Tag Archives: Nathaniel Donnett

NATHANIEL DONNETT’s artwork on view at the Kemper Museum of Contemporary Art

16 Mar

Child’s Play: An Exploration of Adolescence

Friday, March 1, 2019 to Sunday, August 4, 2019
Kemper Museum of Contemporary Art

Child’s Play: An Exploration of Adolescence situates contemporary works of art from Kemper Museum’s Permanent Collection in conversation with concepts brought forth by neurologist and founder of psychoanalysis, Sigmund Freud (Austrian, 1856–1939). Freud suggested that humans can trace their compulsions back to their childhood. From this idea, Child’s Play explores artists’ depictions of children, their relationships with those around them, and with the world.

Artists Nathaniel Donnett and Nicholas Prior see Freud as inspiration for their projects. Using the scene of a playground as the setting for his collage work Freudianslipslideintodarkisms (2011), Donnett illuminates how childhood memories and experiences may directly inform our identities in adulthood. Prior’s Untitled #46 (2004) and Untitled #26 (2005) are based on Freud’s notion that an adult cannot accurately access memories of childhood in the way they were originally experienced.

Artists in this exhibition depict children’s experiences from varying perspectives that then reflect back on the world. In her photographic work, Julie Blackmon shows real and imagined aspects of her family life by capturing moments when children are crying, revealing a sense of a hectic home environment. Arthur Tress overlays images of children with images of games, school, and activities, again suggesting the Freudian concept that his adult self cannot accurately remember the feelings he originally felt as a child. Artist Kojo Griffin relies on his child psychology training to highlight relationships of children while possibly referencing Freud’s concept of “doubling”—self-love and narcissism found in children—inUntitled (2000).

Child’s Play links the arts and social sciences to engage viewers in the different ways artists depict childhood. Child’s Play: An Exploration of Adolescence is curated by Jade Powers, assistant curator at Kemper Museum.

Morton Fine Art invites you to join us for an unveiling of new and major artworks at Gallery B in Bethesda this March

9 Mar




Spring 2019 Survey of Select Morton Fine Art Artists

March 6 – March 30th, 2019

Opening Reception

Friday, March 8th from 6-8pm



Gallery B

7700 Wisconsin Ave, Ste E

Bethesda, MD 20814



Wednesday – Saturday 12pm – 6pm


Want to view artwork in DC? Come by our permanent gallery space:


Morton Fine Art

52 O St NW #302

Washington, DC 20001

Hours: Wed – Sat 12pm-5pm and Sun-Tues by appointment


Please also view our exhibition “Starshine and Clay” featuring the artwork of KESHA BRUCE, MAYA FREELON and AMBER ROBLES-GORDON at Workhouse Arts Center in Lorton, VA through March 31st, 2019.


Workhouse Arts Center

2nd Floor – McGuireWoods Gallery

9518 Workhouse Road

Lorton, VA 22079

Hours: Wed – Sat 11am-6pm, Sunday 12pm-5pm


About Morton Fine Art  

Founded in 2010 in Washington, DC, Morton Fine Art (MFA) is a fine art gallery and curatorial group that collaborates with art collectors and visual artists to inspire fresh ways of acquiring contemporary art. Firmly committed to the belief that anyone can become an art collector or enthusiast, MFA’s mission is to provide accessibility to museum-quality contemporary art through a combination of substantive exhibitions and a welcoming platform for dialogue and exchange of original voice.

Redefining the traditional gallery model, Morton Fine Art (MFA) replaces a single gallery space with two locations: MFA’s permanent fine art gallery space and *a pop-up project, a temporary mobile art galleryof curated group shows.  Morton Fine Art established it’s trademark, *a pop-up project, in 2010.






























