Tag Archives: washington dc

VONN CUMMINGS SUMNER featured in East City Art

5 Oct

MORTON FINE ART PRESENTS VONN CUMMINGS SUMNER KRAZY TIMES

By Editorial Team on October 4, 2021

Vonn Cummings Sumner, Krazy Times, 2021, 24″x24″, oil paint on panel.
On View: October 9 – November 3

Vonn Cummings Sumner’s contemporary depictions of Krazy Kat’s titular character build upon the comic strip’s longstanding influence on the art world at large.

Available Artwork by VONN CUMMINGS SUMNER

About Krazy Times
Morton Fine Art is pleased to present Krazy Times, a solo exhibition of new paintings and watercolors by artist Vonn Cummings Sumner, on view from October 9–November 3, 2021. Reflecting the artist’s longstanding interest in the career of famed American cartoonist George Herriman, Sumner’s recent works render the eponymous protagonist of Herriman’s Krazy Kat comic strip in settings and circumstances evocative of contemporary life.

Sumner was first introduced to Krazy Kat while under the tutelage of painter Wayne Thiebaud, whose love of Krazy Kat was shared by peers such as Philip Guston and Willem de Kooning. Appearing in newsprint from 1913 to 1944, Krazy Kat remains a keystone in the history of American cartooning, memorialized in part by the works of those it influenced. In the present decade, Krazy Kat has long since ceased publication; yet, the reinvigoration of its visual vocabulary by Sumner highlights its utility as a vehicle for investigating 21st-century themes.

Drawing from the original comic strip’s mediations on humanity—previously executed through tragic humor in a series of panels—Sumner depicts the titular character of Krazy Kat being followed by ghosts, peering at balloons floating just out of reach, and gazing at his reflection in a cerulean blue oasis, among other narratives collapsed into a singular image. Rendered in oil on panel as well as ink, gouache and pencil on paper, Sumner removes Krazy Kat from the landscapes of the comic strip, instead presenting such encounters in fields of seemingly endless white. In this sort of alternative dreamscape devoid of horizons, Sumner enables Krazy Kat to act as a projection of the artist or the viewer, embodying allegorical scenarios akin to lived experiences.

Partly created in response to the COVID-19 pandemic, Sumner describes Krazy Kat as an “empathetic effigy” for processing a moment of great global change and loss. Sumner asks, “What do you paint when reality seems to be an absurd satire of itself?” Naturally, the answer is Krazy Kat, upon whom Sumner bestows new life. Bringing forth Krazy Kat’s curiosity and innocence, Sumner intertwines existential feelings with an earnest playfulness, producing accessible avenues into thoughtful contemplation. While the contemporary moment warrants heaviness, Sumner’s Krazy Kat paintings offer welcome reminders of optimism, inspiring joy in the face of Herculean challenges.

About VONN CUMMINGS SUMNER
Vonn Cummings Sumner grew up in the San Francisco Bay Area, and attended the University of California, Davis, where he studied closely with the celebrated painter and teacher, Wayne Thiebaud, among others. Vonn has exhibited nationally and internationally since 1998, and his work has been featured or reviewed in many publications, including: New American Paintings, Elle Décor, The Washington Post, The Huffington Post, L.A. Weekly, Art Ltd., Riviera magazine, Hi Fructose, Juxtapoz, Cartwheel Art, The Painter’s Table, Boom magazine, and Quick Fiction. Vonn’s work has been the subject of two solo museum shows: The Other Side of Here, at the Riverside Art Museum in 2008, and Stages, in 2011 at the Phillips Museum of Art in Pennsylvania. In 2021, his work was featured in the first museum survey tracing the influence of Wayne Thiebaud on contemporary art at the Manetti Shrem Museum of Art at UC Davis.

Vonn currently lives and works in Santa Ana, CA, and is a Professor of Painting at Fullerton College.

He has been represented by Morton Fine Art since 2010.

About Morton Fine Art
Founded in 2010 in Washington, DC by curator Amy Morton, 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 art collecting can be cultivated through an educational stance, 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 specializes in a stellar roster of nationally and internationally renowned artists as well as has an additional focus on artwork of the African Diaspora.

Morton Fine Art founded the trademark *a pop-up project in 2010. *a pop-up project is MFA’s mobile gallery component which hosts temporary curated exhibitions nationally.

Gallery hours:

  • By appointment only.

Mask required.

Morton Fine Art is located at 52 O St. NW #302.

