Tag Archives: morton fine art

Morton Fine Art participates in Prizm Art Fair in Miami December 3 – 9, 2018

16 Oct

 

Prizm Art Fair 2018
December 3rd – December 9th | Open Daily: 10 am – 6 pm
PRIZM is the producer of a cutting-edge cultural platform that is multidisciplinary in scope. Our goal is to expand the spectrum of exhibiting international artists from the African Diaspora and emerging markets.
Our mission is to promote the work of artists from Africa and global African Diaspora, who reflect global trends in contemporary art. Workshops and special events are organized throughout the year to advance critical dialogue and sharpen the lens through which we view and understand contemporary art. We are committed to the Miami cultural community and will work to expand its visual arts landscape, nurture and educate its constituents and provide forums for cross cultural exchange.
Prizm exhibits a dynamic group or contemporary artists during Art Basel/Miami Beach and beyond. Salient works are presented that highlight the diversity evident in contemporary visual art practices today, including painting sculpture and mixed media installations.
Morton Fine Art will be featuring the artwork of internationally renowned contemporary artists OSI AUDU, KESHA BRUCE, VICTOR EKPUK, MAYA FREELON, AMBER ROBLES-GORDON and NATE LEWIS.
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Morton Fine Art Relocating to NoMA District in Washington, DC

12 Oct

After nearly 9 years on Florida Ave, Morton Fine Art will be relocating the gallery to 52 O Street NW, Washington, DC, 20001 in November 2018. The building at 52 O Street NW was built in 1914 in what was then a remote, industrial part of town. It was designed by architect Clement Didden who previously assisted Richard Morris Hunt in the design of landmarks including the Metropolitan Museum of Art. Before becoming an arts-dedicated space in 1978, 52 O Street NW housed a meat-packing company, a plumbing company, a Hecht’s furniture factory and Decca Records. NoMA is a vibrant, growing neighborhood nestled next to Capitol Hill, Shaw, Mt. Vernon Triangle and H Street NE corridor in Washington, DC. It also has ample street parking, easy metro access, and close proximity to Union Station.

We look forward to continuing our active solo and group exhibition programming in our new location and also to participating in projects locally and nationally to promote Morton Fine Art’s artists in new markets. Upcoming out-of-gallery, outreach projects include Prizm Art Fair in Miami from Dec 3-9, 2018 where we will showcase the artwork of select MFA artists to a national and international collector audience; an MFA curated group exhibition of gallery artists honoring Black History and Women’s History months at Workhouse Arts Center in Lorton, VA mid-Feb through the end of March 2019; and two month long “pop-up” exhibitions at Gallery B in Bethesda, MD in March and April 2019.

 

New Location:

Morton Fine Art

52 O Street NW #302

Washington, DC 20001

 

New Hours:

Wednesday – Saturday: 12pm-5pm

Sunday – Tuesday: By appointment

 

Map of 2 mile route down Florida Ave NW from our Adams Morgan location to new NoMA location – SO EASY!

Morton Fine Art

OSI AUDU’s “Dialogues with African Art” at Woodstock Byrdcliffe Guild in New York

11 Oct

Osi Audu: Dialogues with African Art – Artist’s Talk and Opening Reception

When:   October 20, 2018 @ 3:00 pm – 6:00 pm
Where:   BYRDCLIFFE Kleinert/James Center for the Arts, 36 Tinker Street, Woodstock, NY

Opening on Friday October 19, the Kleinert/James Center for the Arts presents the solo exhibition OSI AUDU: DIALOGUES WITH AFRICAN ART. Mr. Audu, who lives in Hurley, New York, will give an artist’s talk on Saturday, October 20, at 3:00 pm. The public opening reception for the show follows at 4:00 pm 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 Africa-Africa 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.

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)

OSI AUDU: DIALOGUES WITH AFRICAN ART is open through Sunday, December 2. The gallery is open Thursday-Sunday: 12:00 – 6:00 pm or by appointment. School groups and other organizations can schedule group visits with the artist by contacting derin@woodstockguild.org.

Click HERE to view available artwork by  OSI AUDU.

AMBER ROBLES-GORDON in The Elm Newspaper of Washington College

22 Sep

The Elm

Kohl Gallery Exhibit Confronts Issues of Identity and Ownership

Grayscale edited.KohlGalleryTalk_JustinNashBy Victoria Gill

Elm Staff Writer

The new guest artist residing in the Kohl Gallery at the Gibson Center for the Arts hangs her identity on the walls.

Amber Robles-Gordon’s opening reception for the exhibit “Material-isms: The Cultivation of Womanhood & Agency Through Materiality,” was scheduled for Sept. 6 but, due to a water leak in Gibson, was postponed to Sept. 13 during her talk.

Her exhibition “features assemblage and installation works created from a range of found objects and textiles,” according to Julie Wills, curator and interim director of the Kohl Gallery.

