Contemporary Still-Life Workshop: The Everyday Object

Jeffrey Morabito will be teaching a Still-Life Workshop: The Everyday Object

Wednesday Aug 16, 2019 
6:30 - 8:30 pm

Cost: $85 per session

Limited to six participants

Simply Fine Workshop

526 West 26th Street

Studio 710

New York, NY 10001

For more information and to sign up inquire at: contact@simplyfineworkshop.com to sign up.


About the workshop:

Paint a still-life with traditional techniques but through a contemporary lens. Pictorial structure, composition, and color will be focused upon while close-looking and improvising will be equally emphasized. Visual tools explored will be: Illusionism, Perspective, Horizon Line, Conceptual 3-D Space, Shape & Color Hierarchy, and Site-measuring. Students are encouraged to bring in their own “everyday object” or paint an object provided.

Open to painters of all levels, and to acrylic/oil painters who want to broaden their skills and concepts.

No experience necessary — Beginners welcome!

Full instruction and ALL MATERIALS provided. Friendly, creative atmosphere. Some drinks and snacks included.

About Jeffrey Morabito:

Born in Bronxville, half Hong Kong-ese and half Italian, Jeffrey Morabito spent his early years traveling between New York and Hong Kong. He returned to Asia in 2006, to apprentice with a calligraphy master in Seoul, South. Korea. He then spent six years in Beijing, beginning with a Red Gate Gallery Residency, in 2009, teaching at Capital Normal University. Morabito returned to New York in 2016 to pursue an MFA at the New York Studio School of Drawing, Painting, and Sculpture, while also founding JMN Artists, a curatorial collective, which has already produced three shows in New York.

Morabito has exhibited in “Art Beijing;” International Art Fair and Matthius Kupper Gallery, Beijing, China; N-Space and Jay Gallery Seoul, South Korea; Rosenfeld Gallery, New York; SFA Projects, New York

White on White: Anna Caione & Fiona Halse at West End Art Space

Fiona Halse, Afon, 2019, mixed media on canvas, 100x100 cm

White on White: Anna Caione & Fiona Halse

August 28 - September 1, 2019

West End Art Space
137 Adderley Street
West Melbourne VIC 3003
Australia


From the Press Release:

The exhibition ‘White on White’ explores the philosophical, poetic associations of the colour white through the work of Melbourne artists Anna Caione and Fiona Halse. Caione and Halse express the synergies and divergences in their approach to abstraction through the process of surface manipulation and gestural expression. Their shared preference for the colour white amalgamates their works yet each artist loads the neutrality of the hue with a diversity of personal meaning that gives rise to a range of intriguing interpretative possibilities.

White is considered by some to be a non-colour, yet its transformational qualities continue to fascinate contemporary artists. White can be purely suggestive or a dominant force informing the intrinsic visual language within an artist’s work. The initiation of the single-coloured artwork termed the ‘Monochrome’ is a fairly recent occurrence of twentieth-century art, with practitioners such as Piero Manzoni, Robert Ryman, Mary Martin and Kazmir Malevich falling into the category of monochromatic painters. Curator Tanya Barson of the Tate’s Painting with White exhibition has noted that the decision for artists to restrict themselves to one colour can open up a rich and versatile area of investigation, with the use of white drawing attention to a variety of techniques, materials, textures, surfaces, structures and forms.

The exhibition is a tribute to Kazimir Malevich and his Suprematist composition: White on White (1918). Whilst the Black Square (1915) is commonly believed to be the ‘first Suprematist painting’ (Lodder, C. 2018, p. 13)  and communicates Malevich’s aesthetic  theory  as the ‘the supremacy of pure feeling or perception in the pictorial arts’ ( MOMA, n.d.). Malevich’s contribution was significant to the development of non-objective and abstract art, which he believed could pave the way to spiritual freedom, a utopian world of pure form and a  ‘universal language that would free viewers from the material world.’ (Malevich, K, 1926).