Available Artwork by VONN CUMMINGS SUMNER

create! Magazine features KATHERINE TZU-LAN MANN

29 Aug

Water Ribbon, A Solo Exhibition By Katherine Tzu-Lan Mann At Morton Fine Art In Washington D.C.

Katherine Tzu-Lan Mann, Water Ribbon, 2021, Acrylic and sumi ink on paper, 90 x 60 in, Image courtesy of Morton Fine Art
Katherine Tzu-Lan Mann, Water Ribbon, 2021, Acrylic and sumi ink on paper, 90 x 60 in, Image courtesy of Morton Fine Art.

We’re excited to share the announcement of Water Ribbon, a solo exhibition of new works on paper by Washington, D.C.-based artist Katherine Tzu-Lan Mann, on view from September 8th – October 6th, 2021 at Morton Fine Art. Featuring a collection of recent pieces by the artist, the exhibition offers an evocative perspective on contemporary ecologies during a time at which environmental destruction and the consequences of climate change loom ever larger. Utilizing acrylic, sumi ink, and collage, Mann draws from traditions of Chinese landscape painting to create mesmerizing, vibrant depictions of organic matter.

Mann begins her process by pouring liquid pigments onto paper, allowing them to dry and yielding a stain of color from which the work is then based. Through an embrace of the indeterminate qualities of her materials—the ink or paint takes its own course, without the artist dictating its shapes or forms—Mann demonstrates a symbiotic relationship to her materials that serves as an apt metaphor for coexistence with the natural world. What results from Mann’s subsequent additions to the paper are rich, layered tableaus imbued with an affective interplay of ideas.

Of the challenges posed by her recent work, Mann describes her rumination upon “the resuscitation of landscape painting in a world where ‘landscape’ is represented and defined through an ever-widening field of digital, graphic, and visual forms.” At times almost dizzying, the pieces shown in Water Ribbon eschew Western conventions of spatial perspective and inert figuration, instead embracing qualities of movement and monumentality central to Chinese landscape painting traditions.

Bright hues and a multiplicity of patterns are nestled among Mann’s illustrations of flora and fauna, with streams of ink evoking vines and riverbeds. Lying in the tension between the artificial and the organic, Mann’s renderings suggest and intertwining of systems rather than a constant grappling for control or domination. Splashes of ink seep across each image, traversing various shapes and forms. Elsewhere, translucent swathes of paint filter views of plant life, appearing like stained-glass window through which to gaze. “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,” said Mann. Amongst all the chaos and beauty, Water Ribbon proposes a mode of coexistence attuned to change, reciprocity, and an honoring of diverse forms of life.

Arch 3, 2020, Acrylic and sumi ink on paper, 56 x 56 in, Image courtesy of Morton Fine Art
Arch 3, 2020, Acrylic and sumi ink on paper, 56 x 56 in, Image courtesy of Morton Fine Art.

Artist Statement:

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. My latest work confronts the challenge: the resuscitation of landscape painting in a world where “landscape” is represented and defined through an ever-widening field of digital, graphic, and visual forms. How can a painting capture flux, abundance, waste, fertility, and the collision and collusion of diverse forms? How can it respond to the pressure we place on our era’s fragile ecosystem? My paintings explore both questions by sustaining tension between what is artificial and what is natural, between what is chemical and what is biological, between organic and inorganic. 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. My own role in the creation of the paintings strikes a balance between the purposive and the protective. I trust to process, chance, and change, but I encourage, direct, and facilitate all of these. 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.

Crust, Mantle, Core, 2021, Acrylic and collage on paper, 60 x 60 in, Image courtesy of Morton Fine Art.

Crust, Mantle, Core
, 2021, Acrylic and collage on paper, 60 x 60 in, Image courtesy of Morton Fine Art.

Alicia Puig

Available artwork by KATHERINE TZU-LAN MANN

Contact Morton Fine Art to view by appointment. (202) 628-2787 (call or text), info@mortonfineart.com. Mask required.

Partnership between global digital platform for art from Africa and the African Diaspora | Pavillon 54 | and Morton Fine Art

19 Jul

ENGAGING THE STORY OF ART FOR A SUSTAINABLE AFRICAN ART MARKET: THE PARTNERSHIP BETWEEN PAVILLON54 AND MORTON FINE ART

ENGAGING THE STORY OF ART FOR A SUSTAINABLE AFRICAN ART MARKET: THE PARTNERSHIP BETWEEN PAVILLON54 AND MORTON FINE ART

JULY 16, 2021

Amy Morton at Morton Fine Art gallery

As the one-stop global digital platform and community for art from Africa and the Diaspora, Pavillon54 always seeks to enter fruitful partnerships with artists, curators, collectors, and galleries. It became only natural, then, that for the next step of our development, we partnered with some of the most exciting international galleries that specialise in contemporary African art and share our vision for the African art market.