Preview of Morton Fine Art’s Booth at Prizm Art Fair in Miami

29 Nov



Sneak Preview of Morton Fine Art’s Booth at Prizm Art Fair in Miami
Contact the gallery for complimentary passes.
Morton Fine Art will be closed 12/5-12/8 during our time in Miami, however we are available by phone (202) 628-2787 or mortonfineart@gmail.com if you need to reach us!
I explore the light sheen of graphite, the matte, light absorbing quality of black pastel, the white of paper and canvas, as well as the visually affecting interactions of colors to investigate form and its evocative potential to suggest or hint at something about the shape of the head. I am interested in the dualism of form and void, and the ontological 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 construction of a sense of self is a very complex process, perhaps even more so in our increasingly global age, in which the boundaries between race, nationality, gender and sexuality are getting more and more blurred. I am interested in issues of self identity, and in concepts of the self rooted in my cultural experiences growing up in Nigeria, as well as global metaphysical, scientific, and social concepts of the self. There is a Yoruba thought that consciousness, referred to as the “head”, has both a physical dimension called the “outer head” and a non-physical one: “the inner head”. It is the visual implications of concepts like this that I find intriguing. The title, Self-Portrait, in my work, is more about the portrait of the intangible self, rather than a literal portrait of the artist. – OSI AUDU
Smithsonian Museum of African Art
The Newark Museum
The British Museum
Horniman Museum
Wellcome Trust Gallery
OSI AUDU, Self-Portrait after Dogon Bird Mask II, 2018, 15″x22″, graphite and pastel on paper mounted on canvas
OSI AUDU, Self Portrait after Igbo Mask, 2018, 11″x15″, acrylic on canvas
KESHA BRUCE, The Sky Opened for Her, 2016, 60″x48″, mixed media on canvas
KESHA BRUCE, Fight Fire with Fire, 2017, 40″x30″, mixed media on canvas
Artwork is spiritwork.
When I pray, I ask my ancestors for the bravery to follow and make manifest the deepest truths and longings of my heart. Every artwork I create is an answered prayer.
In this current political and social moment my prayers are especially urgent: Where can Black women feel safe? Where can we feel free? How do we protect our spirits from those who mean to destroy us?
As an artist, these questions always lead me back to my work.  In my experience, the most powerful weapon for spiritual warfare is joy. I’m not being hyperbolic when I tell you that the process of making artwork has saved my life many, many times. Art is a refuge for the spirit. It offers us a way to understand and heal ourselves. I am of the mind that something absolutely prophetic can be revealed in both the act of making and the act of looking at art.
Art objects embody spiritual power.
I believe this so firmly now, that it seems almost surreal to think back to a time, not so long ago, when I was afraid to speak about my work in spiritual terms for fear of being called less serious or less intellectually rigorous. It’s clear to me now that often our fears show us the parts of ourselves that are desperately waiting to be revealed. To be set free.
So, I present this new work with the firm knowledge that what I am creating is an important and worthy contribution to the current cultural dialogue. More importantly, I consider my work a part of a strategy for resistance. Even as we steel ourselves for battle ahead, we must remember to leave room for joy.
Joy is sacred and so it is worth fighting for.
Remember to fight.
Smithsonian National Museum of African American History and Culture (14 pieces), Washington, DC
The Amistad Center for Art and Culture, Hartford, CT
The Museum of Modern Art, Franklin Furnace Artist Book Collection, New York, NY
The University of Iowa Women’s Center, Iowa City, IA
The En Foco Photography Collection, New York, NY
The Museum of Modern Art/Franklin Furnace Artist Book Collection, New York, NY
African textiles, Gee’s Bend Quilts, and the everyday aesthetic within
the historic African American neighborhoods of Houston, Texas inspire “Boom”. This
work acts as a reminder to the extrinsic value of these neighborhoods through the
lens of its spatial geography and relationship to gentrification, along with objects
and form in terms of cultural iconography, and the everyday aesthetic. Drum
notations and Houston’s hip-hop car culture formulate the abstract patterns. These
patterns act as a response to the marginalization of Black American identity, the black spatial imaginary, and contemporary art. During the times of American slavery, it was said that southern quilts communicated warnings to the slaves.
Although this was found to be a myth, this contemporary makeshift quilt does
communicate moments of neighborhood erasure and the silencing of its cultural
contributions. It also simultaneously celebrates the neighborhood’s cultural socio-
consciousness and overall complexity.
The Ulrich Museum, Wichita, KS
The McColl Center, Charlotte, NC
The American Museum, Washington, DC
The Kemper Contemporary Arts Museum, Kansas City, MO
The Theresa Hotel, Harlem, NY
Harvey B Gantt Art Center for African American Arts and Culture, Charlotte, NC
The Community Artist’s Collective
The Mattatuck Museum, Waterbury CT
The Contemporary Arts Museum Houston, Houston, TX
Project Row Houses, Houston, TX
The University Museum, Houston, TX
The New Museum, New York, NY
NATHANIEL DONNETT, Boom, 2018, 40″x46″, duct tape, plastic and photographs on paper
VICTOR EKPUK, Head 4, 2015, 45″x48″, acyrlic on panel
VICTOR EKPUK, Mask Series 1, 2018, 24″x18″, acrylic on canvas
Victor Ekpuk is a Nigerian-American artist based in Washington, DC.
His art, which began as an exploration of nsibidi “traditional” graphics and writing systems in Nigeria, has evolved to embrace a wider spectrum of meaning that is rooted in African and global contemporary art discourses.
