Morton Fine Art congratulates artist OSI AUDU as recipient of a prestigious and highly competitive grant from The Pollock-Krasner Foundation
28 AugMARIO ANDRES ROBINSON’s exhibition at Pratt Institute in NYC
13 Oct
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MARIO ANDRES ROBINSON, Peach Tree and Pine, 18″x24″, watercolor on paper
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Painting the Figure in Watercolor
XFA-458
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MARIO ANDRES ROBINSON, Transition, 22″x16″, watercolor on paper
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New Works by ANDREI PETROV
13 JanANDREI PETROV’s solo exhibition “Global Migration” opens 4/8/16 at Morton Fine Art
31 Mar
Sunday 12pm-5pm

Based in New York City, ANDREI PETROV explores memory in his organic abstract paintings. His paintings probe the distortion, incompleteness and rare moments of clarity in the shadows of memory. Each piece portrays the intrinsic struggle and selective inclusion or exclusion of details in the process of recollection. At times, sharpness occurs in the rear of the picture plane while the out of focus, obscured areas, exist in a larger scale toward the foreground and make reference to the inscrutable nature of long and short term memory.Petrov’s paintings have been exhibited nationally and internationally in prestigious collections and can be viewed at The Four Seasons Hotel in both Washington, DC and Punta Mita, Mexico, The Fairmont Hotel in Chicago and The Conrad Hotel, Miami. His paintings have also had cameos in the following films, The Royal Tenenbaums, Autumn in New York, Kate and Leopold, The Business of Strangers and Words and Lyrics. He is the featured visual artist 2016 for Music@Menlo.
Global Migration marks ANDREI PETROV’s forth consecutive solo exhibition at Morton Fine Art.
OSI AUDU in the Village Voice
17 MarOsi Audu was born in Nigeria in 1956, and his shape-shifting drawings derive partly from the Yoruba concept that the human head encompasses a duality of spirit and matter, mind and body. Combining layered graphite and fathomless black pastel edged with sleek white lines, each of Audu’s renderings oscillates between a depiction of an empty and oddly shaped container — imagine a hatbox with tendrils — and a space-warping geometric abstraction. The graphite planes shimmer like sheet metal, seemingly enclosing dark expanses rimmed with light.

Osi Audu, Self Portait No. 42, 15″x22.5″, graphite on pastel on paper
Segueing between three-dimensional representation and vivid graphic design, Audu’s work encourages mind games that summon unexpected allusions. With its cartoonish curves, Self-Portrait No. 57 (2015) recalls the line drawing Alfred Hitchcock made of himself for his television show, which, during the opening titles, would be filled with the director’s own shadow. Audu delivers a similar sense of disembodied animation, flummoxing the brain as his velvety surfaces dazzle the eye. Some future production of Hamlet could up the metaphysical ante by using one of these drawings as a stand-in for Yorick’s skull.
Click HERE to view the full article.
Click HERE to view available drawings by OSI AUDU.
Contact Morton Fine Art with acquisition inquiries.
Morton Fine Art, 1781 Florida Ave NW, Washington, DC 20009
(202) 628-2787, mortonfineart@gmail.com, http://www.mortonfineart.com
ANDREI PETROV’s “BC/AD” opens at Morton Fine Art Friday 3/27/15
19 MarIn his exhibition “B.C./A.D”, NYC-based artist ANDREI PETROV roots his latest series of paintings in memories of a journey to Europe made nearly 2 decades ago. He emphasizes the importance and immediacy of naked observation which resonated through his senses first-hand and created a strong memory of place. He challenges viewers to recall ways of seeing which favor the live experience rather than an instant snapshot, juxtaposing a time 20 years ago which was “before cellphones” and the distraction caused by “another digital set of eyes”.
“The production of a painting begins with a pencil or ink drawing on paper which I extrapolate from and edit as I work the canvas. First with pencil or charcoal and then with color washes done with acrylic or ink, I map the raw canvas and allow it to be ingrained with the materials. Once satisfied with the composition and balance, the surface is sealed with a clear acrylic so as to allow the use of oil based pigments. Handmade tools are used to drag, apply, scrape and blend the paint across the canvas plane. Sandpaper and rags also propel the evolution of the work. The addition and subtraction of paint are meant to act as a metaphor for the intentions and motives for which the paintings are based.” – Andrei Petrov
Contact Morton Fine Art for artwork availability. http://www.mortonfineart.com, (202) 628-2787, mortonfineart@gmail.com
NNENNA OKORE in the Wall Street Journal
20 JanNnenna Okore: Twist and Turns
David Krut Projects
526 W. 26th St., (212) 255-3094
Through Jan. 17

To Western art-world eyes, a lot of work made by contemporary artists with non-Western backgrounds is technically impressive but aesthetically a little suspicious. That is, we sense it looks good mostly because considerable labor and careful craft have gone into it. Because it often contains exotic or folkish materials, it has a kind of guaranteed visual floor under it. Whatever else happens, it won’t look outrightly bad.
In the hurly-burly of today’s big-city gallery scenes (especially New York’s), this can be a disadvantage. But it is one that the Nigerian-American sculptor, Nnenna Okore (b. 1975) overcomes. Not that Ms. Okore—who is an art professor in Chicago—avoids the problem; she actually doubles down on it.
Having spent an apprentice year under the internationally successful Ghanaian artist El Anatsui (whose fabriclike wall pieces, made of bits of refuse metal in his studio in Nigeria, grace a plethora of modern art museums), Ms. Okore has worked with sewing, dyeing, weaving and other unconventional processes.
For this exhibition, the artist has pared down the materials in her complex, weblike relief sculptures. The three-part, 10-foot-wide “Transitions” (2013), for example, consists of newspaper stiffened and colored with acrylic paint. Ms. Okore’s palette tends toward muted, organic greens and reds and, in some works, black. Although her art’s initial impact is that of the easy good looks that come with craft and applied African traditions, the emotional intensity in this exhibition lifts Ms. Okore’s work to a higher level.
View images of ANDREI PETROV’s exhibition “Sedition of Sound”
3 AprSEDITION OF SOUND
New Oil Paintings by ANDREI PETROV
March 28 – April 22, 2014
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JASON SHO GREEN – Video of 3 Robotic Art Installations in Germany
28 MarDon’t miss this video of JASON SHO GREEN’s innovative and interactive robotic art installation! Three minutes of video cover three installations he produced during his recent artist residency in Germany. Incredible!
Studio shots from NYC’S Lower East Side – ANDREI PETROV
31 JulThere is something that always fascinates me about visiting an artist’s studio… Here are a few shots of ANDREI PETROV’s studio in Manhattan’s Lower East Side. Magic happens here!
Visit www.mortonfineart.com to view available work by abstact painter ANDREI PETROV.