Tag Archives: washington

Virtual Gallery Talk: Successions: Traversing US Colonialism September 14, 6-7PM ETDC mixed-media artist Amber Robles-Gordon talks Successions with curator Larry Ossei-Mensah at American University

10 Sep

Collage by Amber Robles-GordonA
American University Museum at the Katzen Arts Center Fall exhibitions are on view through December 12. View our exhibitions, hours, and health and safety protocols.
Plan Your VisitInstallation view of "Successions"
Virtual Gallery Talk: Successions: Traversing US Colonialism
September 14, 6-7PM ETDC mixed-media artist Amber Robles-Gordon talks Successions with curator Larry Ossei-Mensah.

Successions is a conceptual juxtaposition that celebrates abstraction as an art form while leveraging it as a tool to interrogate past and current US policies within its federal district (Washington, DC) and territories (including Guam, Puerto Rico, and the US Virgin Islands) that it controls. This event will be held virtually. Please register to receive the Zoom link via email.RegisterRead the Exhibition Catalog Online

Featuring essays by curator Larry Ossei-Mensah and Noel W Anderson.Ossei-Mensah headshot#AskACuratorDay
Featuring Successions curator Larry Ossei-Mensah

#AskACuratorDay is Wednesday, September 15! Larry will be on Twitter to answer your questions about Successions, his career as an independent curator, and more. Tweet your questions to @aumuseum_katzen and @youngglobal using hashtag #AskACuratorDay.Feminist Art History Conference
Online September 24-26

The conference builds on the legacy of feminist art-historical scholarship and pedagogy initiated by Norma Broude and Mary D. Garrard at American University. With the goal of fostering a broad dialogue on feminist art-historical practice, the event will feature papers spanning a range of chronological, geographic, and intersectional topics.RegisterPlease consider making a contribution by becoming a member. No gift is too small, and your support matters now more than ever before.Give NowImages (top-bottom):

Amber Robles-Gordon, y mi bandera vuela mas alto que la tuya, and my flag flies higher than yours, 2020. Mixed media collage on canvas, 18 x 24 in. Courtesy of the artist.

Installation view of Successions: Traversing US Colonialism. Courtesy of Greg Staley. 

Ossei-Mensah headshot, photo credit: Anthony Artis.
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KATHERINE TZU-LAN MANN’s solo “Water Ribbon” highlighted in Baltimore Fishbowl

8 Sep

BmoreArt’s Picks: September 7-13

By Bmoreart Staff -September 7, 2020

BmoreArt’s Picks: September 7-13

BmoreArt’s Picks presents the best weekly art openings, events, and performances happening in Baltimore and surrounding areas.

This Week: We are featuring online events that you can participate in from the comfort of your own couch and some that you can safely leave the house for, plus a few calls for entry to get involved locally and nationally. Stay home, stay healthy, stay engaged in the arts.

BmoreArt’s Picks presents the best weekly art openings, events, and performances happening in Baltimore and surrounding areas. For a more comprehensive perspective, check the BmoreArt Calendar page, which includes ongoing exhibits and performances, and is updated on a daily basis.

To submit your calendar event, email us at events@bmoreart.com!Katherine Tzu-Lan Mann: Water Ribbon
Wednesday, September 8 | Ongoing through October 6
@ Morton Fine Art

Morton Fine Art is pleased to present 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. 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 an 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 windows 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.

Baltimore Fishbowl Membership SUPPORT OUR WORK

Kei Ito | Artist Talk
Thursday, September 9 • 6pm
@ UMD Stamp Gallery

Screening in the Univesity of Maryland Stamp Nanticoke Room

In conjunction with this exhibition, join the Stamp Gallery for an artist talk by artist Kei Ito, artist of acquisition Under My Skin #1.

Kei Ito is a visual artist working primarily with camera-less photography and installation art who is currently teaching at the International Center of Photography (ICP) in NYC. Ito received his BFA from Rochester Institute of Technology followed by the MFA from Maryland Institute College of Art in 2016. Ito’s work addresses issues of deep intergenerational loss and connections as he explores the materiality and experimental processes of photography.

Ito’s work addresses issues of deep intergenerational loss and connections as he explores the materiality and experimental processes of photography, specifically the idea around visualizing the invisible such as radiation, memory and life/death. His work, rooted in the trauma and legacy passed down from his late grandfather – a survivor of the atomic bombing of Hiroshima, meditates on the complexity of his identity and heritage through examining the past and current threats of nuclear disaster and his present status as an US-immigrant. Most of Ito’s prints are made with exposing light sensitive material to sunlight, often timing the exposures with his breath, influenced by his grandfather’s words describing the day the atomic bomb was dropped on Hiroshima “…was like hundreds of suns lighting up the sky.” These X-ray like prints are usually installed in a way that provokes a monument.

He was the recipient of the 2020 Marva and John Warnock Biennial Artist in Resident Award and participated in other artist residencies such as: MASS MoCA, the Center for Fine Art Photography, CPW, and Creative Alliance. Ito’s works are collected by major institutions including: the Museum of Contemporary Photography in Chicago, Norton Museum of Art, En Foco, the Candela Collection and California Institute of Integral Studies. His internationally recognized solo and group shows can be read in reviews and articles published by Washington Post, Hyperallergic, BmoreArt, Chicago Magazine, Studio Magazine, ArtMaze Magazine, and BBC Culture/Art.