Guided by the aesthetic philosophy nsibidi, where sign systems are used to convey ideas, Ekpuk re-imagines graphic symbols from diverse cultures to form a personal style of mark making that results in the interplay of art and writing.
Ekpuk’s art reflects his experiences as a global artist. “The subject matter of my work deals with the human condition explained through themes that are both universal and specific: family, gender, politics, culture and Identity” -Victor Ekpuk
Smithsonian National Museum of African American History and Culture
Smithsonian Museum of African Art
Brooks Museum
Krannert Art Museum
Arkansas Art Center
Fidelity Investments
Newark Museum
The World Bank
University of Maryland University College Art Collection
The U. S. Department of State
Maya Freelon is an award-winning visual artist whose work was described by the late poet Maya Angelou as “visualizing the truth about the vulnerability and power of the human being.” Cosmopolitan Magazine featured her in June 2015 in “Art Stars” calling her one “of the most badass female artists in the biz.”  She was commissioned by Google to design original art for their OnHub router, by Cadillac to create a live-sculpture for their Dare Greatly creative campaign, and by the North Carolina Museum of Art to create a collaborative tissue paper sculpture celebrating the opening of their African Art wing. Her unique tissue paper art, praised by the International Review of African American Art as “a vibrant, beating assemblage of color,” has been exhibited internationally, including shows in Paris, Jamaica, Madagascar, and Italy. She was selected by Modern Luxury Magazine as Best of the City; by Huffington Post as “Black Artists: 30 Contemporary Art Makers Under 40 You Should Know”; and by Complex magazine as “15 Young Black   Artists Making Waves in the Art World.”  Maya has completed residencies at the Skowhegan School of Painting and Sculpture in Maine, the Korobitey Institute in Ghana, and the Brandywine Workshop in Philadelphia. She earned a BA from Lafayette College and an MFA from theSchool of Museum of Fine Arts, Boston.
U.S. State Department
U.S. Embassy in Madagascar
U.S. Embassy Swaziland
U.S. Embassy Rome
The University of Maryland (David C. Driskell Center)
Johns Hopkins University
Rocketship Rise Academy;
The Museum of the National Center of Afro-American Artists
The Reginald F. Lewis Museum
The School of the Museum of Fine Arts The University of North Carolina at Chapel Hill
Lafayette College
The Brandywine Workshop
The Experimental Printmaking Institute
The Williston Northampton School
The Kokrobitey Institute
Lewis Tanner Moore
Dr. Maya Angelou
photo credit: Christopher Charles
MAYA FREELON, Compression, 2017, 44″x34″, tissue ink monoprint
MAYA FREELON, Intuition, 2017, 46″x44″, tissue ink monoprint
AMBER ROBLES-GORDON, Awakening the Matrilineal: Calling in the West, 36″x36″, mixed media on canvas
AMBER ROBLES-GORDON, Awakening the Matrilineal: South and of the Fire, 2016, 34″x35″, mixed media on canvas
Awakening the Matrilineal
“My artwork is a visual representation of my hybridism: a fusion of my gender, ethnicity, cultural, and social experiences. I impose colors, imagery, and materials that evoke femininity and tranquility with the intent of transcending or balancing a specific form. I associate working with light, color, and energy as a positive means to focus on the healing power found in the creative process and within us all. It is my belief that colors have both feminine and masculine energies and each color represents a specific aspect of nature.” -Amber Robles Gordon
Judith A. Hoffberg Archive Library
University of California, Santa Barbara, CA Masterpiece Miniature Art Exhibition, Kuala Lumpur,
Malaysia Capital One Bank, Mc Clean,Virginia District of Columbia’s Art Bank, Washington, D.C.
Schomburg Center for Research in Black Culture, New York, NY
The Gautier Family Collection, Washington, DC
In continuing my work with black figures I sculpt in unseen tensions of the past present and future on bodies with the idea of utilizing diagnostic lenses and contrast dyes to reveal erased and unknown histories and patterns.
Through the use of presence, absence, distortion and illusion and while in a time when the digital world has severe control of our information feeds I aim to challenge our lens’, the powers that hold our attention, and create opportunities for questioning and perspective alteration.
In my time working as a critical care nurse, we would use a multitude of lenses to gain a broad understanding of what is going on with any given situation to find homeostasis. While facts and diagnostic information can inform us of any given situation, without empathy and perspective alteration, our hearts will remain unchanged.
Nate Lewis grew up in Beaver Falls, near Pittsburgh, Pa. He graduated from VCU with his BSN and was a practicing critical care nurse for five years as well as professional fine artist. He has been awarded prestigious residencies at Pioneer Works and Dieu Donne in NYC, Agora Culture on Martha’s Vineyard and won a number of artist fellowship grants from the DC Commission of the Arts and Humanities.
NATE LEWIS, Spirit Suite, 2018, 21.5″x26″, hand sculpted photo paper print
NATE LEWIS, Traverse Suite, 2018, 26″x26″, hand sculpted photo paper print
About Morton Fine Art
Founded in 2010 in Washington, DC, Morton Fine Art (MFA) is a fine art gallery and curatorial group that collaborates with art collectors and visual artists to inspire fresh ways of acquiring contemporary art. Firmly committed to the belief that anyone can become an art collector or enthusiast, MFA’s mission is to provide accessibility to museum-quality contemporary art through a combination of substantive exhibitions and a welcoming platform for dialogue and exchange of original voice.
Morton Fine Art
52 O St NW #302
Washington, DC 20001
(202) 628-2787
For further information and images, please contact Amy Morton:

