Wednesday, July 8, 2026

Catch the Emmanuel G. Contemporary Art at the Seattle Art Fair July 23-26

Both Southampton, and Seattle are hosting their Art Fairs in July. All our reader east and west coast can catch what's new or collectable at these events. It's alwasy a fun day to visit see and possibly collect a piece of art!!!

There is something about Seattle in July that we just couldn't stay away from. The sunset over the Puget Sound, Mt. Rainer in the distance, and the city buzzing with creative and ambitious energy. The kind of place where artists, galleries, and collectors are inspired just as much by each other as the Emerald City that surrounds them. 

Emmanuelle G. Contemporary is pleased to return to the Seattle Art Fair at Lumen Field Event Center from July 23-26.

The gallery will present a selection of works by Gigi Mills, Julia Maleeva, Parvaze and Mayer, and Alessandra Rehder. You can visit us at booth C15. 

See below for all relevant event information. If you would like to attend, we have included a link to complimentary tickets. 

We look forward to having some amazing coffee with you in Seattle! 

Gigi Mills, Table/Objects and the Space Between, 2026, Oil on Board, 11 x 7 in

Julia Maleeva, A Single Sound of a Distant Trumpet, 2024, Oil and Cold Wax on Canvas, 30.3 x 38 in 

Fair Location

Lumen Field Event Center
800 Occidental Ave S
Seattle, WA 98134

Fair Hours

Thursday July 23, 4 pm - 9 pm (VIP Exclusive)

Friday July 24, 11 am - 7 pm

Saturday July 25, 11 am - 7 pm 

Sunday July 26, 11 am - 6 pm 


Emmanuelle G. Contemporary

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Hamptons Fine Art Fair Catch the Fremin Galley July 9-12, 2026 at the Southamptons fairgrounds booth 333 & 349

Antoine Rose  - "Shallow Blue" - Aerial Photography"-  

39" x 52" 


FREMIN Gallery is delighted to announce our participation at the Hamptons Fine Art Fair , (July 9 - 12). Visit us at Booths number 333 and 349 to view new contemporary works from our artists.


VIP PASS CODE:

hfaf26vipd0090


GENERAL DAY PASS CODE:

hfaf26gad0090

Enter promo code at checkout to secure your ticket:

www.HamptonsFineArtFair.com/tickets


  Emilie Arnoux - "Vision" - Acrylic on Canvas- 60" x 50"


About the Fair:


Celebrating 20 years of producing dynamic art marketplaces in the Hamptons, and bringing together world-class galleries, artists, and collectors to honor America’s 250th Anniversary. 
The fair offers a vibrant platform for cultural exchange and artistic discovery, highlighting innovative works and diverse creative expressions. As part of this prestigious event, AGI Fine Art will showcase a curated selection of international artists, reflecting the gallery’s dedication to presenting inspiring and thought-provoking contemporary art.

A Hamptons prime location — HFAF is staged in a spectacular 70,000 sq. ft. pavilion complex, featuring the Pollock and de Kooning Luxury Pavilions, strategically located on 17 bucolic acres — right on the main road connecting the Hamptons (County Rd 39). 
This location is just minutes from downtown bustling Southampton Village, filled with stylish shops, trendy restaurants, art galleries and museums.

Gunes Caglarcan - "All the People we Become" - Oil on Canvas -" 25.5 x 25.5"


Fair Information

VIP Opening: Thursday, July 9

VIP
“First-Look” Opening Preview: 12-5pm

VIP Opening Preview Evening: 5-9:30pm

General Admission:


Friday, July 10: 11am-7pm

Saturday,July 11: 11am-7pm

Sunday, July 12: 11am-6pm

Location:
Southampton Fairgrounds
605 County Rd 39
Southampton, NY 11968

Olivier Couput - "Untitled 04" - Arcylic and Oil Stick on Canvas - 24" x 36"



Julian Lennon - "In Between" - Archival Giclee Print - 44" x 44"

Special Booth #349 dedicated to Julian Lennon



Fremin Gallery

520 West 23rd street, New York City
Info@fremingallery.com

212 279 8555

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Tuesday, July 7, 2026

Keys Art exhibits ~The Shape of Influence , Willem de Kooning & Claud Lawrence~ open July 11 through 31, 2026


Keyes Art

Opening Night

Saturday, July 11th 
exhibition runs July 11–31

 

The Shape of Influence: 

Willem de Kooning & Claude Lawrence

 

 

 

 

Claude Lawrence paints like a jazz musician plays. His canvases don’t arrive fully composed. They start with a motif - a quick charcoal stroke, a patch of raw umber, a cadence of blue - and then he responds to it. He works in layers the way a quartet works in choruses. He states a theme, then breaks it, then finds it again an octave higher. The surface becomes a record of listening. You can see him pause, erase, re-hit the same note. That’s the jazz in him: timing over planning, call-and-response over blueprint. 