Website: Kei-ito.com
Instagram: Kei.ito.art

Viewers who wish to join the lecture virtually on Zoom may do so at https://go.umd.edu/keiitotalk

Read more at BmoreArt.

AMBER ROBLES-GORDON’s “Successions” solo at American University featured in Culture Type, Curated by Larry Ossei-Mensah

7 Sep

From California to Chicago, Tennessee to Maine, 15 of Summer’s Best Museum Exhibitions Remain on View This Fall

by VICTORIA L. VALENTINE on Sep 6, 2021 • 6:58 am

A BROAD SELECTION of exhibitions opened at art museums throughout the United States over the summer months. A great number of these shows remain on view, some through September, others further into the fall and beyond. Major traveling exhibitions of Bob Thompson, Joseph Yoakum, and Alma Thomas are underway. The first solo museum exhibitions of Caroline Kent and Simphiwe Ndzube are debuting in Chicago and Denver, while the first survey exhibitions of Jamal Cyrus and Jacolby Satterwhite are on view in Houston and Pittsburgh. Jennifer Packer and Cauline Smith have shows in Los Angels and Houston. In Nashville, a major retrospective of legendary sculptor William Edmondson is being staged, the first such presentation in two decades:


ARNOLD JOSEPH KEMP, Possible Bibliography, 2015-20 (52 black and white archival inkjet prints Canson Infinity Platine Fibre Rag; unique closed edition. 6.83 x 10 inches each. | © Arnold Joseph Kemp. Fine Art Collection, Jan Shrem and Maria Manetti Shrem Museum of Art. Photo courtesy artist and Fourteen30 Contemporary, Portland

“Arnold Joseph Kemp: I would survive. I could survive. I should survive.” @ Manetti Shrem Museum of Art, University of California, Davis | June 3–Nov. 12, 2021

A one gallery show, “I would survive. I could survive. I should survive,” consists of photography, two paintings, and a sculpture by Chicago artist Arnold Joseph Kemp. The presentation is anchored by “Possible Bibliography” (2015-20), a grid-style installation of 52 photographs. In each of the images, Kemp’s hands are holding a book from his personal library by Hilton Als, James Baldwin, W.E.B. Du Bois, Okwui Enwezor, Glenn Ligon, Toni Morrison, Fred Moten, Adrian Piper, and Robert Farris Thompson, among many other authors. The work explores “how histories and canons impact and are impacted by the personal, the political, and the collective.”


Installation view of “Jamal Cyrus: The End of My Beginning,” Blaffer Art Museum, Houston, Texas (June 5-Sept. 26, 2021). | Courtesy Blaffer Art Museum

“Jamal Cyrus: The End of My Beginning” @ Blaffer Art Museum at University of Houston, Texas | June 5-Sept. 26, 2021

The first survey exhibition of Houston artist Jamal Cyrus spans 15 years, from 2005 to 2021. The recipient of the 2020 Driskell Prize, Cyrus considers how African American identity has evolved across time, borders, and Black political movements. More than 50 works are on view, spanning work on paper and denim, assemblage works, textiles, collage, installation, and performance. The exhibition is presented in partnership with “Levels & Layers: An Artist’s Reflections on Third Ward,” curated by Cyrus at the University Museum at Texas Southern University.


JOSEPH YOAKUM, “Rain Bow Bridge in in Bryce Canyon National Park near Henriville Utah,” stamped 1968. | Collection of the Roger Brown Study Collection

“Joseph E. Yoakum: What I Saw” @ Art Institute of Chicago in Illinois | June 12-Oct. 18, 2021

Born in Ash Grove, Mo., Joseph E. Yoakum (1891–1972), traveled internationally with several circuses and, during World War I, served in an all–African American noncombat unit in Europe. Living on Chicago’s South Side at age 71, he began drawing fascinating landscapes based in part on observations from his travels, but largely influenced by his imagination and spiritual vision. Over the next decade, he produced about 2,000 works. More than 100 of the pen, pencil, pastel, and watercolor on paper works are featured in “What I Saw.” The exhibition travels next to the Museum of Modern Art in New York and then on to the Menil Collection in Houston, Texas.


Installation view of “Simphiwe Ndzube: Oracles of the Pink Universe,” Denver Art Museum, Denver, Colo., June 13-Oct. 10, 2021. Shown, from left, “The Bloom of the Corpse Flower,” 2020 (acrylic paint on canvas and mixed media, 94 1/2 x 79 inches) and “Bhekizwe Riding through the Garden of Earthly Delights,” 2020 (polyurethane resin, found spade, welded steel, found clothing and cloth, wood, acrylic paint, silicone, spray paint, foam coat, and acrylic eyes). | Courtesy Denver Art Museum

“Simphiwe Ndzube: Oracles of the Pink Universe” @ Denver Art Museum in Colorado | June 13-Oct. 10, 2021

The first U.S. solo museum exhibition of Simphiwe Ndzube features a new body of work—eight paintings, sculpture, and sculptural paintings. The exhibition “integrates themes related to power, conflict, and the search for freedom through a Pink Universe,” a fantasy world invented by the artist that draws on magical realism and post-apartheid history. South African-born Ndzube lives and works in Los Angeles.


