnambool Art Gallery, VIC

Queensland Art Gallery, Brisbane, QLD

Mornington Art Gallery, VIC

Grafton City Art Gallery, NSW

National Bank of Australia

Potter Warburg Collection

Hummerston Clark Collection

Bankers Trust Collection

Smorgon Collection

Queen Victoria Hospital Collection

George Patterson Collection

The Darling Foundation

Box Hill City Art Gallery, QLD

Hamilton City Gallery, VIC

Minter Ellison Collection

Artbank

Heide Museum of Modern Art, Melbourne, VIC

Art Gallery of NSW, Sydney, NSW

Queensland University of Technology, Brisbane, VIC

Art Gallery of SA, Adelaide, SA

RACV Collection

University of Queensland, Brisbane, QLD

LaTrobe University (LUMA), VIC

Available Artwork by KATHERINE HATTAM

Morton Fine Art

52 O St NW #302

Washington, DC USA

+001 202 628 2787

info@mortonfineart.com

http://www.mortonfineart.com

Creating a shared family value in collecting art

8 Jan

Salon style wall of contemporary art at Morton Fine Art, Washington, DC

 

As an art collector, you invest time, energy and money in a collection which fits both your aesthetic and interests. Oftentimes you develop strong relationships with galleries, auction houses and sometimes the artists themselves. How do you translate your passion for your collection into a shared family value?

A few questions to ask yourself:

What reflected in your art collection is most relevant to your family members?

Does your collection mirror family values or non literal family narratives or concepts?

What art on your walls most influences you?

What art on your walls most inspires your respective family members?

Do you have family discussions about art?

Do you visit art institutions and galleries with your family?

Have you shared the influences which have lead to you collect as you do?

 

Stein collection (detail), Paris

 

Here is a wonderful example of family legacy created by a shared passion for art collecting:

Did you know that the legendary American writer and art collector Gertrude Stein actively and profusely collected art with her brothers Leo and Michael and her sister-in-law Sarah?  In fact, the family was integral in the rise of modern art in western Europe and America including early acquisitions of Cezanne, Gauguin, Renoir, Matisse, Toulouse-Lautrec and Picasso – much of the art which now fill the world’s museums. In the early 1900’s Henry McBride (the critic for the New York Sun) commented that Stein “collected geniuses rather than masterpieces. She recognized them a long way off”.

Collectors, that’s some inspiration for today!

 

Morton Fine Art

52 O St NW #302

Washington, DC 20001

(202) 628-2787

www.mortonfineart.com

mortonfineart@gmail.com

 

 

MFA partnership with Art Money – 10 payments. 10 months. No interest.

2 Jan

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To set up with Art Money visit https://www.artmoney.com/us

Select your artwork acquisitions at Morton Fine Art http://www.mortonfineart.com

ASTRID KOHLER hosts a painting workshop at Windmill Workshops

21 Dec

Click here to learn more about Windmill Workshops

The classic of workshops. Painting. With Astrid Köhler. Some claim she ‘could have been a great art forger as well’.  Not only for her technical skills, but also her capability to pick up on form, themes, stiles and make them her own, which open up to even the untrained eye.  Her pictures are such perfectly painted, that nobody would come up with the idea, to copy them like a Picasso. (…) The portrayed carry paper bags on their heads, her still life of fruits are wrapped with dressing bandages – pictures and groups of works have weird names from time to time. Such a break of tradition of art, the subversion of the beauty, up to the finest detail pictured incongruent, oppositional element and the connection of outmost virtuosity and ‘lower category items’…

To cut a long explanation short: Right, we have one of the most talented, most crazy and obviously best workshop instructors on board. Be prepared.

Astrid Köhler

©Astrid Köhler (Klick!)

Workshop I: 12. 02. – 16.02.2020 oder

Workshop II: 19.02. – 23.02.2020

Realistic Painting, (Landscape, Still life, Animals, Plants): Mixed Media, including Oil, Acryl, water colour Spraypaint, etc.

  • 7 – 13 people
  • 5 Days
  • Preis: 980 € inklusive (inclusive overnight stay in shared bedrooms, single rooms on request on a small surcharge )
  • payable in advance (Here our AGB /Terms & Conditions)
  • own travel arrangements (airport pickup on request)
  • Food: Breakfast, Lunch, Dinner including soft drinks, alcoholic drinks on request
  • daily painting about 6 hours, for the tirelessly ones even longer
  • book here: info@windmillworkshops.com

What Astrid says:

I am here for every participant sharing my talent and experience, even in their and my own free time. The “students” should reach their goals with a lot of fun and concentration and be able to carry on with the learned skills later on. With all my experience we will select motifs, which will enable every individual to optimise their strengths and lead to a fantastic result.

Just a few requests:

Please bring your own brushes, the ones you like to work with most. Also backgrounds (DIN A5 up to maximum size DIN A3, square or rectangular or cartons. All other material needed we will supply on location. Please bring also some (digital) pictures of the works you did already in order to give me an impression what you like to paint and what skills you have already. Perhaps you find some motif already and bring a digital or print out of it with you.

Schedule:

Day 1: Individual arrival, get to know each other, take a look at the individual skills and aims to achieve, group dinner

Day 2: group breakfast, search of motifs for everyone, to put the motif in the right context, lunch, preparing of the background, main motif to be transferred to the background, some free time (if you want), group dinner, talk about the different technics of being used or wanted

Day 3: group breakfast, drawing up the motif, explanation of the different techniques with all the tricks and finesses of 30 years of experience, group lunch, painting, free time, group dinner

Day 4: Group breakfast, further work on the painting, work on details, use unconventional techniques and aim to finish your painting. Obviously lunch and dinner even on day 4

Day 5: Group breakfast, wrap up of the art work and individual departure

©Astrid KöhlerClick HERE to view available artwork by ASTRID KOHLER.