NATHANIEL DONNETT’s “In One Form or Another; Verse One” at Art League Houston through Jan 20, 2018

10 Jan


In One Form or Another; Verse One
Nathaniel Donnett

Opening Reception: 6 – 9 PM Friday, December 1, 2017
Exhibition Dates: December 1, 2017 – January 20, 2018
Main Gallery

The Homeplace Aesthetic, a lecture by Dr. Andrea Roberts

A Lecture by Dr. Andrea Roberts

Art League Houston is pleased to host ‘The Homeplace Aesthetic: Finding Black Pasts and Seeking Black Futures in Bottom Land’ a lecture by Dr. Andrea Roberts organized by Nathaniel Donnett in conjunction with the artist’s exhibition ‘In One Form or Another; Verse One’ currently on view at Art League Houston.

Within the American landscape, Black vernacular placemaking manifests as spatialized self-determination, intentional design, self-making, and protest. Presently, popular film and TV (i.e., Queen Sugar) express African Americans’ persistent desire to simultaneously return to self-determined, rural settlements while retaining a foothold in urban meccas pregnant with both danger and opportunity. Dr. Andrea Roberts’ research documents and assesses the relevance of rural exodus and return to Black Texas settlements called freedom colonies. Between Juneteenth and the beginning of the Great Depression, Black Texans founded more than 540 freedom colonies. Dr. Roberts partners with grassroots preservationists, descendants of freedom colony founders, who simultaneously call Houston and rural East Texas settlements their homes. Her ethnographic research documents baby boomers’ complex, gendered and raced preservation practices. Of specific concern to Dr. Roberts are descendant communities’ unique approaches to homestead preservation which she calls The Homeplace Aesthetic—the practice of preserving place, reproducing identity, and fostering belonging through commemoration, interior design, and land-based heritage. She concludes the presentation by discussing the implications of the Homeplace Aesthetic for freedom colonies in “bottom land” after Hurricane Harvey.



Everyday it’s been the same old mess on my block.
You either struggle or you had to protest on my block
Housing discriminatory practice
Homeless people need a loan just to afford a mattress, to sleep on.
On my block they raise ya tax rate up.
The medium income wealth of whites -100k up.
For Blacks, it’s only 1700- straight up.
For Latinos, it’s 2000, nothing I made up.
That’s not an anecdote, that’s racial wealth gap data.
Gentrifying 5th Ward, ‘cause of low social strata.
From the Harlem Renaissance to the Black Arts Movement represented
In black visual arts and black music, performance to literary stations,
Jacob Lawrence Great Migration to mass incarcerations.
On my block, you see aesthetics in vernacular
Architecture, Houston, Texas from West Africa.
On my block, the police will come test you.
4th Ward Camp Logan, Riots at TSU.
So with their protest signs, they formed a line,
3rd Ward marches on Almeda by design.
On my block, Black women strike with labor unions
For higher wages but not treated human.
On my block, systems sustain poverty
Form became protest then became policies.


My block – when everything is everything for sheezy
My block – protest has form, homie believe me
My block – made a lot from a little look easy, fa sheezy
My block – we’ll keep speaking out and speaking freely

Nathaniel Donnett
Verse One – Inspired by Houston based rapper Brad “Scarface” Jordan and the song “My Block”


Nathaniel Donnett lives and works in Houston, Texas and studied at Texas Southern University. Donnett is the founder of the website blog “Not That But This”. which was funded by a 2015 Idea Fund /Andy Warhol Foundation Grant, 2017 Houston Arts Alliance Individual Artist Grant, 2015 Houston Downtown Vehicular Wayfinding Signs Project public art commission. Donnett has also received the 2014 Harpo Foundation Grant, 2011 Houston Arts Alliance Individual Artist Grant, 2011 Idea Fund/Andy Warhol Foundation Grant, 2010 Artadia Award. He’s exhibited at The American Museum, Washington, DC, The Kemper Contemporary Arts Museum, Kansas City, MO, The Theresa Hotel, Harlem, NY, Harvey B Gantt Art Center for African American Arts and Culture, Charlotte, NC, The Mattatuck Museum, Waterbury CT, The Contemporary Arts Museum Houston, Houston, TX, Project Row Houses, Houston, TX, Texas Southern University Museum, Houston, TX, The New Museum, NY, NY, The National Museum in Lima, Peru and The Modern Museum of Peru.

Nathaniel Donnett is a recipient of an Individual Artist Grant Award. This grant is funded by the City of Houston through Houston Arts Alliance.

This exhibition is generously sponsored in part by Linda Darke and Greg Shannon.

More about this exhibition at Art League Houston.

Click HERE to view available artwork by NATHANIEL DONNETT.

Contact Morton Fine Art for acquisition.

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

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

Art & Culture Magazine Houston features artist NATHANIEL DONNETT

7 Dec

We are thrilled to share news that Houston, TX based artist Nathaniel Donnett has been featured in this month’s Art & Culture Magazine Houston in regards to his current solo exhibition ‘In One Form or Another; Verse One’ on view at Houston’s Art League through January 20th.  This exhibition is funded by grants from the City of Houston through Houston Arts Alliance.


“HOUSTON—For Nathaniel Donnett, whose work finds expression in a wide range of modes, the studio has a way of expanding beyond the walls of his art-making space into the larger world. For In One Form or Another; Verse One, his exhibition at Houston’s Art League on view through Jan. 20, Donnett is tying his own work to a long history of vibrant protest movements created by African Americans, while slyly referencing geometric abstraction.”  ~ Arts & Culture Magazine


In other exciting news The Ulrich Museum in Witchita, Kansas has acquired an original work by Donnett for their collection titled ‘Leonora Draper’.  The piece, pictured above, incorporates human and synthetic hair, and graphite on paper!

You can find images of available work by Nathaniel Donnett on our website, and please contact the gallery for any additional details or inquiries!


MARTINA DODD on Black History Month

25 Feb

In 1926, historian Carter G Woodson along with other prominent leaders from the Association for the Study of Negro Life and History (ASNLH) sponsored the first Negro History Week. Negro History Week, sought to promote the teachings of Black American legacy and achievement, especially in the nation’s public schools and universities.  This seven day celebration during the second week of February was later officially extended to a month long holiday by President Ford in 1976.