JENNIFER PACKER, “Idle Hands,” 2021 (oil on canvas, 90 x 84 inches / 228.6 x 213.36 cm). | The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by the Acquisition and Collection Committee. 2021. Image courtesy Sikkema Jenkins & Co., New York, Corvi-Mora, London

“Jennifer Packer: Every Shut Eye Ain’t Sleep” @ Museum of Contemporary Art, Los Angeles in Calif. | July 1, 2021-Feb. 21, 2022

Jennifer Packer makes poetic portraits and floral still lifes. Her first exhibition on the West Coast, “Every Shut Eye Ain’t Sleep” features new and recent drawings and paintings by the New York-based artist.

The exhibition follows “Jennifer Packer: The Eye is Not Satisfied with Seeing” at Serpentine Galleries in London, Packer’s first solo show outside the United States. This fall, the traveling exhibition opens at the Whitney Museum of American Art in New York.


Installation view of “Alma Thomas: Everything is Beautiful,” Chrysler Museum of Art, Norfolk, Va. (July 9-Oct. 3, 2021). | Courtesy Chrysler Museum of Art

“Alma W. Thomas: Everything Is Beautiful” @ Chrysler Museum of Art, Norfolk, Va. | July 9 – Oct. 3, 2021

The first African American woman to have a solo exhibition at the Whitney Museum of American Art in New York (1972), Alma Thomas is associated with her adopted hometown of Washington, D.C., and celebrated for her large-scale, vibrantly colored abstract paintings made in the latter years of her life. “Everything is Beautiful” looks at her career through a wider lens, exploring the full spectrum of her creativity—her paintings, as well as her love of fashion, gardening, teaching, performing arts, and more. Accompanied by a fully illustrated catalog, the traveling exhibition also focuses on her roots in Columbus, Ga., where she was born.


Installation view of “Toward Common Cause,” Smart Museum of Art, University of Chicago (July 15-Dec. 19, 2021). Shown, Rick Lowe’s “Black Wall Street Journey.” | Courtesy Smart Museum of Art

“Toward Common Cause: Art, Social Change, and the MacArthur Fellows Program at 40” @ Smart Museum of Art, The University of Chicago | July 15–Dec. 19, 2021

On the occasion of the 40th anniversary of the McArthur Foundation Fellows Program, “Toward Common Cause” presents new and re-contextualized works by 29 visual artists and former fellows, including Njideka Akunyili Crosby, Dawoud Bey, Mark Bradford, LaToya Ruby Frazier, Whitfield Lovell, Rick Lowe, Kerry James Marshall, Julie Mehretu, Kara Walker, Carrie Mae Weems, Deborah Willis, and Fred Wilson. Presented at multiple venues throughout Chicago, the Smart Museum is the main site with related programming including “Carrie Mae Weems: A Land of Broken Dreams” at the University of Chicago’s Logan Center and “Toward Common Cause at the Stony Island Arts Bank.”


CAULEEN SMITH, “Camera, Pen, or Gun?,” 2017 (recto/verso: satin, poly-satin, silk-rayon velvet, indigo-dyed silk rayon velvet, indigo-dyed silk satin, rayon- polyester ribbon, acrylic fabric paint, satin cord, poly-silk tassel, and sequins, 73 x 47 inches). | The Mohn Family Trust

“Cauleen Smith: We Already Have What We Need” @ Contemporary Art Museum Houston in Texas | July 15-Oct. 3, 2021

Over the course of her career, Los Angeles-based artist Cauleen Smith “has harnessed acts of imagination and the power of revolutionary thinking to envision a better world.” Her latest exhibition features film, video, sculpture, textiles, installation, and drawing. The show’s title (“We Already Have What We Need”) is adapted from the video installation at the center of the presentation, which reminds us to take care of each other and the planet in order to sustain our existence. The theme carries throughout the works in the exhibition, emphasizing “acts of caring as antidotes to the injustices and inequities that shape our past and present.”

The exhibition coincides with “Give It or Leave It,” the traveling exhibition currently on view at the Los Angeles County Museum of Art (LACMA) and “Cauleen Smith: Stars in My Pocket and the Rent is Due” at Charles White Elementary School. The site of the original campus of Otis Art Institute is now a satellite venue of LACMA.


BOB THOMPSON, “Stairway to the Stars,” circa 1962 (oil and photostat on Masonite, 40 × 60 inches / 101.6 × 152.4 cm). | Michael Rosenfeld Gallery LLC, New York. © Michael Rosenfeld Gallery LLC, New York

“Bob Thompson: This House Is Mine” @ Colby College Museum of Art, Waterville, Maine | July 20, 2021–Jan. 9, 2022

“This House Is Mine” is only the second museum retrospective of Bob Thompson (1937–1966) and the first dedicated to the artist in more than 20 years. Born in Louisville, Ky., his transatlantic career was highly productive during the short period he was active, from 1958-1966. Featuring paintings and works on paper drawn from more than 50 public and private collections, the exhibition is accompanied by a fully illustrated catalog.