A couple of months ago, Pavillon54 entered a partnership with Morton Fine Art, a Washington DC gallery and curatorial group, headed by Amy Morton, that provides museum-quality art with a focus on the African Diaspora. We were instantly drawn to Morton Fine Art due to their impressive roster of artists and the diversity of their offering, whether geographically, in style, in medium, or in the range of artists themselves. What was most captivating, however, was our shared vision to go beyond the commercialisation of African art and to tell the underlying stories—an essential element to foster a sustainable development of the market.

With Pavillon54’s expertise in the African art market and digital strategy, combined with Morton Fine Art’s incredible roster of artists, finding contemporary African art that is not only aesthetically exceptional, but also enriched in narrative, becomes easier for the African art collector. Together, Pavillon54 and Morton Fine Art are making high-calibre contemporary African art more accessible, more transparent, and more meaningful.

We sat down with founder and curator Amy Morton, to learn more about how Morton Fine Art was founded, and what makes it an extraordinary destination for African art.

Artwork of Victor Ekpuk, Kesha Bruce and GA Gardner

Gallery View at Morton Fine Art, Artworks by Victor Ekpuk, Kesha Bruce and GA Gardner

P54: How did Morton Fine Art come to be? What was the driving force or need to be filled that resulted in the creation of the gallery?

AM: I founded Morton Fine Art in 2010. My first exhibition was launched early that year under Morton Fine Art’s trademark mobile gallery, a pop-up project in Washington, DC in the Penn Quarter neighborhood. It was in a former gallery space which I had leased short term, for a three-month period. I was interested in curating an exhibition that I felt positioned substantive art in the market and quickly realized I needed a permanent location to continue in that vein. I then leased a space in Adams Morgan, a quirky district in DC known for independent businesses. Morton Fine Art was in that location for 9 years before moving to a flourishing creative community in Truxton Circle at 52 O St NW, where it has been for nearly 3 years. 

From its inception, the inclusion of diverse voices, nurturing a safe space and working with an educational stance has been at the forefront of the gallery’s mission. I am firmly committed to a comfortable and intimate gallery space intended for exploration and journeying through visual art.  

P54: Why the focus on the African Diaspora?

AM: I have always been interested in and open to artwork and original voices from all over the world. Interconnectedness between people and exploring the human condition fascinates me. I value our collective overlaps and progressions toward deeper shared understandings and relationships. In the 90’s I attended Occidental College in Los Angeles, where my studies in art were informed by a strong commitment to equity and diversity. I think the combination of these personal priorities resulted in a natural inclusion of artists from the African diaspora, as well as from many other places and orientations, whose practice foregrounds pertinent, globally relevant, philosophical questions. With these values at the center of my work, Morton Fine Art’s curatorial vision has bloomed and been enriched organically.  

My vision for the gallery, as well as for my life, is to create a safe space for dialogue and the sharing of ideas. In that way, the evolution of the gallery has been very process-oriented, and not something that was artificially orchestrated or even conscious much of the time. It continues to be a growth-oriented work in progress. I studied fine art and art history and appreciate that visual art is a potent tool for highlighting issues which may otherwise be difficult for people to address. I am attracted to the intersection of art and activism, and how artwork can be an effective tool for personal introspection, interaction, dialogue and ultimately, I hope, change and growth. 

Osi Audu, Self Portrait, after Head of a Shango Staff, 2017 | Pavillon 54  Limited

 Osi Audu ‘Self Portrait, after Head of a Shango Staff’ (2017)

P54: What qualities do you see in an artist when you sign them on and how do these connect with the mission of Morton Fine Art?

AM: I usually know we are well matched right away. My artist partners are incredible at what they do! First and foremost, their creative vision and visual language inspire me on such a deep level. Examples include Osi Audu‘s philosophical exploration of “The Tangible and Intangible Self “; Victor Ekpuk‘s mining of historical narratives, the vocabulary of the contemporary African diaspora, and humanity’s connection to the sacred;  Rosemary Feit Covey‘s attention and sensitivity to the delicacy of earth and the natural world; Maliza Kiasuwa and Meron Engida‘s themes of reconciliation; and Lizette Chirrime’s interconnectivity between art practice, spirituality and healing.