Much has happened in this country since 1926, Martin Luther King delivered his “I Have a Dream” speech, the first Black President was elected twice and the National Museum of African American History and Culture opened its doors.  As we use this month as an opportunity  to honor the central role of African Americans  within US history, we must also remember to salute those who are now actively creating their own legacy.  We at Morton Fine Art acknowledge and prioritize the advancements made by African Americans within this country, and applaud and thank artists, activists and educators who have made it a goal to do so within their practice.  Artists such as Maya Freelon Asante, Kesha Bruce and Nathaniel Donnett who continually use their artistic medium to preserve and highlight the stories of African Americans.

past_present_tense-webMAYA FREELON ASANTE, Past Tense Present, 2015, 8.5”x18″, tissue ink mono/photo print

Inspired by her discovery of a stack of water-soaked colored paper in her grandmother’s  basement, Freelon Asante’s tissue ink mono photo prints speak to the power of  familial history, connected-ness and renewal.  Bruce,  who also found inspiration from a grandparent’s belongings,  reconceptualizes  the Black American experience in her photo series (Re) Calling  & (Re) Telling,  through  old and damaged negatives  given to her by her grandfather. Bruce’s and Freelon Asante’s use of archival images to explore the connections between personal mythologies and collective memory both help to re-center the black family unit within the American narrative.

that-they-might-be-lovely-webKESHA BRUCE, That They Might Be Lovely, 12″x9″, archival pigment print, edition of 15

Nathaniel Donnett’s work articulates the complex cultural concerns of a “united nation” still divided by racial tension.  In his Small Bag series, Donnett makes reference to the “paper bag test” and its South African equivalent the  “pencil test,” (two tests used to distinguish a person’s racial identity and/or their ability to “pass” as white) while prompting his viewers to take a four question test of their own that relate to acceptable beauty standards, microaggressions and racial biases. By asking his audience to finish statements like;  “Good hair can be A) Kinky B) Straight C) Wavy D) All of the above,” he brings to light America’s  legacy of racism, colorism and its obsession with classification.

smallbag18-cropNATHANIEL DONNETT, Small Bag 18, 10.75″x5″ graphite, charcoal and printed ink on paper

Although Black History Month is quickly coming to a close, we should continue to support these artists as they maintain their dedication in keeping the  stories of our ancestors alive.

-MARTINA DODD for Morton Fine Art, February 2017

Currently On View: New Works by NATHANIEL DONNETT

17 Jan


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, graphite, synthetic and real hair on paper, 12″ x 12″

NATHANIEL DONNETT in “Silos” at Columbia College

11 Jan
DEPS - Department of Exhibitions, Performance & Student SpacesColumbia College Chicago
 Yaw Aygeman, den na ma ye (what have I done), 2016 , video installation


November 17, 2016 – February 18, 2017

Reception and artist talk: November 17, 4-8 P.M.
4-5 p.m., Annika Marie in conversation with Shane K. Gooding
5-8 p.m., Opening reception

Lecture: Jeffreen M. Hayes Ph.D.
February 9, 6p.m. 623 S. Wabash Ave, room 203

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 eleven 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 Yaw Agyeman, Wesley Clark, Nathaniel DonnettShané K. Gooding, Esau McGhee, Johana Moscoso, Wanda Raimundi-Ortiz, Ellington Robinson, Stacy-Lynn Waddell, Rhonda Wheatley and Wilmer Wilson IV Silos gives voice to the silence(d).

Curated by Jeffreen M. Hayes, Ph.D

For more information: Mark Porter, mporter@colum.edu/312-369-6643

Gallery Hours

Monday, Tuesday, Wednesday and Friday 9am – 5pm, Thursday 9am – 7pm,
Saturday 12pm – 5pm

NATHANIEL DONNETT featured in New American Paintings

20 Dec
NATHANIEL DONNETT featured in New American Paintings 2016, West, Issue #126



Region: West
City / State: Houston, TX
I’m a Dark Imaginarence practitioner interested in human behavior and psychosocial concerns. “Dark Imaginarence” is a term I coined that conceptually and formally combines social observation, everyday working-class poetics, the human condition, and African-American creative cultural expression. My most recent body of work explores tensions around disparate perspectives and forms that underscore notions of visibility, presence, and preservation as they relate to society, the black body, and black ontology. Approval and refusal, representation and abstraction, are symbolically adjacent, coexisting in dialectical dissonance. Foreclosed homes and buildings are the inspiration for the abstracted forms, and historical floor plans are superimposed as cosmological shields and masks depicting agency and sacredness while referencing time. Space, place, and everything in between have historically operated as a location for reflection and the imaginative transformation of blackness in the United States South. The imagination responds to the innate desire for the freedom of the in/external self. The black experience and black aesthetic is a forever evolving song that I continue to replay and rethink again and again and again and…


NATHANIEL DONNETT featured in Art in America

2 Jun

Click HERE to view available artwork by NATHANIEL DONNETT.



art in america logo


Production still from Trenton Doyle Hancock, Stephen Mills, and Graham Reynolds’s ballet Cult of Color: Call to Color, 2008. Courtesy James Cohan Gallery, New York, and Ballet Austin. Photo Tony Spielberg.

1. Katie Robinson Edwards’s excellent Midcentury Modern Art in Texas (University of Texas Press, 2014) is but the most recent example and should be required reading for anyone interested in how vibrant art communities arise outside of art centers.
2.“Robert Hodge: Destroy and Rebuild,” organized by senior curator Valerie Cassel Oliver, was at CAMH, Oct. 3, 2014–Jan. 4, 2015.
3.Robleto had a show in 2001 before I arrived. Hancock’s drawing retrospective, organized by Valerie Cassel Oliver, just finished a four-city tour. Flood is currently preparing his second large-scale museum exhibition—his first in Houston—at CAMH for April 2016.