From left, LAURA WHEELER WARING, “Woman Wearing Orange Scarf,” 1940 (oil on canvas, 17 x 12 inches); and MAY HOWARD JACKSON, “Portrait Bust of an African,” 1899 (bronze, 21 x 12.75 inches). | Courtesy Tacoma Art Museum

“The Kinsey African American Art & History Collection” @ Tacoma Art Museum in Washington | July 31-Nov. 28, 2021

The Kinsey African American Art & History Collection has toured the world. Currently on view in Tacoma, Wash., the collection explores the African American experience through paintings, sculpture, photographs, rare books, letters, and manuscripts. The works date from 1595 to present. Unrivaled by other private collections, the holdings were assembled by Shirley and Bernard Kinsey over five decades.


Installation view of “Chicago Works: Caroline Kent,” MCA Chicago (Aug 3, 2021–Apr 3, 2022). | Photo by Nathan Keay, © MCA Chicago

“Chicago Works: Caroline Kent” @ Museum of Contemporary Art, Chicago | Aug. 3, 2021-April 3, 2022

The first solo museum exhibition of Chicago artist Caroline Kent is a site-specific installation titled “Victoria/Veronica: Making Room.” Staged in an immersive domestic environment, the presentation features large-scale abstract paintings, sculptures, sound, and architectural interventions.


WILLIAM EDMONDSON (American, 1874-1951), “Bess and Joe,” circa 1930-40 (limestone, 17 ¼ × 20 ¼ × 10 ½ inches). | Gift of Salvatore Formosa Sr., Mrs. Pete Formosa Sr., and Mrs. Rose Formosa Bromley and Museum Purchase through the Stallworth Bequest

“The Sculpture of William Edmondson: Tombstones, Garden Ornaments, and Stonework” @ Cheekwood Estate & Gardens, Nashville, Tenn. | Aug. 12-Oct. 31, 2021

The first major museum exhibition of Tennessee-born William Edmondson (c. 1874-1951) in 20 years draws from public and private collections and features 20 works from Cheekwood, the largest repository of the artist’s work. After retiring from a series of manual labor jobs, Edmondson received a divine calling and began carving chunks of salvaged limestone and street curbs into modernist sculptures, gravestones, and garden ornaments. In 1937, he became the first African American artist to have a solo exhibition at the Museum of Modern Art in New York. A new fully illustrated catalog accompanies the exhibition.


JACOLBY SATTERWHITE, “We Are In Hell When We Hurt Each Other,” 2020 (HD digital video). | © Jacolby Satterwhite, Courtesy the artist

“Jacolby Satterwhite: Spirits Roaming on the Earth” @ Miller Institute for Contemporary Art at Carnegie Mellon University, Pittsburgh, Pa. | Aug. 14-Dec. 5, 2021

The first major solo exhibition of Jacolby Satterwhite, “Spirits Roaming on the Earth” surveys 10 years of his conceptual practice, spanning video, sculpture, installations, dance tracks, and performance. A new monograph titled “How lovly is me being as I am” accompanies the exhibition.


DAVID HARTT, “The Histories (after Duncanson),” 2020 (tapestry: polyester, cotton, wool, polyester cotton, acrylic, cashmere, 113 1/16 × 174 inches / 287.2 × 442 cm). | Museum of Contemporary Art Chicago, gift of Kerry James Marshall and Cheryl Lynn Bruce, 2021.13

“Hammer Projects: David Hartt” @ Hammer Museum, Los Angeles, Calif. | Aug. 21, 2021-Jan. 2, 2022

David Hartt’s single gallery show is a multimedia installation “examining the relationships between culture, geography, and colonial histories in the Americas in the 19th century.” The installation employs sound and textiles, including a tapestry based on “Blue Hole on the Little Miami River” (1851), the painting by Robert S. Duncanson (1821–1872). A Canadian artist, Hartt lives and works in Philadelphia.


AMBER ROBLES-GORDON, “The eternal altar for the women forsaken and souls relinquished. Yet the choice must always remain hers. El altar eterno de las mujeres abandonadas y las almas renunciadas. Sin embargo, la elección siempre debe ser de ella.,” 2020 (mixed media collage on canvas, 18 x 24 inches). | © Amber Robles-Gordon, Courtesy the artist

“Successions: Traversing US Colonialism: Amber Robles-Gordon” @ American University Museum, Washington, D.C. | Aug. 28-Dec. 12, 2021

“Successions” presents abstract paintings, collages, and quilts produced by Washington-D.C.-based artist Amber Robles-Gordon in 2020 and 2021. Using the tools of abstraction, Robles-Gordon questions “who has access to resources, citizenship, and the right to sovereignty,” in the District of Columbia, where voting representation in Congress remain elusive, and the U.S. territories of Guam, Puerto Rico, and the U.S. Virgin Islands,. Curated by Larry Ossei-Mensah, the exhibition is accompanied by a new publication. CT

