‘Dogtown’ A Solo Exhibition of New Artwork by LAUREL HAUSLER

Artist Laurel Hausler pictured with ‘Noir Rose’, 2018, oil and gouache on canvas, 36″x 48″

‘In my mind, there are three meanings of Dogtown.

There are the “Dogtowns” scattered throughout the US, usually desolate dusty places once frequented by rogues and unlucky outcasts.

There is a Dogtown-THE Dogtown- in Cape Ann, Massachusetts. This Dogtown is a historical abandoned settlement, once populated by outsiders, widows, witches and roaming packs of dogs. Today, it is still a wild place and one that should be preserved. Situated amidst Pleistocene boulders, the area continues to be a source of lore.

This exhibition is the third and imagined Dogtown- a mythical place that combines all of the latter aspects—and their metaphysical reflections. It’s a Blair Witch Project woods, a stony, inscrutable wilderness where women and witches live as they wish with dogs for companionship and protection—a place of ritual, noir and labyrinthian mystery, symbolizing persistence in the face of life’s craggy brutality.’ 

-LAUREL HAUSLER, 2019

ABOUT the Artist 

Laurel Hausler was born in Virginia. She works to create mysterious beauty in all media, and to remember and portray that which might be lost and forgotten. The works in this show are composed of graphite, gouache and oil paint on canvas.

Her artwork is featured in book publications including Cutting Edge; New Stories of Women in Crime by Women Writers, edited by Joyce Carol Oates and Retrograde, by Kat Hausler.

DOGTOWN marks her fifth solo exhibition at Morton Fine Art in Washington, DC. and is currently on view through July 3rd! 

Additional available artwork by LAUREL HAUSLER follow this highlighted link!

ABOUT Morton Fine Art

Founded by curator Amy Morton 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

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

For further information and images, please contact Amy Morton: mortonfineart@gmail.com

Giotto’s “The Kiss of Judas” inspires six new paintings by VONN SUMNER

We are happy to announce the arrival of six new paintings by California-based artist VONN SUMNER.  Walls have been a motif in his paintings for more than a decade, but until recently they were always personal symbols and useful visual elements. Inspired by political events and Giotto’s fresco alternately called “The Kiss of Judas” or “The Betrayal of Christ” (see image below) from the Scrovegi Chapel in Padua, Italy, SUMNER continues to explore the symbolic power of walls, and the figures and objects which exist behind them. New arrivals:   Wall (with Betrayal), 2018, 24″x24″, acrylic and gouache on linen, $3,250 Study for Betrayal Wall I, 2018, 10″x10″, oil on panel, $1,350 Study for Betrayal Wall II, 2018, 10″x10″, oil on panel, $1,350 Study for Betrayal Wall III, 2018, 12″x12″, oil on panel, $1,500 Study for Betrayal Wall IV, 2017-2018, 14″x14″, acrylic on panel. $1,750 Trash Can Mob, 2018, 10″x10″, oil on linen, $1,350 GIOTTO’s “The Kiss of Judas” or “The Betrayal of Christ” from the Scrovegi Chapel in Padua, Italy Available work by VONN CUMMINGS SUMNER Contact Morton Fine Art for acquisition. Morton Fine Art 52 O St NW #302 Washington, DC 20001 +001 202 628 2787 http://www.mortonfineart.com mortonfineart@gmail.com ReplyForward

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

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’

In the galleries: Julia Mae Bancroft stitches the past to the present

By Mark Jenkins 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

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

Beard, acrylic, sumi ink, wood cut and silkscreen on paper, 60″x 61″

Shade, acrylic and sumi ink on stretched paper, 60″x 40″

Untitled, acrylic, sumi ink, wood cut and silkscreen on paper, 59″x 55″

​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.

New Works by ETHAN DIEHL

Artist Ethan Diehl has painted new American narratives in gray scale. Each painting is comprised of tens of thousands of oil paint squares on canvas. His time staking grid painting process yields a dual visual experience from close -up and at a distance, creating an “unreal realism” which is both emotionally and visually complex .

I’m Bald Too, 12″x 12″, oil on canvas

Racing Thoughts, 54″x36″, oil on canvas

Contact the gallery if you have any questions or if you are interested in seeing them in person.

New Works by ANDREI PETROV

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.

ANDREI PETROV, Exodus, 2017, 25″x40″, oil on canvas

ANDREI PETROV, Untitled 1, 20″x30″, oil on canvas

Click HERE to see more available works by ANDREI PETROV

ANDREI PETROV featured Music@Menlo

Congratulations to ANDREI PETROV for being the featured artist at the prestigious Music@Menlo Chamber Music Festival and Institute. The Fourteenth Season : Russian Reflections.

You can find available works by Andrei Petrov here on our website, please contact Morton Fine Art for acquisition details.

‘I Am Beginning to See the Light’ A solo exhibition of paintings by WILLIAM MACKINNON

Exhibition on view through June 2nd,  2016

EXHIBITION LOCATION

Morton Fine Art (MFA)

1781 Florida Ave NW (at 18th & U Sts)

Washington, DC 20009

HOURS

Tuesday – Saturday 11am – 6pm

Sunday 12pm-5pm

About I Am Beginning to See the Light

MACKINNON states that “Painting for me is a way of thinking…an open-ended sort of intuitive tinkering and discovery. Each day I come into the studio feeling different. I often leave notes from the end of the previous day as a clue of how to proceed. But since then, a lot has happened. I feel different…Sleep, dreams, what I have seen on my drive to work or along the coast, and my feelings all creep into my artwork. I try to bring this new version of myself into the next phase of the painting…that “quick thinking” which draws on everything you have seen and felt and read and looked at in a lifetime. In the end, all of my paintings are self portraits.”

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About WILLIAM MACKINNON

Born in 1978 in Melbourne, Australia, WILLIAM MACKINNON earned his BA from Melbourne University, his MFA for Victorian College of the Arts and his Post Graduate Diploma from the Chelsea School of Art and Design in London.  I Am Beginning to See the Light marks MACKINNON’s third solo exhibition in North America, all of them at Morton Fine Art in Washington, DC.

MACKINNON’s many accolades include exhibiting as a finalist in the Basil Sellers Art Prize at the Ian Potter Museum of Art at the University of Melbourne in both 2014 and 2016. He has also been a finalist multiple times for both the prestigious Fleurier Landscape Prize and Arthur Guy Memorial Prize at the Bendigo Regional Art Gallery. His artwork can be found in the permanent collections of Ian Potter Museum, Melbourne University, State Library of Victoria,Joyce Nissan Collection, Artbank, Griffith University, Macquarie Bank Collections RACV and Stonnington Council Collections.

Born into a family legacy of internationally renowned fine artists, MACKINNON participated in a noteworthy three generation exhibition, Landscape of Longing: Shoreham 1950-2012, at the Mornington Pennisula Regional Gallery in Australia which included a number of works by his mother, KATHERINE HATTAM (b. 1950) and his grandfather, HAL HATTAM (b.1913 d.1994).

‘Continuum’ an exhibition of paintings by CHARLES WILLIAMS

Check out this phenomenal installation snap shot of ‘Continuum’ an exhibition of paintings by CHARLES WILLIAMS on display in Charlotte, NC at Central Piedmont Community College’s Ross Gallery.