I arrived in Texas in 2009 to direct the Contemporary Arts Museum Houston after a lifetime on the East Coast, and the first lesson I learned was that Houston loves eccentrics. It is, in fact, something of a tradition and likely why I have been able to thrive as a museum director here.

I’ve found Houston to be a progressive and intellectual city—a bright blue dot in a massive field of red. We have had an arts-friendly, out-lesbian mayor for the last six years. There are more artists’ talks, lectures, performances, film screenings, and concerts than one could ever attend. This makes it easy to forget the regressive elements of the political machine working against equality and sanity in the state. But despite the truly heinous political realities—especially around guns and reproductive rights—there is broad bipartisan support for the arts. Even the conservative community brags about the city’s openness to controversial art.

I was unaware when I moved here that Texans consider the state its own country, and that I would need to study its history—most of my fellows had already learned it in junior high school. Several books on the history of Texas art would be required reading as well.1 It’s no surprise, then, that the cultural landscape here is full of world-class attractions. Yet Houston is a cat city, rather than a dog city, meaning that its charms can make themselves scarce and do not come to you just because you express a passing curiosity. The city requires a tour guide and a car. I hope this essay will serve as an introduction to a city that I find to be richer in artistic stimulation every year.

The double meaning of “rich” is intended, for the response T-shirt to the ubiquitous “KEEP AUSTIN WEIRD” is “KEEP HOUSTON RICH.” For someone whose job description includes convincing wealthy Texans that supporting museums is a worthy and enjoyable philanthropic endeavor, a rich Houston is very welcome indeed. Most cities have a diversified funding base. Houston money all comes back to the oil and gas industry—directly or indirectly. Most general economic downturns are barely felt here due to the consistent cash flow of the petroleum business, as people keep driving their cars even when economically stressed. Cultural leaders in the city all have the price per barrel of oil in our morning news feeds, since it is the biggest single factor affecting the success of requests for support of important projects. Even during the 2016 sinkhole, there is money being made, but few capital campaigns will be launched until the market conditions change again.

Commitment to access to the arts is a beautiful thing to see in the city. When artist and musician Robert Hodge released a hip-hop single with Phillip Pyle II in 2014—the Black Guys’ “The Menil Song” is about Hodge’s discovery as a black teen of the always-free, heavily air-conditioned galleries at the Menil—it became an underground hit, giving me a prideful thrill. Hodge—who had a killer show at CAMH of his paintings that mix hip-hop phrases, slavery-era illustrations, and images from popular culture and European art history2 —acknowledges that, for many in his community, museum-going is not part of life. But when he and his friends learned about Houston’s free museums, they felt welcome and were happy to see their cultural histories represented on the walls.

Relocating to Houston in 1941—when the city could rightly be termed provincial—John and Dominique de Menil changed the terrain of cultural philanthropy, and to this day Houston’s philanthropists hold the Menil model dear and emulate it in their own patronage. The Menils were involved in the founding period of the Contemporary Arts Museum Houston (1948), constructed the Rothko Chapel (1971), and helped the Museum of Fine Arts, Houston, grow exponentially, before building the world-renowned Menil Collection, which opened in 1987.

Add to these four institutions the University of Houston’s Blaffer Art Museum, with its robust curatorial vision, and the city is well served by its museums, which have divided the contemporary art turf. We museum directors consistently cooperate to ensure that most major areas of investigation in contemporary art are on view in Houston within a year of their appearance in big art centers like New York, Los Angeles, London, or Berlin.

As a gateway city to South and Central America, and with the Museum of Fine Arts devoting significant resources to its Latin American program, Houston gets current art from the south quickly. Under the leadership of curator Mari Carmen Ramírez, the MFAH’s Latin American department has created a solid system for exhibiting and sometimes buying Latin American works, and almost all the best collections in Houston have made significant acquisitions. In 2015, the Texas Contemporary Art Fair, held in the fall, mounted a survey of Mexico City galleries, leading many Houston collectors to prioritize Mexico City art fairs Zona Maco and Material Art Fair over New York’s Armory this year. María Inés Sicardi started representing the great Latin American modernists, such as Carlos Cruz-Diez and Luis Tomasello, and politically engaged conceptualists, such as Liliana Porter and Miguel Angel Ríos, well before there was any market for their works in North America. Sicardi has also fostered the intricate, poetic practices of Mexico City’s Gabriel de la Mora and Melanie Smith, both of whom have pieces in Houston collections.

Performance is huge here, and there are many festivals, such as the feisty Lone Star Explosion and the classic Dance Salad. Lone Star’s last iteration remains infamous for the extremity of many of its presentations, which had one major foundation representative asking me if we should climb into the performance area and force the performer to stop choking himself.

I see many performances all over the city, but I’m particularly proud of a couple we’ve presented at CAMH. In September 2014, Nathaniel Donnett responded to being racially profiled. Pulled over by the police some months before, he felt his life was in peril from the way the officer was aggressively questioning him, until the officer saw his two-year-old daughter in the backseat. For the performance, he imagined himself as another victim of police violence and staged his funeral service, with other artists delivering eulogies. This year, Autumn Knight, the only Houston artist in the Crystal Bridges Museum of American Art’s 2014 national survey, “State of the Art,” staged her work WALL, consisting of sound, rituals, and actions that explore the Wailing Wall in Jerusalem and the Galveston Seawall. At CAMH, black women sat in a row between the artist and the audience to represent the power of resilience in the face of trauma.