BOOKSHELF
“The Sculpture of William Edmondson: Tombstones, Garden Ornaments, and Stonework” documents the retrospective hosted by Cheekwood Estate & Gardens. The new fully illustrated catalogs, “Bob Thompson: This House is Mine” and “Alma W. Thomas: Everything is Beautiful” accompany major traveling exhibitions. “Joseph E. Yoakum: What I Saw” documents the exhibition of the same name, another traveling show. “Oracles Of The Pink Universe: Simphiwe Ndzube” accompanies the artist’s first solo museum exhibition. “Jennifer Packer: The Eye Is Not Satisfied with Seeing” and “Jacolby Satterwhite: How lovly is me being as I am” are forthcoming in November. “Jamal Cyrus: The End of My Beginning” is forthcoming in January. “David Hartt: The Histories” is forthcoming in February. Earlier publications include “David Hartt: For Everyone a Garden” and “Stray Light,” a time capsule that assembles Hartt’s photographs of the Johnson Publishing Building in Chicago, shortly before it was sold. Also consider, The Kinsey Collection.

New mixed media and experimental printmaking artworks by ROSEMARY FEIT COVEY

6 Aug
ROSEMARY FEIT COVEY, Blossoms Fall, 2021, 16″x12″, mixed media and experimental printmaking on canvas

Rosemary Feit Covey was born in Johannesburg, South Africa. In a career spanning three decades she has exhibited internationally and received countless awards. Ms. Covey is the recipient of both a Rockefeller Foundation Fellowship and Alpha Delta Kappa Foundation National Fine Art Award. Ms. Covey’s work is in many major museum and library collections, including the Corcoran Gallery of Art, the New York Public Library Print Collection, the National Museum of American History, Harvard University and the Papyrus Institute in Cairo, Egypt. In 2007 a large retrospective of Ms. Covey’s science-related work was displayed at the International Museum of Surgical Science in Chicago.

Ms. Covey was the recent recipient of a fellowship at Georgetown University Medical Center, as the 2007-2008 Artist-in-Residence. She has also held residencies in Bellagio, Italy and in Santa Ana, California and has had solo exhibitions both nationally and internationally, including Toronto, New York, Chicago, Washington DC, Buenos Aires, Zurich and Geneva. Solo museum exhibitions include the Butler Museum of American Art and the Delaware Center for Contemporary Arts. Her work has been exhibited in countless group exhibitions including major exhibitions at the National Collection of Fine Arts and the National Museum of Women in the Arts. Most recently two pieces were shown at the Danforth Museum. Eric Denker, Curator of Prints and Drawings at the Corcoran Gallery of Art and Henry T. Hopkins, Director of the Armand Hammer Museum of Art and Cultural Center in Los Angeles have written comprehensive articles on Ms. Covey’s work.

Covey has been represented by Morton Fine Art since 2010.

ROSEMARY FEIT COVEY, Yana’s Birds, 2021, 46″x30″, mixed media and experimental printmaking on canvas

Available artwork by ROSEMARY FEIT COVEY

On view by appointment at Morton Fine Art, 52 O St NW #302, Washington, DC 20001

info@mortonfineart.com

(202) 628-2787 (call or text)

New Arrivals from ANDREI PETROV’s NYC studio

4 Aug
Andrei Petrov, Pieces of a Thought, 2018, 40″x60″, oil on canvas

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

Andrei Petrov, Staycation, 2019, 40″x40″, oil on canvas

PUBLIC COLLECTIONS

Fairmont Hotel, Chicago, IL

Four Seasons Hotel, Washington, DC

Four Seasons Hotel, Punta Mita, Mexico

Conrad Hotel, Miami, FL

The Athem, New York, NY

Hotel Plaza Athenee, New York, NY

Andrei Petrov, Pensive Sunday, 2020, 40″x60″, oil on canvas
Andrei Petrov, Chiming In, 2015, 38″x72″, oil on canvas

Available Artwork by ANDREI PETROV

On view by appointment at Morton Fine Art, 52 O St NW #302, Washington, DC 20001

info@mortonfineart.com

(202) 628-2787 (call or text)

Successions: Traversing US Colonialism | Amber Robles-Gordon | American University Museum at the Katzen Arts Center | Curated by Larry Ossei-Mensah

21 Jul

August 28, 2021 – December 12, 2021

Amber Robles-Gordon presents Successions: Traversing US Colonialism, a solo exhibition on view at the American University Museum at the Katzen Arts Center in fall 2021. Successions is a conceptual juxtaposition that celebrates abstraction as an art form while leveraging it as a tool to interrogate past and current US policies within its federal district (Washington, DC) and territories (including Guam, Puerto Rico, and the US Virgin Islands) that it controls. By highlighting nuances related to US governance in its federal districts and territories, Robles-Gordon seeks to question who has access to resources, citizenship, and the right to sovereignty.

Robles-Gordon creates artwork imbued with a layered visual language replete with cultural signifiers and abstract gestures. Successions is a celebration of abstraction as an artistic expression. Robles-Gordon utilizes iconic artists like Robert Rauschenberg, Alma Thomas, Romare Bearden, and members of the Washington Color School as vivid reference points for her own dynamic use of color, form, and material within the works she created for the exhibition. These explorations will provide insights into a number of inquiries that undergird the construction of the exhibition. Successions creates a pathway towards discursive criticism around issues impacting marginalized communities oppressed by the United States’ hegemonic domestic and foreign policies. The exhibition features a new body of colorful abstract paintings, collages, and quilts created in 2020 and 2021 between San Juan, Puerto Rico (Robles-Gordon’s birthplace) and Washington, DC (where she currently lives).