Rosemary Feit Covey, Amethyst Deceivers II, 2019 | Pavillon 54 Limited

Rosemary Feit Covey ‘Amethyst Deceivers II’ (2019)

Their deep and meaningful engagement with these themes is what powers my belief in them and commitment to uplifting their voices. The artwork shown here is purely the artists’ visions, created without gallery interference. I look for long-term partnerships, so synergy is also important. The relationship needs to be trust-based and natural as we often spend years working together. These strong personal connections are important for understanding the creations themselves, allowing me to do my job better.

Victor Ekpuk - Works | Pavillon 54 Limited

 Victor Ekpuk ‘Mask Series 2’ (2018)

P54: What excites you most about the African art market, and working in this field?

AM: Learning, evolving, exploring questions and shared histories, and meeting artists with lasting substance and incredible talent—there is an abundance of all of that in the African art market. It is endless. With art, I can never be bored—either when exploring an individual piece I connect with or with creations at large. Art is a mirror, and it fascinates me to see what is revealed in a moment and how more reveals itself with time. Contemporary artists remind us of where we are, including our shortcomings and our most sacred parts. They invite us to do better.

Maliza Kiasuwa, Brown Skin 1, 2021 | Pavillon 54 Limited

Maliza Kiasuwa ‘Brown Skin 1’ (2021)

P54: What are some of Morton Fine Art’s greatest moments or achievements?

AM: First and foremost, I am proud to have such outstanding artist partners who center substantive concepts and demonstrate a mastery of medium. The artists I work with are thoughtful, tremendous and have so much to say and share! The backbone of the gallery is our partnership, as is our shared trust in each other. It is fascinating to see organic shifts and developments in their artwork and art practice, knowing their growth informs new iterations of brilliance. It is also very rewarding to witness their points of public-facing recognition, including in national and international museums and publications. 

Meron Engida - Works | Pavillon 54 Limited

Meron Engida ‘Solidarity 9’ (2020)

AM: I am personally proud of the warm vibe of the space and the maturity of conversations and experiences shared here through art. This is a gallery for everyone to explore, regardless of experience or exposure to art.  Authenticity is valued as are questions and feelings, even when layered.  In many ways it has the intimacy and hominess of a salon, and that facilitates connection with artists, collectors and enthusiasts alike.

Morton Fine Art

52 O St NW #302

Washington, DC 20001

(202) 628-2787

info@mortonfineart.com

http://www.mortonfineart.com

WAYNE THIEBAUD | Manetti Shrem Museum | VONN CUMMINGS SUMNER in Hyperallergic

14 Jul

Explore Wayne Thiebaud’s Evolving Influence at the Manetti Shrem Museum

The new exhibition Wayne Thiebaud Influencer: A New Generation celebrates the UC Davis professor’s legacy at work today.Manetti Shrem Museumby Manetti Shrem Museum

Vonn Cummings Sumner, “Watching a Dumpster Fire” (2020), oil on canvas over panel, 14 3/4 x 16 x 1 inches (image courtesy the artist © Vonn Sumner)

The profound influence of longtime UC Davis art professor Wayne Thiebaud on a new generation of contemporary artists is the focus of a multi-faceted exhibition currently on view at the Jan Shrem and Maria Manetti Shrem Museum of Art, at the University of California, Davis.

The professor emeritus, who turned 100 in November 2020, first joined the university’s fledgling art department in 1959. Wayne Thiebaud Influencer: A New Generation explores how Thiebaud forecast the future of painting through his personal journey to find meaning and reinvention in the medium’s history — and inspired his students to do the same. “He found his voice at a very volatile time in the art world,” said Manetti Shrem Founding Director Rachel Teagle. “Painting as a medium and practice was dead. Wayne championed a new path forward.” 

Think of this group exhibition as Thiebaud’s classroom operating across time and place, where works of art reverberate with the flow of shared ideas. 19 exhibiting artists reflect the breadth of Thiebaud’s influence and honor his dedication to practicing the fundamentals; his penchant to paint the people, places, and objects of daily life; and his passion for looking to the history of art as a source of inspiration. 