Music and art mix well and often in Houston. The blues musician Lightnin’ Hopkins has a memorial bus stop not far from Project Row Houses, the long-running art organization and installation space in the historically black Third Ward neighborhood. Mark Flood began making art while still in the punk band Culturecide. Mayo Thompson, whose drawings were on view at Greene Naftali in New York in fall 2015, founded the conceptual psychedelic band Red Krayola here in 1966 with drummer Frederick Barthelme. Today, Indian Jewelry, a band in the psychedelic tradition, dominates the music scene. In the 1990s, DJ Screw (Robert Earl Davis Jr.) invented a deejaying technique in Houston in which sound is radically slowed down. DJ Screw’s phrase “chopped and screwed” is used in Houston in diverse contexts—from recipes to poems and paintings—showing that his brilliant invention (the Houston version of Brian Eno’s Oblique Strategies) can be employed across disciplines. DJ Screw died young (in 2000), but rapper Bun B has claimed his mantle. In outsider music, Jandek, the mysterious cult singer, will occasionally appear in underground showcases or the lobby of the Menil Collection.

Even though Houston has all this exciting stuff going on, almost any denizen of the city’s art scene can recite the names of artists who have left—Earl Staley, Dash Snow, Will Boone, Jeff Elrod, Mark Lombardi, and Donna Huanca—but they will follow up with the reminder that “you don’t need to do that now.” Since my arrival, I have seen a steady upturn in artists who build lives here. Many seem to find that there is enough influx from the international art world to launch a career while maintaining a fairly high quality of life.

For non-natives, I have heard Houston described as a “flypaper city.” You come to take advantage of one of the scores of culture-industry jobs or residency programs. Then, years pass while you avoid opportunities in other cities because it would involve a drastic decline in your standard of living. In 2014, artist and curator Steven Evans, whose wall paintings of disco-song titles from the ’80s were among the stars of “Macho Man, Tell It to My Heart: Collected by Julie Ault” (2013–14) at Artists Space in New York, was lured to Houston from the Pace Foundation in San Antonio to assume the directorship of FotoFest, the international photo-based biennial. Some long-established Houston artists, such as the lyrical abstract painter David Aylsworth and conceptual sculptor Joseph Havel, came for short stays that extended for decades. Staley moved back, and other artists with international careers choose to keep Houston as their second home (Angelbert Metoyer, Amsterdam; Tameka Norris, Berlin).

Havel is also director of the Museum of Fine Arts Houston’s Glassell School of Art and its well-respected Core Program, which offers residencies for art and art criticism and has allowed many great artists, curators, and writers to spend substantial time in Houston. Critics like Andy Campbell, already an art historian, came from Austin for Core and soon after started publishing insightful art writing internationally. He also made it his business to know the artists here well, and he deejays expertly under the name Dandy Campbell. The Galveston Artist Residency, started by artist Eric Schnell in 2008 after Hurricane Ike ravaged Houston’s beach resort, provides more interaction with the broader art world.

Three internationally known artists who maintain their homes and studios here, Trenton Doyle Hancock, Dario Robleto, and Mark Flood, don’t seem to have much in common. One thing that links them is their eccentricity, their determination to encounter the art world on exactly their own terms. (All three have had or are going to have shows at CAMH.3 ) Robleto’s studio is famously off-limits, even to his friends, family members, and dealers. He once described his ideal studio as a version of the Bat Cave, where he drives in and the rocks close behind him. Such a situation is all the better to make his alchemical magic, in which long-lost sounds are transformed into deliciously poetic objects.

Hancock’s studio on the northern edge of the city is more sociable. Going there means entering the artist’s delirious headspace, which is full of signature characters like the evil Vegan King, determined to rid the world of the joy provided by the Color Babies. His toy collection dominates the huge space and probably inspired his own toy designs. This seems fitting for an artist whose alter ego, Torpedo Boy, is a cartoon character he created as a child. For Cult of Color: Call to Color (2008), he worked with Ballet Austin to transform his dark vision into a narrative dance. Seeing the 2012 revival, I understood why the company took pains to advise parents that, despite the cute images on the poster, this show was not for easily scared kiddies, as the violence was disturbing.

Active on the global stage for fifteen years, Mark Flood typifies the individualistic Houston artist who stays in the city because it allows him total freedom. Flood does not remain in Houston to avoid the Machiavellian machinations of the art world; he is deeply engaged with how the art world functions. He recently completed a feature film, Art Fair Fever, in which a group of art students attend a fair to learn the ways of the contemporary art market, only to face a syndrome that involves foaming at the mouth and becoming obsessed with accumulating, rather than making, art. Known in the art world as singer Christeene, the actor Paul Soileau, from Austin’s Rude Mechstroupe, plays a collector in the movie whose art holdings need to be surgically removed from his ass.

Flood has indeed created his own art world in his hometown, regularly hosting visiting dealers, curators, and collectors in his Houston Heights studio; he frequently shows them works by young painters in the city. His support has allowed many emerging talents, like the abstractionists Lane Hagood, Jeremy DePrez, Bret Shirley, and Alika Herreshoff, to exhibit at significant galleries in New York and London while living here.