During the height of the COVID-19 pandemic, Robles-Gordon’s creative strategies were directly impacted as a result of sheltering in place in San Juan. The lack of access to materials and arduous circumstances she was confronted with in Puerto Rico and upon returning to Washington, DC catalyzed Robles-Gordon to improvise her approach to making works for the exhibition. Moreover, the experience heightened her awareness of how communities on the margin are adversely treated during moments of crisis.

Robles-Gordon’s also uses works featured in Successions to mine the stories, personal narratives, and aesthetics of the women of the Caribbean, particularly of African descent, in an effort to investigate the political, socio-economic, and environmental implications of placemaking, contemporary colonial policy, and notions of citizenship on these social groups. The debate over DC statehood, similar to Puerto Rico, has been a prevalent point of contention in the District but rarely featured in the national conversation. Robles-Gordon seeks to use her “backyard” as a metaphor that would expand our understanding of notions of freedom, liberty, and justice.

A fully illustrated catalog with essays by Ossei-Mensah and Noel Anderson and in-person and virtual programs will accompany the exhibition, enriching the viewer’s experience.

ABOUT THE ARTIST

Amber Robles-Gordon is a mixed media visual artist of Puerto Rican and West Indian heritage. She is known for her commissioned temporary and permanent public art installations for numerous government agencies, institutions, universities, and art fairs.

Robles-Gordon has over twenty years of experience exhibiting and in art education, commissioned critiques, lectures, teaching, and exhibition coordination. She received a BS in business administration from Trinity University and an MFA in painting from Howard University, Washington, DC. She has exhibited nationally and internationally, including Germany, Italy, Malaysia, England, and Spain. Robles-Gordon has participated in residencies in Costa Rica, Washington, DC, and at the American Academy in Rome, Italy. Her artwork has been reviewed and featured in numerous magazines, journals, newspapers, and online publications.

Most recently, she held an online solo exhibition at Galeria de Arte, Universidad del Sagrado Corazón, San Juan, Puerto Rico, and was featured by Tafeta Gallery in the 1-54 Contemporary African Art Fair in London, England, and during London Art Week. In 2022, she will create a traveling exhibition in collaboration with Cultural DC and El Cuadrado Gris Galeria in Puerto Rico.

ABOUT THE CURATOR

Larry Ossei-Mensah uses contemporary art as a vehicle to redefine how we see ourselves and the world around us. A Ghanaian-American curator and cultural critic, Ossei-Mensah has organized exhibitions and programs at commercial and nonprofit spaces around the globe from New York City to Rome, featuring artists including Firelei Baez, Allison Janae Hamilton, Brendan Fernades, Ebony G. Patterson, Modou Dieng, Glenn Kaino, Joiri Minaya and Stanley Whitney. Moreover, Ossei-Mensah has actively documented cultural happenings featuring the most dynamic visual artists working today, including Derrick Adams, Mickalene Thomas, Njideka Akunyili Crosby, Federico Solmi, and Kehinde Wiley.

A native of The Bronx, Ossei-Mensah is also the co-founder of ARTNOIR, a 501(c)(3) and global collective of culturalists who design multimodal experiences aimed to engage this generation’s dynamic and diverse creative class. ARTNOIR endeavors to celebrate the artistry and creativity of Black and Brown artists around the world via virtual and in-person experiences. Ossei-Mensah was a contributor to the first-ever Ghanaian Pavilion for the 2019 Venice Biennial with an essay on the work of visual artist Lynette Yiadom-Boakye.

Ossei-Mensah is the former Susanne Feld Hilberry Senior Curator at MOCAD in Detroit and currently serves as Curator-at-Large at Brooklyn Academy of Music (BAM), where he curated the New York Times heralded exhibition Let Free Ring and A Return: Liberation as Power respectively.       

Ossei-Mensah has been profiled in publications including the New York Times, Artsy, and Cultured Magazine, and was recently named to Artnet’s 2020 Innovator List. Follow him on Instagram at @larryosseimensah and Twitter at @youngglobal.

Available artwork by AMBER ROBLES-GORDON

MALIZA KIASUWA reviewed in The East African

10 Jul

THURSDAY JULY 08 2021

By FRANK WHALLEY

Multimedia collages

Elsewhere, flying the flag abroad for the richness and variety of this region’s art scene is Maliza Kiasuwa with simultaneous exhibitions of her multimedia collages in London, UK and Washington DC.

Dense and allegorical, both explore her own origins woven into an investigation of the wider African experience within the context of post-colonial societies.

Thus in the London show, at the prestigious Sulger-Buel Gallery, are some 16 collages under the general title of Ancestry, while in Washington at Morton Fine Arts the theme is developed with 19 collages and wall hangings, also from her Pride of Origins series.

They give a broader view of the continuing inequalities of exchange between Africa and the West while the artist examines herself and her position as a woman of European and African descent.

