Tag Archives: William Mackinnon

Artwork Images of WILLIAM MACKINNON’s “Crossroads”

18 Nov

Reviewed in The Washington Post when liken to Henri Rousseau, here are select images of paintings from WILLIAM MACKINNON’s recent solo exhibition “Crossroads” at Morton Fine Art in Washington, DC.

 

WILLIAM MACKINNON, Trouble Will Find Me (The National) , 48"x58", acrylic, oil and automotive enamel on  linen

WILLIAM MACKINNON, Trouble Will Find Me (The National) , 48″x58″, acrylic, oil and automotive enamel on linen

 

Farewell Transmission (Magnolia Electric Co.), 58"x48", acrylic, oil and enamel on  linen

WILLIAM MACKINNON, Farewell Transmission (Magnolia Electric Co.), 58″x48″, acrylic, oil and enamel on linen

 

WILLIAM MACKINNON, Landscape As Self Portrait 2 (Leaving), 48"x58",  acrylic, oil and automotive enamel on linen

WILLIAM MACKINNON, Landscape As Self Portrait 2 (Leaving), 48″x58″, acrylic, oil and automotive enamel on linen

 

WILLIAM MACKINNON, Almost Was Not Good Enough (Moonlight II), 58"x48", acrylic, oil and automotive enamel on  linen

WILLIAM MACKINNON, Almost Was Not Good Enough (Moonlight II), 58″x48″, acrylic, oil and automotive enamel on linen

 

View paintings by Australian artist WILLIAM MACKINNON at Morton Fine Art’s booth #216 at Aqua Art Miami, December 3 -7th. Please contact the gallery for availability and acquisition.

mortonfineart@gmail.com

(202) 628-2787

http://www.mortonfineart.com

William Mackinnon in the Washington Post

9 Nov

William Mackinnon’s exhibition “Crossroads” was written up this weekend in the Washington Post by writer Mark Jenkins! Check out the article below.

 

Wash Post

 

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Australian Artist WILLIAM MACKINNON’s solo “Crossroads” at Morton Fine Art

31 Oct

CROSSROADS

A Solo Exhibition of Paintings by Australian Painter WILLIAM MACKINNON

October 24th, 2014 – November 14th, 2014

 

OPENING RECEPTION

Friday October 24th from 6pm-8pm

_________________________________

 

Morton Fine Art is pleased to announce the second US exhibition of landscape paintings by internationally renowned Australian artist WILLIAM MACKINNON.

 

The exhibition will be on display from October 24th, 2014 through November 14th, 2014 at Morton Fine Art, 1781 Florida Ave NW, Washington, DC 20009. The opening reception will be held on Friday, October 24th from 6 to 8 pm.

 

WILLIAM MACKINNON, Moonlight II, oil & mixed media on canvas, 58″x48″
About WILLIAM MACKINNON:

Born in 1978 in Melbourne, Australia, WILLIAM MACKINNON earned his Bachelor of Arts from Melbourne University, his Masters of Visual Arts from Victorian College of the Arts and his Post Graduate Diploma from the Chelsea School of Art and Design in London.  Exhibited heavily throughout Asia, Europe and Australia, Crossroads marks MACKINNON’s second solo exhibition in North America. MACKINNON is currently exhibiting as a finalist in theBasil Sellers Art Prize at The Ian Potter Museum of Art, University of Melbourne.  Born into a family legacy of internationally renowned fine artists, MACKINNON participate in a noteworthy 3 generation exhibition in Landscape of Longing: Shoreham 1950-2012 at the Mornington Pennisula Regional Gallery in Australia which included a number of works by his mother, KATHERINE HATTAM (b. 1950) and his grandfather, HAL HATTAM (b.1913 d.1994).

 

WILLIAM MACKINNON, Crossroads, oil & mixed media on canvas, 48″x58″

 

About CROSSROADS:

 

WILLIAM MACKINNON explores themes of Australian and personal identity in his solo exhibition, Crossroads.  Existing at the intersection of representation and abstraction, reality and imagination, MACKINNON creates magical worlds of landscapes, nocturnes and dream scapes reflective of his internal and external environment.  Employing mediums such as oil paint, solvent, enamel, and spray paint, MACKINNON’s landscapes evoke a mystery and richness in surface which parallel its psychological narrative content.

