Tag Archives: washington dc

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.

AmethystDeceivers_web

‘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

VICTOR EKPUK’s “Eye See You” on view at Smithsonian Arts and Industry Building for We the People festival in DC

22 Jun

 

 

Please join artist VICTOR EKPUK in conversation while viewing his monumental installation piece Eye See You in Halcyon’s By the People festival in Washington, DC, curated by Jessica Stafford Davis.

Nearly scraping the ceiling of the Arts & Industries Building, Ekpuk’s 18-foot-high “Eye See You” is the most imposing piece he’s ever exhibited in the District. -Mark Jenkins. (The Washington Post)

Sunday June 23, 2019
2:00pm
Smithsonian Arts and Industry Building on the National Mall
Jefferson St, SW Washington DC  

Artist ETHAN DIEHL interviewed by Silver Brush Limited

28 May

 

FEATURED ARTIST – ETHAN DIEHL

Brush Lady | May 20, 2019

We recently interviewed artist Ethan Diehl after meeting him at the 2019 Portrait Society of America show in Atlanta, Georgia. Ethan has an astounding talent for photo-realistic oil paintings. In fact, his paintings are so realistic that he even has a disclaimer at the top of his website that says, “Yes, these are paintings.” See for yourself!

SBL:  When did you start painting and what inspired you to pick up a paintbrush?
Ethan: I started painting almost before I could walk. Granted, it wasn’t in oil (closer to Gerber’s baby food), but it was the starting point.  My mother babysat a bunch of kids, and she converted our basement into an art room.  A half dozen young artists, mastering our watercolor craft.  I didn’t start painting in acrylics until junior high, and oils didn’t come on the scene until college. I don’t know why I picked up a paintbrush. I’ve always liked the visual world. The stars at night.  Storms on the horizon.  Movies.  Paintings. All of it.  Being able to capture images that lived in my head, and in front of me, always seemed special to me.   Like my superhero power.

“Train of Thought”

SBL: Do you have any formal training or instruction?
Ethan: I went to Stanford to study rocket science. Literally.  However, after a year of not enjoying my classes, I started to take studio art classes.  One of them, a drawing class, was taught by Nathan Olivera.  Nate was an incredible person.  We hit it off in his class, I completely changed the direction of my studies, and he became my art mentor.  More than simply learning the technical side of making art, Nate taught me how to pay much closer attention to what was right in front of me in the visual world.

SBL: Before you became a full-time artist, what did you do?
Ethan: The concept of full-time artist makes me chuckle. I knew very early on that it would be nearly impossible to make a living by just selling art.  So, I got a job, which I still have, as a software developer. I’ve been doing that for 21 years. However, this doesn’t mean that I don’t put in a fulltime amount of work each week in the studio.  I do.  I’ve been doing 40+ hour “work” weeks + 40+ hour “art work” weeks for almost 15 years.

“Tenacity”

SBL: What is your favorite subject to paint and why?
Ethan: People are my favorite subject.  Primarily women.  This isn’t exactly an original concept in the art world.  Haha.  I like spending my time focusing on the beauty that only women bring to the world. Within the subject of women, I only paint women I know.  It’s important for me to have a personal connection to my subjects, because it takes SO long for me to complete my paintings.  I really don’t want to spend months on end staring at a strange face in my studio.

SBL: How long have you been usingSilver Brushesand why do you like using them?
Ethan: I have been using Silver Brushes, and only Silver Brushes, since 2004.  That was the year that I started my professional art career.  I only use 1 particular brush: the Silver Bristlon® Flat size 0. My paintings are made of tens of thousands of squares of oil paint.  Each square is 1/6 in by 1/6 inch.  The Flat 0 is the perfect width for that size square.  The way that the bristles are constructed works well for me, too.  I like the flex of the bristles as I’m working on the squares.  Once I found this one brush, I was hooked.

“Constellation” painting process

SBL: Can you explain your painting process further?
Ethan: I use a pencil and ruler to turn my canvas into the equivalent of a super-sized piece of graph paper.  Then, I spend months looking back and forth between my computer monitor (which has a pixelated image), and the canvas, and painting tiny squares.  My Silver Brushes are never the same afterwards.  I normally use 1 single brush per painting, and then the brush is “retired”.  This process is not recommended for anyone else.  It works for me, but it’s painful.

SBL: Have any artists influenced or inspired your work?
Ethan: Chuck Close specifically influenced the way that I paint, from a technical aspect. I’m inspired by living artists like Jenny Saville, Mark Tansey and Banksy.

SBL: Is your artwork on display anywhere?
Ethan: My art is shown at three galleries:
• Julie Zener Gallery in Mill Valley, CA
• Robert Lange Studios in Charleston, SC
•  Morton Fine Art in Washington, D.C.

SBL: What advice do you have for aspiring artists?
Ethan: Work hard. Be nice. Enjoy the process. Fight envy with all of your strength.

For more information about Ethan and his artwork, please visit these links:
www.ethandiehl.com
Facebook
Instagram

Please contact Morton Fine Art for available artwork by painter ETHAN DIEHL.
Morton Fine Art
52 O St NW #302
Washington, DC 20001
(202) 628-2787
mortonfineart@gmail.com

Morton Fine Art Relocating to NoMA District in Washington, DC

12 Oct

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

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

 

New Location:

Morton Fine Art

52 O Street NW #302

Washington, DC 20001

 

New Hours:

Wednesday – Saturday: 12pm-5pm

Sunday – Tuesday: By appointment

 

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

Morton Fine Art

Morton Fine Art and NATE LEWIS featured in Fairmont Magazine

21 Jun

 

Undiscovered D. C.

A collection of hidden gems in the US capital

 

Head Underground

Blink and you’ll miss some of the coolest art spaces in town. Leave the crowds at the new David Adjaye-designed National Museum of African American History and Culture and head to Morton Fine Art for under-the-radar African American artists like self-taught local, Nate Lewis. Or descend 20 feet to Dupont Circle station. Built in 1949, it was discontinued after streetcars went out of style, then reopened in 2016 as Dupont Underground. The 15,000 square-foot space is now a hub for alternative arts and culture and hosts talks by Pulitzer-prize-winning photojournalists and New York Times columnists. -EVE THOMAS

 

 

The Washington Post reviews KESHA BRUCE ‘Weapons for Spiritual Warfare’

2 Mar
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Until I Break Skin, 2018, dyed/painted fabric on un-stretched canvas, 96″x 96″

The artworks in Kesha Bruce’s “Weapons for Spiritual Warfare” are a form of ancestor worship. Each one of the tradition-rooted pieces in her Morton Fine Art show is “an answered prayer,” writes the African American artist, who divides her time between the United States and France.

Most of these collage-paintings are small and consist of four rough-edged fabric squares daubed with simple geometric forms. The X, Y, + and # shapes are elemental, but rendered loosely to give evidence of the artist’s hand, as well as offer a sense of spontaneity. The largest and most complex are “The Sky Opened for Her,” which is cross-shaped and fringed with streamers, and “Between Starshine and Clay,” whose top third consists of overlapping black squares. The former resembles a ceremonial robe, while the latter evokes a sweeping view of a village under a nighttime sky — a universe conjured from tattered scraps and unstudied gestures.

Reviewed by Mark Jenkins, March 1, 2018.

Kesha Bruce: Weapons for Spiritual Warfare Through March 7 at Morton Fine Art, 1781 Florida Ave. NW. 202-628-2787. mortonfineart.com.

Please follow the hyperlink to visit our website  for all available artworks by KESHA BRUCE, and contact us here at the gallery for additional information or acquisition details.