Andrea Bowers, Robert Colescott, Alex Israel, Jason Stopa, Jonas Wood, and Lynette Yiadom-Boakye are featured alongside 13 mid- and late-career artists who studied with Thiebaud in the classroom and independently: Julie Bozzi, Christopher Brown, Gene Cooper, Richard Crozier, April Glory Funcke, Fredric Hope, Grace Munakata, Bruce Nauman, Vonn Cummings Sumner, Ann Harrold Taylor, Michael Tompkins, Clay Vorhes, and Patricia Wall.

Together these artists chart an alternate course of how painting makes meaning in the 21st century. 

On view through November 12, 2021. Book a timed ticket to visit or experience the exhibition through its digital companion website at manettishrem.org.

Available Artwork by VONN CUMMINGS SUMNER

New Artwork by MICHAEL ANDREW BOOKER

20 May

Morton Fine Art is pleased to announce the much-anticipated arrival of three new fine liner pen drawings by artist MICHAEL ANDREW BOOKER.  He continues to push his medium forward integrating layers of watercolor, ink and hand stitching.  Among some influences he has cited is W.E.B. DuBois’ “Double Consciousness” theory where BOOKER “highlights a space of vulnerability that exists like a flickering candlelight in the wind, fighting for survival.”

Please be in touch regarding viewing by appointment or additional supplementary images or short videos.

Morton Fine Art, 52 O St NW #302, Washington, DC 20001

(202) 628-2787 (call or text)

info@mortonfineart.com

http://www.mortonfineart.com

Michael Andrew Booker
Hunting Party, 2020
Fineliner pen, watercolor, and ink on paper
30 x 22 in

Michael Andrew Booker
Acknowledgment, 2020
Fine liner pen and watercolor on paper
31 x 25 in
Michael Andrew Booker
Unwritten, 2020
Fineliner Pen, Watercolor, Doily, and Hand Stitching on Paper and Yupo
34 x 25 in

Available artwork by MICHAEL ANDREW BOOKER

ADIA MILLETT reviewed in The Washington Post

7 Apr
By Mark Jenkins
April 2, 2021 at 7:00 a.m. EDT

“Reflection” (2020) by Adia Millett. 60″x48″, acrylic on panel. (Morton Fine Art)Artwork

Adia Millett

Adia Millet’s show at Morton Fine Art is divided into fabric pieces and paintings, but the two categories overlap in theme and appearance. Almost all of the works include one or more circles that represent the heavenly body invoked in the exhibition’s title, “The Moon Is Always Full.” And two of the paintings arrange scraps of color as if they were pieces of material.

Millett often begins by disassembling cloth items, with the idea of symbolically reconstructing African American experience and identity. (She also tweaks White outlooks in the show’s least colorful and only circle-less entry, “OWF,” which stands for “off-white fragility.”) The California artist has a strong sense of form but little apparent interest in sheer abstraction. “Gold Roof” is little more than a triangle, a circle and several rectangles, but these elements are transmuted into a house under a full-moon sky by deft composition and the insertion of two 3-D model windows.

Just as streamlined are “Reflection,” a landscape-like picture that seems to be as much stitched as painted, and “Portal,” in which a blue round resembles the moon behind striated clouds, but also a cell or an egg. Any of those possibilities are apt, since Millett’s essential concerns include renewal and regeneration.

Adia Millett: The Moon Is Always Full Through April 22 at Morton Fine Art, 52 O St. NW, No. 302.

Available Artwork by ADIA MILLETT

ADIA MILLETT’s solo exhibition “The Moon is Always Full” at Morton Fine Art in DC

29 Mar

Showcasing a range of paintings and textiles by California-based artist ADIA MILLETT, The Moon Is Always Full investigates a cosmic utopia where the moral and metaphysical intermingle and converge.

Portal, 2018, 24″x24″, acrylic on panel

The Moon Is Always Full

A solo exhibition of paintings & textile artwork by ADIA MILLETT

March 25 – April 22, 2021

Contact the gallery for private viewing appointment, price list, additional information and acquisition.

