This past April, I met painter Victor Ekpuk (Nigerian, born 1964) after his presentation and panel discussion at Howard University’s Porter Colloquium, a Black art conference.
Morton Fine Art, a gallery that is off to the side of the U Street Corridor in Washington D.C., fills in a niche for vibrant artists of color that are pushing boundaries and expectations on art and its potential.
Above: Note: This scene is direct commentary to the Whitney Biennale, which shares initials with the featured Western Beef storefront. Two YAMS collective members, Koo and Luvinski, dress up as janitors and pretend to fight each other in the parking lot.
Above: Phillis Diane Jones, “Stan’s Dance,” 1968. Mixed media on canvas. Photo courtesy of N’namdi Fine Art and ArtSlant. The 29th annual Porter Colloquium (named in honor of the late Dr.
Norman Lewis: A Spotlight on the Dark Horse of the Ten Americans After Paul Klee Exhibit at the Phillips Collection
Paul Klee, best known for his idiosyncratic symbolism and ineffable shapes of color, influenced a generation of abstractionists in America that were all searching for a dual purpose:
For the majority of history, our political leaders have doubled as icons, held sacrosanct instead of being portrayed realistically. We see this illusion, for instance, in the numerous state portraits of Elizabeth I, with the white face and richly dressed form of an eternally Virgin Queen, solely dedicated to the welfare of her people.