With works created in her studio on the shores of Lake Naivasha, both exhibitions include images from the corpus of tribal artefacts from an arc reaching from West Africa (a Senufo mask), through Cameroon and the Western DRC (the white spirit masks of the Shiri-Punu group) taking in the reliquary figures of the Bakota, to the Eastern DRC with the use of a striped Songye mask.

These help to give Kiasuwa’s collages context and being familiar from museums, books and thousands of cheap copies, act too as entry points; touchstones for further consideration of the artworks.

They also echo, perhaps sub-consciously, the artist’s own journey from West to East… born in Bucharest to a Romanian mother and a Congolese father, then moving to Kinshasa and on to Nairobi before settling in Naivasha.

Thus matters of place and identity are close to Kiasuwa’s heart, as is the impact of industrial development forced onto a traditional rural society, considered in her 2019 Yesterday is Today series of soft sculptures shown at the Circle Art Gallery in Nairobi.

By the time you read this, the exhibitions might have been taken down but happily, given their distance, they remain intact for a virtual visit; in London at https://www.sulger-buel-gallery.com/artists/132-maliza-kiasuwa/overview/ and in Washington at https://www.mortonfineart.com/artist/maliza-kiasuwa

Available Artwork by MALIZA KIASUWA

MERON ENGIDA in ZO mag’ by Roger Calme

2 Jul

https://zoes.fr/

PEINTUREPublié le 30 juin 2021Laisser un commentaire

Ethiopie / Peinture / Meron Engida  / LA MERE, L’ENFANT ET LES OISEAUX

écrit par Roger Calme

Avant de commencer une journée,  jeter un oeil sur une chose apaisante. Pourquoi ne pas fonctionner de cette façon ? Il ne s’agit pas d’un exercice thérapeutique mais d’une fenêtre ouverte qui change l’air de la pièce et dissipe les toxines. Souvent la peinture de Meron Engida agit de cette façon. On regarde, on observe ces visages aux grands yeux, ces lèvres posées sur des mots tranquilles. Parfois des femmes se retrouvent et s’assoient ensemble sur une natte. Ça s’appelle « Solidarité », et ça résume parfaitement la philosophie de l’artiste.

Leurs langues et les coutumes diffèrent mais leur entente est parfaite. 

« Les enfants et les agneaux sont le vocabulaire visuel que j’utilise pour exprimer mon innocence et mon pardon. J’ai l’intention de créer un dialogue sur la diversité et les femmes.Mon envie est d’écouter leurs expériences, de libérer des mots, qui apportent le réconfort, l’empathie, la curiosité de l’autre. »  Sa dernière série s’inscrit donc tout entière dans cet esprit. Ces femmes assises représentent toutes les tribus de l’Ethiopie. Leurs langues et les coutumes diffèrent mais leur entente est parfaite. 

Dans cette galerie paisible, la famille est une vertu inébranlable, que la peintre associe aux ocres, aux terres de sienne, dans une lumière transversale et des teintures de tissus. « C’est une célébration d’humanité », que la toile diffuse. Il est huit heures du matin. La journée vient juste de commencer. On regarde la toile, on regarde la fenêtre ouverte et les arbres remplis d’oiseaux. 

RC (ZO mag’)
Photos Morton Fine Art et M. Engida
https://www.mortonfineart.com/artists

MALIZA KIASUWA featured in Nation and allAfrica

28 Jun

Kenya: Artist Takes Pride in Her Ancestry

By Margaretta Wa Gacheru

Having transformed a hay-filled barn into a giant home studio, Malisa Kiasuwa has been working throughout the Covid-19 lockdown preparing for two exhibitions currently underway overseas. One is in Washington, DC, while the other is in London.

Both sharing the theme, The Pride of Origins, the Naivasha-based Malisa has previously exhibited in Nairobi at Circle Art Gallery and at Alliance Francaise. But Amy Morton of the Morton Fine Art Gallery in Washington found Malisa on Instagram, the social medium currently accommodating many local fine artists.

Nonetheless, while visiting Kenya in 2019, Morton found her way to Circle Art where she got an even better impression of Malisa’s organically-based artistry.

“Amy was and still is interested in featuring contemporary African art at her gallery, which is how she got to know me,” says the Belgian-Congolese artist whose 21 collages and wall hangings featured in her first solo show in DC from June 2to 22.

Soulful spotlight

Meanwhile, another 16 of Malisa’s collages are featuring now at the Sulger-Buel Gallery in London, where the artist has set her soulful spotlight on not just the Pride of Origins but specifically on the notion of ancestry.

Malisa works with an array of mixed media, including organic materials like raffia grass, sisal rope, handmade papers, scraps of fabric, and threads made out of cotton and silk, silver and gold. She blends them with found objects that she collects during her frequent walks around the lake and Naivasha town.

The upcycling of found objects appeal to the artist’s concern for conservation. Her use of organic materials reflects her desire to stay close to the purity of nature. But during the lockdown, Malisa reflected upon all the many clashing contradictions festering in the world, including the ‘virus of racism’ and the coronavirus, the Black Lives Matter movement and the rise of white supremacy.

An example of reconciliation

She desires to see the reconciliation of these extremes, a coming together of disparate elements in the name of peace.