This past Thursday, the gallery was filled with a crowd mostly of Washington College students, along with some faculty and community members.

According to Wills, Robles-Gordon “confronts the often-paradoxical experiences of her gender, ethnicity, and social and cultural influences.”

The collection consists of compiled pieces from five different series of mixed media art that present her experiences and reflect her pride in her Latino, African and Caribbean heritage.

Through the use of hybridism, most of Robles-Gordon’s pieces use natural materials and topics. This is evident in the canvas of paint chips that have layers of text on top of them and other mixed forms of feathers and cutout shapes.

Robles-Gordon said her use of color, light, and energy represent a part of herself. To her, it is impossible to separate her identity from her works.

The words “conformity,” “analyze,” and specifically the quote “the United States weighs on my spirit” are some of the keywords and ideas that are crucial to her incorporation of investigating femininity and masculinity, duality and spirituality, and the natural and cultural environment, according to Wills.

Robles-Gordon learned from the influential women in her upbringing, such as her mother and grandmother, to “stand in and claim my agency,” of her identity and her body, especially at times when standing out brings negative attention.

According to Robles-Gordon, the two pieces that hung behind her during her talk focus on the lack of women of color in science fiction during her upbringing. She dedicated these works to her niece, who she views as an inspiration.

Robles-Gordon said that someone she looked up to growing up was Henrietta Lacks, who much of this exhibition is inspired by.

Regarding Lacks, Robles-Gordon talks about her history and the abuse by the medical system still using her cells. The lack of recognition of Lacks’ cells in medical discovery are reflected in two large black canvases that state: “When is our, your DNA no longer my, our, your own?”

Her purpose is not only to tell Lacks’ story but to advertise womanhood.

In one section of a series, Robles-Gordon raises concerns about artists’ fear of standing up for themselves in a world where work can be hard to come by. According to Robles-Gordon, being a woman in the workplace, the chance of not being taken seriously, or even mistreated, is high.

Her use of historical text, scraps from advertisements, and natural objects such as hanging branches evokes “traditional healing arts across cultures, sacred symbols of power and divine spirituality,” Wills said.

Junior Drake Harrison said he was specifically drawn to the hanging branches.

“The colors are so poignant, they draw you in,” Harrison said.

According to the artist, these branches and spherical pieces reflect the fibers of our bonds of DNA.

Overall, Robles-Gordon wants to invoke “a spiritual and energetic sensibility” from college students, which she says communities and academic institutions are not providing.She believes colleges can start useful discussion when exposing their population to the arts.

The Kohl Gallery will be showing the exhibit until Oct. 10 during regular exhibit hours, which can be found at the door of the gallery.

AVAILABLE ARTWORK BY AMBER ROBLES-GORDON

Morton Fine Art highlighted in Delta Sky Magazine

10 Sep

Morton Fine Art highlighted in September 2018 Delta Sky Magazine! “Historic Adams Morgan – one of the city’s quirkiest neighborhoods – is filled with new energy.” Visit Morton Fine Art’s website or our gallery on Artsy to view our full available inventory of artworks by substantive and top tier, national and international contemporary artists!

 

 

Morton Fine Art congratulates artist OSI AUDU as recipient of a prestigious and highly competitive grant from The Pollock-Krasner Foundation

28 Aug

For over a decade now, through highly acclaimed exhibitions of his work, OSI AUDU has maintained a strong professional presence in the United States, Great Britain, Korea, Japan, Italy, Germany, Austria and Africa.
His work has 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, USA, The British Museum and the Horniman Museum both in London, and the Wellcome Trust Gallery in Euston London. His work has also been exhibited at the Tobu Museum and Setagaya Museum both in Japan, the Liverpool Museum in Great Britain, The Science Museum London; and acquired for corporate collections including Sony Classical New York, and the Schmidt Bank in Germany.
He received a B.A. (Fine Art) degree with First Class Honors from the University of Ife in Nigeria, and an M.F.A. degree in Painting and Drawing from the University of Georgia, Athens, Georgia, USA.
He now lives and works in New York.
The Pollock-Krasner Foundation, Inc. was established in 1985 for the sole purpose of providing financial assistance to individual working visual artists of established ability through the generosity of the late Lee Krasner, one of the leading abstract expressionist painters and the widow of Jackson Pollock.
The Foundation is pleased to report that since its inception in 1985, it has awarded over 4,400 grants totaling over 71 million dollars to artists in 77 countries.

VICTOR EKPUK book signing event Saturday, Sept 1, 2018 from 2-4pm at Morton Fine Art

26 Aug
Please join us for VICTOR EKPUK’s book signing party this Saturday, September 1st from 2pm-4pm. We will be celebrating the near 500 page, mid career retrospective titled “Victor Ekpuk : Connecting Lines Across Space and Time”, Edited by Toyin Falola. This incredible book includes fascinating writings by 13 scholars and countless images of Victor’s brilliant creations.