(202) 628-2787 (call or text)

info@mortonfineart.com


Available artwork by ADIA MILLETT

About The Moon Is Always Full
Weaving threads of African American experiences with broader ideas of identity, and collective history, my work investigates the fragile interconnectivity among all living things. Fragmented, constructed, and reassembled, I shed light on the multifaceted and complex parallels between the creative process and the nature of personal identity. My paintings feature abstracted, geometric shapes that imply movement – colorful forms expand and collapse freely among glittery backgrounds with hints of landscape and structural objects such as rooftops, windows and doors. While the textiles draw on the domestic and artistic traditions of quilt-making, they are pieced together, combining culturally diverse fabrics. While my work pays homage to the past through the use of repurposed fabrics and historical iconography, its bright atheistic imagery is informed by the future. The art reminds us of the importance of renewal and rebuilding, not only through the artistic process, but also through the possibility of transformative change. – ADIA MILLETT

Using a range of process-oriented techniques, Millett takes things apart, removes, replaces, cuts, pastes, sews, and rebuilds to discover the space where transitions occur and where stories of impermanence unfold. Her work weaves together threads of Black American experiences with broader ideas of identity and collective history, suggesting the fragile interconnectivity among all living things. Constructing works assembled from vibrant and textured fragments to fashion a meaning greater than its individual elements, Millett illuminates the multidimensional parallels between the creative process and the nature of personal identity.

ADIA MILLETT, originally from Los Angeles, California received her MFA from the California Institute of the Arts. In 2001, she moved to New York City for the prestigious Whitney Museum Independent Study Program, followed by the Studio Museum in Harlem residency program. Millett has been a standout in numerous group exhibitions including the well-received “Greater New York” show at PS1 in Long Island City, New York and “Freestyle” at the Studio Museum in Harlem, New York. Her work has been featured in exhibitions at the Barbican Gallery in London; The Craft and Folk Museum in LA; The New Museum of Contemporary Art, New York; The Museum of Contemporary Art, Atlanta; The Santa Monica Museum of Art; and The Contemporary Art Center, New Orleans. Millett has taught as an artist in residence at Columbia College in Chicago, UC Santa Cruz, Cooper Union in NY, and California College of the Arts. Millett currently lives and works in Oakland. She has been represented by Morton Fine Art since 2020.
About Morton Fine Art

Founded in 2010 in Washington, DC by curator Amy Morton, 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 art collecting can be cultivated through an educational stance, 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 specializes in a stellar roster of nationally and internationally renowned artists as well as has an additional focus on artwork of the African Diaspora.

Morton Fine Art
52 O St NW #302
Washington, DC 20001

COVID-19 protocol: By appointment. Mask required. Contact the gallery for supplementary artwork documentation such as detail images and short videos. Safe, no contact door to door delivery available. Shipping nationally and internationally.

AMBER ROBLES-GORDON in Ahlem Baccouche and ARTNOIR’s Larry Ossei-Mensah “From: Friends, To: Friends”

5 Feb

From: Friends, To: Friends Nov 27 Part 2: On The Journey

 in article

Ahlem Baccouche in conversation with Larry Ossei-Mensah on his journey into the art world, his stance on diversity, and much more. 

IMG_0223.jpg

Leveraging the power of art as an agent for social change and cultural transformation is the mission of ARTNOIR’s co-founder, art critic and international curator Larry Ossei-Mensah, whose latest initiative invites people to become agents of change in the art industry.  

In the first part of this interview, Larry expanded on his partnership with Artsy for the ARTNOIR From: Friends To: Friends Benefit Auction, which aimed to raise funds for the newly launched ARTNOIR Jar of Love Funda microgrant initiative intended to provide relief for artists, curators, and cultural workers of colour.  

In this second part, we discuss Larry’s journey into the art world, his views on diversity, his upcoming projects and advice on leading an authentic life.  

Ahlem Baccouche: I’m always curious about the journey that led people to their current position, as life is never a linear path. What was your journey like?  

Larry Ossei-Mensah: My starting point in terms of art and business was in high school, where I did internships at record labels like Epic and Columba Records from my junior year all the way through university. I wanted to be a record man, I wanted to be Diddy. That experience gave me my first exposure to the intersection of art and business. The art being music as a form of expression, but also music as a commodity: how it can be packaged, marketed, distributed and consumed.  

That foundationally informs my thinking. When I think about an exhibition that I’m doing, I see it like an album release. How do I build content around a show that will be different than just a press release and an email blast? A good example of that would be the Phillips Auction conversation with Tremaine Emory, we used it not only as a space to talk about art, but also social justice and other issues currently impacting society.  

I eventually realized that the music industry wasn’t for me, and worked a bit in marketing and advertising before going to Switzerland to complete a Masters at Les Roches. My mother worked in the hospitality industry for about thirty – thirty five years at the Waldorf Astoria, so there was always a romance of opening a hotel or something similar one day, as it’s an industry that I grew up in. That is something I still want to do in the long term.  