“I see myself as an example of reconciliation since my background is both European and African,” says Malisa.

In a sense, both exhibitions are about Identity, reconciliation, and ‘the pride of origins’. These themes are symbolised most visibly in her London show where she includes collages that combine engraved portraits of 18th-century European aristocrats upon whose faces Malisa has affixed wooden West African masks (the kind that enthralled Western artists like Pablo Picasso and Henri Matisse).

“I found the engravings of my [Swiss] husband’s ancestors in an attic of his family’s home,” says Malisa who saw the etchings had been forgotten, so she brought them back to Kenya where she and her family have been living since 2013.

Treating them like the other ‘found objects’ that she uses to upcycle into her art, the masks superimposed on the faces of these bourgeois white men are meant to symbolize what reconciliation might look like. Yet the juxtaposition of the two-dimensional etchings and the three-dimensional masks could also be interpreted in other ways, either to amuse or to annoy.

There’s an irony of her embellishing the men’s portraits with African masks which had once been used in sacred rituals and infused with mystical powers. At the same time, Western aristocrats are not the only ‘nobility’ in the London show.

Malisa herself comes from West African nobility. “My father’s ‘tribe’ is Ndongo, the same one as Queen Zinga [or Nzinga] of Congo,” she recalls. Noting that Zinga was renowned for her military and diplomatic leadership which is credited for fending off Portuguese colonialism and slave trade for over 30 years.

Zinga is often identified as coming from Angola, but Malisa explains the Ndongo kingdom, before the colonial carving up of Africa in the 19th century, traversed northern Angola as well as southern Congo.

“Our people had lived on the border of what is now Congo,” says Malisa, adding that she wants her children to take pride in their shared ancestry.

In both exhibitions, there is at least one explicitly autobiographic collage featuring a mug shot of the artist wearing a crown, either made of hand-made paper or animal skin. As if enthroned in her exhibition just as Queen Zinga headed her vast kingdom, the letter ‘Z’ is emblazoned on each crown, standing at once for Zinga and for Zaire, which was the name of her country at the time that she was born.

Read the original article on Nation.

Available artwork by MALIZA KIASUWA

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

http://www.mortonfineart.com

info@mortonfineart.com

+001 (202) 628-2787 (call or text)

LIZ TRAN’s solo “The Webs Installed by Our Dreams” at Morton Fine Art

4 May

The Webs Installed by Our Dreams

A solo exhibition of mixed media artwork by LIZ TRAN

April 29 – May 27, 2021

Video credit: Jarrett Hendrix

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 LIZ TRAN

About The Webs Installed by Our Dreams:

The Webs Installed by Our Dreams, is inspired by LIZ TRAN’s early memories of being administered the Rorschach test, a psychological evaluation of mental health and trauma through associative responses to inkblots. Through Tran’s imagination, these monochromatic inkblot prints are transformed into a world of vibrant, technicolor panels that explore the nature of viewer subjectivity. The Webs Installed by Our Dreams will be on view from April 29 – May 27, 2021. Featuring work from her Mirror and Cosmic Circle series, Tran creates canvases with explosions of colorful dots, circles, blots, and splashes that accumulate on the panel and create a thickened impasto. Some symmetrical–like a Rorschach print–and others more liberally abstracted, Tran’s works challenge the notion of a correct way to view art. Like the well-known psychological test, Tran’s art performs an introspective function in which the viewer’s interpretation is self-reflexive and can facilitate self-knowledge.

“As I found myself delving into the history of my own mental health, I began to simultaneously study perception and subjectivity both in visual art and psychology,” said artist Liz Tran. “What do we bring to what we see? The viewer’s experience of my work is completely different than my own, yet that experience is equally valid. Is what we see simply a reflection of our self?”

Opening the door into a meditative and healing atmosphere, The Webs Installed by Our Dreams actively encourages personal interpretation and projections of meaning. Through a form of abstraction that combines precision and instinct, Tran’s joyful works imagine dreamlike surfaces to question the nature of abstraction and our responses to visual stimuli, whether that be art on the white walls of a gallery or observations of planets and stars circling overhead.

About LIZ TRAN:

Channeling subjects such as dream imagery, imagined landscapes, geodes, outer space and The Big Bang, Tran explores the shapes of nature, with the infusion of fantastical, pulsing synthetic hues. Public collections of Tran’s work include the City of Seattle’s Portable Works Collection, Capital One, Vulcan Inc., Baer Art Center, Camac Art Centre, The El Paso Children’s Hospital, Harborview Medical Center, The King County Public Art Collection and The Child Center.

Tran has completed multiple special projects and installations, including work for VH1Save the Music Foundation, The Upstream Music Fest, The Seattle Art Museum, The Brain Project Toronto, Public Art at The Aqua Art Fair Miami and Vulcan Inc. She has been awarded multiple fellowships and grants; including a Grant for Artist Projects (GAP) from Artist Trust, Clowes Fellowship for residency at the Vermont Studio Center, the Nellie Cornish Scholarship and residency at The Camac Art Centre in France, The Baer Art Center in Iceland, Jentel, Millay Colony for the Arts and The Center for Contemporary Printmaking. She resides in Seattle, WA. 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.