 

Gallery Hours:

 

Tuesday – Saturday 11am – 6pm

Sunday 12pm – 5pm

 

William MacKinnon - Basil Sellers Prize
William MacKinnon – Basil Sellers Prize
WILLIAM MACKINNON & KATHERINE HATTAM: Landscape Of Longing
WILLIAM MACKINNON & KATHERINE HATTAM: Landscape Of Longing
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Contact Information
Morton Fine Art, 1781 Florida Ave, NW, Washington, DC 20009
(202) 628-2787
mortonfineart@gmail.com
www.mortonfineart.com

Morton Fine Art at Aqua Art Miami 2014

30 Oct

aqua 14

Morton Fine Art invites you to attend Aqua Art Miami. For the third consecutive year, MFA will be located in booth #216 at Aqua Art Miami international fine art fair.  

Show Hours

Wednesday, December 3 | 3pm-10pm | VIP Opening Preview Party (for VIP pass holders)

Regular Fair Hours
Thursday, December 4 : 12pm – 9pm
Friday, December 5 : 11am – 9pm
Saturday, December 6 : 11am – 9pm
Sunday, December 7 : 11am – 6pm

Location

Aqua Art Miami – Aqua Hotel, 1539 Collins Ave, Miami Beach, FL 33139

Aqua is located on Collins Ave, a short walk south of Art Basel Miami Beach, across from the Loews Hotel.

Morton Fine Art will be located in Suite 216.

Featured Artists

Maya Freelon Asante (North Carolina, b. USA)

Osi Audu (NYC, b. Nigeria)

Kesha Bruce (France, b. USA)

Ethan Diehl (Iowa, b. USA)

Victor Ekpuk (Washington, DC, b. Nigeria)

GA Gardner (Trinidad, b. Trinidad)

Katherine Hattam (Melbourne, b. Australia)

Choichun Leung (NYC, b. Wales)

William Mackinnon (Melbourne, b. Australia)

Nnenna Okore (Illinois, b. Nigeria)

Andrei Petrov (NYC, b. USA)

Stephon Senegal (Washington, DC, b. USA)

Vonn Sumner (Los Angeles, b. USA)

Charles Williams (North Carolina, b. USA)

Preview the work on the Morton Fine Art website: www.mortonfineart.com

mortonfineart@gmail.com, (202) 628-2787

KATHERINE HATTAM’s “Backwaters” Opens at LUMA – La Trobe University Museum of Art in Australia

16 Sep

Congratulations to Morton Fine Art’s KATHERINE HATTAM for her 24 September, 2014 opening of Backwaters at the La Trobe University Museum of Art in Australia.

 

OPENING:  Wednesday 24th of September at 6pm.

To be opened by Cathy Leahy,

Senior Curator of Prints and Drawings, NGV
Hattam Backwaters pr image

 

Katherine Hattam’s new series of works, Backwaters, examines the relationship between minor waterways and the sites in which they are situated, exploring how they have shaped the history and character of the diverse cities in which they exist; the Merri Creek in Melbourne, the Gowanus Canal in Brooklyn and the Suzhou Creek in Shanghai. The resulting woodblocks, prints and collages reveal intriguing similarities between these disparate locations and the people who use them. Despite radically divergent national frameworks, each of these waterways share the power of perceived obscurity and the insignificance, disguising their important histories and places of cultural exchange.

Exhibition runs 22 September7 November

Curated by Anita La Pietra

 

LUMA | LA Trobe University Museum of Art

Glenn College, Kingsbury Drive
Bundoora Campus 3086
Mon – Fri 10am to 5pm

Australian artist WILLIAM MACKINNON reviewed by Alex Weinstein

9 Sep

The Speed of Light: paintings by William Mackinnon.

William Mackinnon’s landscape paintings portray the Australian terrain and the road laid upon it with ebullience, wonder and whispers, perhaps, of terror.

The artist makes paintings you can almost inhabit.

Mackinnon’s vision of the rural parcels around Melbourne captures the vastness of his domain in manners both terrestrial and emotional. But movement and displacement abound in his pictures too, conveying temporal urgency with stunning effect.

In day-lit long-range views of wooded cliffs along the sea, and racy snap shots from nocturnal car rides wrought with dazzling painterly invention and compositional risk, Mackinnon suggests the notion that the extraordinary abounds in the mundane and that the search for a perfect wave is not unlike the struggle to make a perfect work of art.

WILLIAM MACKINNON, "Crossroads"

WILLIAM MACKINNON, “Crossroads”

In Shoreham, 2013, imposing forests with trees like prison bars occlude the vista of a distant and lonesome cove flecked with hooded surfers, waiting for sets. The effect is both resplendent and chilling. In another work, Crossroads, 2013, headlights illuminate a solitary house, poised inches from a lost highway in an instant of hysterical oddness: this looming ghost house with Christmas lights dangling pell-mell, battered fence posts and a sad, leaning tree, all coming into garish focus across the windshield of the car you, the viewer, are driving. Conflicting, loaded messages abound here: is this a place to rest? Is this a place to die? Menace and welcome in equal measure; light and darkness showing and obscuring in equal measure.