Studying at Les Roches and being exposed to a truly international student body shifted my thinking about humanity and how we engage with each other. It taught me how to really value people, relationships, and perspectives that were different from mine. Just because you have two people from the same city, like New York, doesn’t mean they’ll get on. We can have very different experiences. My time at Les Roches also afforded me an opportunity to travel and explore Europe. As a graduate student, I didn’t have a lot of discretionary income, so I found things that were free and, a lot of the time, that would be museums.  

The American education system makes you believe that there wasn’t a presence of Black people in Europe throughout history. However, by going to these museums in Europe, to a place like Florence’s Uffizi Galleries, and discovering paintings of Black people, even if they’re mixed, was mind blowing. That afro, is undeniable.  

That exposure started an inquiry into who’s telling the narrative of the Black diaspora experience? Who’s controlling the story? So much is hidden from us or recontextualized. For example, one of Sicily’s patron saint is of African descent, Saint Benedict the Black, there are murals of this guy all over Palermo. It’s not a hidden secret, but it’s not openly discussed. I began this inquiry and started taking photographs as a way to document these experiences and began to exhibit these images when I moved back to the states. I exhibited a little, but quickly realized that being a photographer wasn’t my journey. After that epiphany,  I started writing about art and that’s when I noticed that there weren’t enough platforms for artists of colour to have their work be seen, discussed and purchased.  

This was over ten years ago, before it became in vogue. The ability to recognize that and be invested in it fully has allowed me to build a lot of relationships, which was the backstory behind the foundation of ARTNOIR. Knowing artists at the beginning of their career and having a decade-long relationship with them, whether I’ve shown their art or not, provided a spark plug for rich dialogue and collaboration with these artists. Moreover, building those relationships over time helped me shift and expand my thinking about contemporary art.  

Click here to read the entire article:

https://www.madeinbed.co.uk/agents-of-change/from-friends-to-friends-part-2-on-the-journey

Screen Shot 2020-12-03 at 10.18.35 PM.png

Temples of My Familiars R Squared Triangular Fractals, The Yin and Yang Over Color Theory by Amber Robles-Gordon. Image credit: Amber Robles-Gordon website.

 AB: What projects are you currently working on?  

LOM: I will be co-curating the 7th Athens Biennale with OMSK Social Club, which has been rescheduled for Spring 2021.  

I’m doing a show in Rome in November as part of a series of exhibitions called Parallels and Peripheries. The show in Miami included only women artists. In Detroit, we looked at the intersection of Art, Technology, and Nature. In Maryland, the theme was about migration and immigration, and it included first generation immigrant artists. The show in Rome is called Fragments and Fractals and is held at Galleria Anna Marra (a 3D viewing is available). 

We’ll be thinking about fractals as a mathematical concept, the potential to repeat infinitely, and exploring the idea of fragmentation when thinking about layered identities. As an example, I’m Black; I’m African American; I’m also Ghanaian; I’m a New Yorker; I come from a working class background; I’m a male. We try to look at the different layers that compose a person, not just from an identity standpoint, but also from a practice standpoint. 

The show includes six Black artists: Kim DacresKenturah DavisBasil KincaidNate LewisDavid Shrobe and Kennedy Yanko. They all work with different mediums such as sculpture, photography, drawing and painting. It will be the first show in Italy for some of them. Just think about the social climate in Italy, particularly for Black folks. How do we use the exhibition as a platform to key in on those things? I also highlight that the fact that we’re Black does not mean that we’re a monolith. We’re very vast and very diverse in our experiences, our thinking and our creative approach.    

Next, I have a show at the American University in 2021 with Amber Robles Gordon, an Afro Puerto Rican artist based in DC. It will be a solo show of just abstract work, which is exciting for me, because I don’t think I’ve done a solo presentation of just abstraction. So I seize this opportunity to educate myself on movements like the Washington Color School and look at artists like Alma Thomas more closely.  

It’s also interesting to mine this layer of the diasporas: so thinking about the African diaspora experience from a Latin perspective, but then also from an American perspective, because the artist grew up in the United States as well. 

Lastly, I’m toying around with the idea of writing a pocket book on my experience in the art world. I gave a lecture with Oolite Art at Anderson Ranch called “Lead with the Hustle.” I describe my journey, but also talk about things that I’ve recognized that I believe not only artists, but all people should be aware of.  

