Tag Archives: Gallery

OSI AUDU : DIALOGUES WITH AFRICAN ART, Woodstock NY

26 Sep
SelfPortraitwithEgungunHairstyle_web

OSI AUDU, Self-Portrait with Egungun Hairstyle, 2018. Graphite and pastel on paper mounted on canvas, 22 x 31 inches

 

OSI AUDU: DIALOGUES WITH AFRICAN ART at the Kleinert/James Center for the Arts, Woodstock NY

Solo exhibition opens Friday October 19th and is open through Sunday, December 2.  The gallery is open Thursday-Sunday: 12:00 – 6:00 pm or by appointment.

Mr. Audu, who lives in Hurley, New York, will give an artist’s talk on Saturday, October 20, at 3:00pm and the public opening reception for the show follows at 4:00 on Saturday.
OSI AUDU: DIALOGUES WITH AFRICAN ART examines issues of identity rooted in the artist’s cultural experiences growing up in Nigeria, as well as broader metaphysical and social concepts of the self. Audu’s paintings, some of them very large in scale, are influenced by the abstract geometric possibilities in traditional African sculpture; thus the exhibition also includes examples of original nineteenth- and twentieth-century African sculpture that the artist uses as inspiration for his work. Describing the works in the show, Audu writes: “I am interested in the dualism of form and void, and the metaphysical relation between the tangible and intangible, something and nothing, light and dark, body and mind, the dual nature of being—the self in portraits.” The title “self-portrait” that Audu uses in his work is about the portrait of the intangible self, rather than a literal portrait of the artist.

Osi Audu is a Nigerian-American artist whose work has been shown in numerous international exhibitions including the Kwangju Biennale, Venice Biennale, the AfricaAfrica exhibition at the Tobu Museum, Japan, and the Museum of the Mind at the British Museum. His work has also been exhibited at and collected by public institutions including the Smithsonian Institution’s National Museum of African Art in Washington DC, The Newark Museum in Newark, New Jersey, the British Museum, Horniman Museum, and Wellcome Trust Gallery, all in London, the Hood Museum at Dartmouth College, New Hampshire, and the Mott-Warsh Collection in Flint, Michigan. His work has also been acquired for corporate collections including by Sony Classical New York, the Fidelity Investment Corporation in Boston, Massachusetts, and the Schmidt Bank in Germany.

SelfPortraitAgbogoMmwoMask_web

OSI AUDU, Self-Portrait, after Agbogo Mmwo Mask, 2017. Acrylic on canvas, 48 x 58 inches

Audu curated an international exhibition of contemporary African art which opened at the N’Namdi Center for Contemporary Art in Detroit in September 2017, then traveled to the Samuel Dorsky Museum of Art at the State University of New York, New Paltz, and the August Wilson Center in Pittsburgh, Pennsylvania in 2018.

He is a current recipient of the Pollock-Krasner Foundation grant.

The exhibition is curated by Sylvia Leonard Wolf, who is the chair of the Woodstock Byrdcliffe Guild’s Exhibition Committee. A full color catalogue accompanies the exhibition. Below is an excerpt from an essay in the catalogue:

Audu is, in effect, reclaiming abstraction…Through the language of abstraction, Audu seeks to create a container or a frame for the intangible that is the self. In choosing to dialogue with works of African art that are themselves symbolic representations of concepts, he situates his geometric abstraction firmly within African ontologies. And in doing so, he also makes tangible the intangible, or perhaps hidden, presence of African sculpture within the legacy of Western modernism.

— Christa Clarke, Ph.D. (Senior Curator, Arts of Global Africa, Newark Museum; Board President, Association of Art Museum Curators (AAMC) and AAMC Foundation)

____________________________________________________________________________________________

logo.jpg

 

For additional information about artist OSI AUDU please contact Morton Fine Art at mortonfineart@gmail.com -or- (202) 628-2787.  Follow the highlighted link to view all available artwork by OSI AUDU on our website www.mortonfineart.com.

____________________________________________________________________________________________


All 2018 Byrdcliffe arts programming is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

Copyright © 2018 Byrdcliffe, All rights reserved.
You are receiving this email because you are associated with a NY-based media outlet.

Our mailing address is:

 

Advertisements

NATE LEWIS in ‘6 Artists Pushing the Limits of Paper’ by Ariela Gittlen

24 Apr
palpablememoriesII web.jpg

NATE LEWIS, 2018, Palpable Memories II, hand-sculpted photo paper print

At first glance, Nate Lewis’s work looks like it’s been adorned with embroidery, rather than paper and ink. His tender portraits and images of protesters gathering in the streets are sliced, scored, and punctured in such dense and precise patterns that their surfaces resemble beadwork.

“Latent Tensions,” a recent series based on photographs taken during the the 2017 presidential inauguration, shows protesters filling the streets. In one image, Lewis has almost entirely obscured the faces of three young men wearing “Fuck Trump” baseball caps, giving the protesters total anonymity and lending the scene an added layer of psychological weight. Like a tattoo, these marks read as both wound and decoration, reminders of the body’s beauty as well as its vulnerability.

Trained as a registered nurse, Lewis approaches the medium with empathy. “It’s about assessing the paper, responding to it, and giving it what it needs,” he explains. “My approach is to treat paper like a complex organism with a dynamic, hidden life.”

Lewis is currently using a residency at Dieu Donné (a paper-making studio and gallery in the Brooklyn Navy Yard) to continue his exploration into paper’s staggering variety, as well as its expressive potential. “It’s just a simple material,” he says, “but at that same time, the variability within the many kinds of paper is nuanced and vast.”

Read the rest of the article by Ariela Gittlen here on ARTSY.net

All AVAILABLE ARTWORK by NATE LEWIS can be viewed here on MFA’s website

Delicious Line Reviews posts on ‘Weapons for Spiritual Warfare’ KESHA BRUCE

3 Mar

02 Mar 2018

Kesha Bruce: Weapons for Spiritual Warfare

Morton Fine Art

Reviewed by Stephanie Lee Jackson

The patchwork symbols arrayed in Kesha Bruce’s luminous paintings feel like scraps of ancient garments, rescued from a flood. Squares of canvas, paint-logged, layered, and worn, are assembled in combinations that evoke a half-remembered ritual.

Bruce’s iconography derives from Hoodoo, a West African spiritual practice which evolved in the Mississippi Delta as a result of the slave trade. She absorbed the tradition as a child, watching her grandmother drawing spells in the kitchen. Recurring symbols, such as a crossroads, hold specific meanings – dispersal, banishment – which shift with context, like words in a poem. The act of painting becomes the working of a rediscovered spell.

Her paint handling mirrors the Hoodoo use of body fluids in spell casting. The rich textures appear to emerge from generations of handling, with few intermediary tools. The largest paintings exude the determined authority of a heritage shattered and painstakingly reconstructed.


Follow the hyperlink to view all available artwork by KESHA BRUCE on our website!  Please contact us here at the gallery for additional information and acquisition details.  ‘Weapons for Spiritual Warfare’ is up through March 7th, don’t miss out!

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.

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.

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″

Artwork by Victor Ekpuk- Live painting in Amsterdam

15 May

Artwork by Victor Ekpuk, made during the presentation of ZAM Africa Magazine in 2009.