These are key players in Mackinnon’s output: menace and welcome. His pictures read beautifully as maps of specific places and actual experiences but also speak so clearly to the universality of travel itself, with its conflicting emotions, drama and surprise. Many of his paintings are made from the perspective of a car’s driver, often at night, and the theme of locomotion, of movement itself, becomes a central one. Other times, the view is set back, almost idyllic: looking to the distance, through the trees at a possible destination. But the view is always interrupted by foregrounding trees and swooping valleys, larded with colorful, abundant distraction.

To move into the world is to find oneself elsewhere, redefined perhaps, by a new setting or a new set of circumstances. This is the backbone of travel and adventure and a wellspring for Mackinnon’s imagery. But he also courts this investigation and its potential prizes (and pitfalls) by taking risks with his compositions and handling his materials loosely. After all, the process of creating the painting is as much a journey as anything and Mackinnon clearly likes to go places. His paintwork recalls the fast and furious additive technique of current Euro uber-kunstlers Peter Doig and Daniel Richter but there’s also a joie-de-vivre in Mackinnon’s color that smacks more lovingly of David Hockney or even Henri Matisse. All are artists who’ve sought to advance their craft in terms personal and historical and here again Mackinnon is fighting the good fight: he’s done the reading and wrung his hands in the miasma of heady critical theory: studying in London (a bristling Art World capital) and completing a residency at the Chinati Foundation in Marfa Texas, (an American Mecca for the worship of Minimalism). But these scholarly experiences inform the work quietly. Mackinnon has an obvious gift for grand presentation and clearly wishes the work to speak for itself. It does.

 

The Dark.

Strange things happen in the dark and it’s the darkness that permeates many of Mackinnon’s best paintings. Mackinnon allows the dark real primacy. In his landscapes, blackened areas abound; often dominating his compositions and offering juicy counterpunches to the light-filled and boisterous passages where content is visible and real. In the blast of his headlights, the road dazzles with reflective markers, swooping passing-lane stripes and glowing, orange panels with arrows indicating a hard left turn to come. But beyond that, beyond the turn, utter blackness. The Void. Inky, fathomless expanses abut his lit areas with such sheer tension as to suggest potential doom or potential bliss. It becomes clear that these blackened fields are not really empty at all. No, Mackinnon’s “empty” spaces behave with all the fecund possibility – of bounty, of menace – that the imagination dares to ignite. Look into the dark spaces and there is nothing to “see” there, nothing is rendered, and yet all is perceptible. The dark stares right back at us, pregnant with the scary shit we cannot see. So while there is pictorial absence – blankness, depth, openness, what painters call “negative space” – this is also fertile acreage for great emotional density, as the viewer can’t help but load the space with content, expectation and possibility. The anti-void is what it has become.

 

The lightness of being.

In brighter pictures, cast in daylight, Mackinnon delights in exhibiting what lies at the end of his rainbows: waves. Surf spots: just beyond reach, behind trees, over hills, mighty and majestic. Immense waves loom in monolithic arcs recalling Hokusai’s brilliant woodcuts. Verdant hills and valleys flecked with light, undulate in and out of shadow, not unlike the sea itself, sometimes pictured in the distance. In the surfing paintings, the great expanse of the ocean (often rendered in stunning, curdled pools of poured pigments, surfers bobbing) quickly replaces the blackness seen in the road paintings as a cauldron of possibility. Vistas are perceivable here but this is the Ocean, with its own mysterious territory, moods and forces. And as all surfers know, once you are out there anything, anything at all, can happen.

 

Alex Weinstein

Los Angeles, 2014

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

WILLIAM MACKINNON’s painting “Exit” acquired by the State Library of Victoria, Melbourne, Australia

29 Jan

Congratulations to Australian artist WILLIAM MACKINNON for the acquisition of his painting “Exit” in the permanent collection of the State Library of Victoria, Melbourne, Australia.  The artist’s other outstanding achievements in recent months include finalist in The Fleurier, The Arthur Guy Painting Prize, and the Basil Sellers (staged at the Ian Potter Centre, a museum at Melbourne University).

Exit. 200 x 360 cm Oil on linen 2013 Collection of The State Library of Victoria.

Exit.
200 x 360 cm
Oil on linen 2013
Collection of The State Library of Victoria.

 

Please view the following slideshow of current available work by exceptional international painter WILLIAM MACKINNON. Contact Morton Fine Art for pricing at +001 (202) 628-2787 or mortonfineart@gmail.com

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