From storytelling, to relationship management, professionalism, likeability and how to operate on a professional level consistently. It’s about how to work within the art world from a business standpoint and think about storytelling through your work. What is your story? If I was doing an article on you, what would that story look like? Why do you do what you do? 

AB: Are there any artists, curators, businesses, colleagues, or organizations whose work you admire and would like to highlight?  

LOM: In terms of curators, Okwui Enwezor of course. I’m following many curators who are doing a lot of incredible work internally and externally. Among them are Meg Olni from ICA Philadelphia, Erin Christoval from the Hammer Museum and Osei Bonsu at Tate Modern.  

I like what SAVVY Contemporary is doing in Berlin. In terms of fashion, I love what Pyer Moss is doing. They just released a sneaker of which the proceeds will go towards The Innocence Projects.  

AB: Any favourite advice, resources or tips you’d like to share?  

LOM: It goes back to the pillars: really understand why it is you’ve chosen to work within the arts. I think that understanding the why, for me, informs everything else. It’s going to inform where you’ll choose to work; it’s going to inform your values. I recommend this book called Start with Why.  

Cultivate meaningful relationships. The art world in particular, is about human connection. You’ll know a lot of people, but how many of those people are meaningful relationships where you can pick up the phone and call if you have a question, or an issue. How many of those people would you invite over to your home for dinner?  

Branch out. Build a support system. This is going to be a journey and you need people from different spectrums. When we think about mentorship, it’s always kind of thinking of an old wise person, and that’s antiquated. We need to change the way we think about mentorship, as it doesn’t necessarily have to be with an older, wiser person. I think peer mentorship is just as valuable.  

In terms of books, Never Eat Alone is a great book about relationship building. Some people will call it networking, I prefer “relationships” as “networking” feels more transactional. Who Moved My Cheese is a good one to adapt to change. Collecting Contemporary by Adam Lindemann, particularly for artists who want to get a snapshot of the industry. The Hard Things About Hard Things is a business book coming from an honest perspective. Usually, when you hear about a business, you only hear about the success. You don’t hear about the pitfalls, running out of money, being broke and the resilience that it takes. Being an artist is not easy, so you need to make sure to have the tools and the support to navigate the ebbs and flows of this journey. 

And my final tip: Stay true to yourself.

Source: https://www.madeinbed.co.uk/agents-of-change/from-friends-to-friends-part-2-on-the-journey Tags: Larry Ossei-MensahARTNOIRAmber Robles GordonAhlem BaccoucheMadeinbedmagazinePeter Williams ExhibitionOkwui EnwezorMeg OlniErin ChristovalOsei BonsuOolite ArtAnderson RanchWashington Color SchoolAlma ThomasSotheby’s Institute of Art

Available artwork by AMBER ROBLES-GORDON

Morton Fine Art, 52 O St NW #302, Washington, DC 20001

http://www.mortonfineart.com

The Washington Post ~ In the galleries: Rosemary Feit Covey

16 Oct

WP

Written by Mark Jenkins October 4, 2019

Rosemary Feit Covey

There’s a pleasing symmetry between what Rosemary Feit Covey depicts and how she depicts it. Most of the works in “The Dark Re-Imagined,” the Alexandria artist’s show at Morton Fine Art, begin with wood engraving. The white-on-black images are usually supplemented with painted colors and sometimes built up with thread or small found objects. But the incised lines are fundamental, and apt for conveying such hidden natural systems as a fish skeleton or a network of submerged fungi.

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‘Amethyst Deceivers 11’ (2019) by Rosemary Feit Covey. Wood engraving, thread, painting on canvas, 36″x 48″ 

Feit Covey has worked with doctors and scientists — including at Georgetown University Medical School’s morgue — so her art is grounded in biological knowledge. Yet the works in this show are not mere illustrations. They attempt to convey the abundance of life, the inevitability of death and the link between the two. In such intricate compositions as the swirling “Fish,” the individual blurs into the collective, much as dead things are reabsorbed into living ones. Like a clump of black earth, Feit Covey’s pictures are dark but fecund.

 

Follow this link to view Available Artwork by Rosemary Feit Covey on MFA’s website.

 

Rosemary Feit Covey’s available work is stored on site at Morton Fine Art, stop by anytime during open hours or make an appointment to view these incredible creations up close in person.  Wednesday – Saturday : 12 – 5pm,  Sunday – Tuesday : by appointment Contact:  mortonfineart@gmail.com -or- (202) 628-2787.

 

 

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

26 Jun

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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! 
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