Many of these emerging artists are affiliated with Cardoza Fine Art, in the Warehouse District, where Flood shows. The gallery, which has professionalized recently due to the intense art world interest in its stable, has started hitting the art fair circuit, debuting in 2015 at Texas Contemporary and Miami Project. Similarly, Hello Project, having opened as a wacky parasite space—a perfect white box one entered through the old-school Houston gallery McMurtrey—is currently looking for another location but continues to present artists like Hagood and Travis Boyer at art fairs. Keeping up with the dozen or so new, bare-bones spaces that have opened (Nicole Longnecker Gallery, Zoya Tommy Gallery, Scott Charmin Gallery, Box 13, andAker Imaging Gallery) along with established venues (like Anya Tish Gallery, Gspot Gallery, Deborah Colton Gallery, Gallery Sonja Roesch and Barbara Davis Gallery)—is a full-time job.

The three main blue-chip galleries in Houston—Texas Gallery,Hiram Butler Gallery, and McClain Gallery—are committed to discovering and promoting local art-makers as well. Garnering the lion’s share of attention are Rachel Hecker, David McGee, Carl Palazzolo, Francesca Fuchs, and Susie Rosmarin at Texas Gallery; Kent Dorn, Shane Tolbert, and the duo Jeff Shore and Jon Fisher at McClain; and at Butler, the young digital demon Drew Bacon and the long-haul abstractionist Terrell James. This group is as diverse as you can get in terms of method, aesthetics, age, ethnicity, and marketability.

 I recommend that out-of-town visitors start their journey at Moody Gallery. Betty Moody has devoted the last forty years of her life to the artists of this region and will explain their eccentric backstories. She tells irresistible tales of how artists like Terry Allen, James Drake, and Gael Stack (all with long careers) as well as nature-focused Page Kempner, quirky Mary McCleary, and elegant Randy Twaddle established themselves in the state. When she brings in a younger artist, like Debra Barrera or Michael Bise—both of whom have embraced a masterful drawing technique to very disquieting ends—everyone takes notice.

On Main Street in midtown one can find Isabella Court, the city’s central gallery complex, with Devin Borden Gallery, Art Palace,Samara Gallery and Inman Gallery. David Shelton (formerly on Isabella Court) and Art Palace relocated from San Antonio and Austin, respectively, for the greater playing field of confident, self-directed collectors in Houston, and will mix global players like Keith Mayerson in with the regional emerging artists. David Shelton found larger digs in the 4411 Montrose Building in January, and opened with a killer show by New Yorker Matthew Craven. Inman not only represents well-known painters like Aylsworth, but also the poetic photographer Amy Blakemore and political artist Jamal Cyrus, whose work has been shown at museums across the United States.

Devin Borden presents work by artists who have some Texas connection, even if it is just having family in the state or teaching here briefly. My personal favorites include Laura Lark’s paintings, performances and ink-on-Tyvek drawings that engage with women’s mediated fantasy lives, and the juicy paintings of Geoff Hippenstiel, known for their deliriously worked surfaces. Upcoming is a first commercial gallery exhibition by the duo Nick Vaughan and Jake Margolin, who traveled around the country investigating queer regional histories and gay marriage, and found that Houston was such an inviting place they have stayed (though they keep a residence in Tulsa as well). Their “Cut Map” works are labor-intensive tributes to the gay histories of many unlikely locations around the country. The maps focused on Texas reveal the role Houston played for the entire Gulf Coast region as a gay center. Not only was Houston akin to New York or San Francisco in the scale of its AIDS crisis, but it also launched the test case overturning sodomy laws nationally (Lawrence v. Texas).

In Houston Heights, the leafiest area of a city not known for its natural beauty, there are funkier galleries. Gspot is run by a true Houston art eccentric named Wayne Gilbert, who is an artist himself. His own work takes the form of painted meditations on human individuality and mortality, made with pigments that he mixes with unclaimed human ashes from funeral homes. His roster of artists is similarly idiosyncratic. In April 2015, Thedra Cullar-Ledford presented a wildly humorous, angry, politically informative exhibition about her recent mastectomy, offering a feminist response to the male medical establishment telling her how one is supposed to feel regarding one’s cancerous breast tissue and one’s body after surgery. She had a giant piñata being beaten by women who have refused reconstructive surgery that exploded with stickers that read “FUCK CANCER.”

New Orleans is Houston’s nearest big-city neighbor to the east, and it makes for a weird mirror image. Houston is future- focused, while New Orleans is all about preserving the past. The artists who choose to be based in Houston are plugged into art happenings globally but do not worry about cities like New York and Los Angeles on a daily basis. Over the last decade, Houston has often been compared to Los Angeles during the mythic period in the late ’60s when it began to manifest its own artistic identity, going through a period of not caring what New Yorkers thought about its homegrown genius art-makers. Houston’s pride and self-confidence, despite the free-fall in oil prices, are at a high point today, so perhaps we are an art scene ready to welcome curious outsiders into our wondrous realm—yet totally on our own Texas terms.

This article is part of the Robert Rauschenberg Foundation / Art in America Arts Writing Fellowships, a joint project designed to foster art and culture writing in cities throughout the U.S.