 

Lawrence often cites improvisation as his method. He keeps music in the studio - Coltrane, Monk, Miles - not as background, but as structure. A 12-bar blues teaches you how much freedom you can take before the form collapses. Lawrence treats the edges of his paintings the same way. He’ll push a shape to the verge of chaos, then resolve it with a single, decisive line. The paintings breathe. They have rests and syncopation. Negative space functions like a drummer dropping out for a bar: it makes what comes next hit harder.

 

The de Kooning Influence 

 

Willem de Kooning is the other voice in the room. Lawrence absorbed de Kooning’s lesson that a line can be both brutal and tender in the same gesture. Look at the way Lawrence loads his brush: thick paint applied, then scraped back with the butt end of the handle. That’s de Kooning’s Woman I energy - aggression used to find form, not destroy it.

 

But Lawrence doesn’t imitate the Abstract Expressionist scrum. Where de Kooning wrestled the figure into abstraction through force, Lawrence lets the figure emerge from rhythm. De Kooning gave him permission to make the brushstroke itself carry meaning. Lawrence took that permission and ran it through a jazz filter. The stroke becomes a phrase. A slashed black line isn’t just paint, it’s a cymbal crash. A softened edge isn’t hesitation, it’s a note bending.

 

Where They Meet

 

The convergence happens in “time.” Both artists understood that a painting records duration. De Kooning’s surfaces show months of attack and retreat. Lawrence’s surfaces show the arc of a solo. He’ll work on a canvas while a record loops, letting the repetition teach him when to stop. The result is work that feels played, not made. Lawence’s best paintings don’t illustrate jazz. They behave like it. And the de Kooning influence isn’t stylistic borrowing. It’s lineage: learning that the hand can think faster than the mind, and trusting the gesture to carry the truth.

 

-Lucas F. Natali

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Copyright 2026 Keyes Art, All rights reserved.

 

 

 

Our address is:

45 Main Street | Sag Harbor, NY 11963

The White Room Gallery group exhibition Saturday July 11th 5-7PM runs through August 9, 2026

THE WHITE ROOM GALLERY

Present

OPEN ENDED

JULY 1ST to AUGUST 9TH  2026

OPENING RECEPTION - SAT JULY 11TH 5-7PM


Renee Levin-Oil on Panel


Renee Levin-Oil on Panel


Curators’ Quote

NO LIMIT.

FLEXIBLE.  CONTINUOUS DISCUSSION.  SPONTANEOUS RESPONSES.  

Such is the definition of the artistic journey.  A photographer who has spanned 7 continents in pursuit of the perfect shot executing spontaneous responses when facing an attack from a two-ton rhino.  A Hall of Fame abstract artist who showed with Pollock and de Kooning and had continuous discussions on the post WWII movement.  An Italian Vogue fashion photographer who creates tableaux that engage on all fronts with no limit on the narrative alongside famed iconic imagery from the past and present that does the same.  Add to that female centric whimsical paintings where one could find oneself atop a strawberry shortcake or a full moon or mysteriously swimming at night in a misty lagoon or looking for that martini and designer purse that will make it all better.  Figurative and abstract paintings with soft, alluring palettes share the space with aerial photography and floppy disk creations.  And, of course, Open Ended would be remiss without sculptures of three figures who collectively have fueled continuous discussions.  Bob Marley, Frank Sinatra and Picasso.  

In curating this exhibit we wanted multiple takes on creativity.   No limit is a relentless doctrine of the art world, and it is what keeps it ever-evolving.  Ergo the flexibility.  But this exhibit is the lighter side of no limit, just a delightful stroll through a myriad of muses.


Nelson De La Nuez

 Taylor Smith - Paul Newman Rolex-Acrylic painted on floppy discs 


Joe StefanelliThe White Room Gallery OPens 




Paul D. Fuentes


ARTISTS INCLUDE 

Joe Stefanelli 

Renee Levin

Taylor Smith

Miska 

Paul D. Fuentes

Lynn Savarese

Mital Patel

Sabrina Cabada

Raffael Ferrari

And more….


PERMANENT COLLECTION INCLUDES

Russell Young

Nelson De La Nuez

Craig Alan

Greg Lotus

And more


3 Railroad Avenue

East Hampton, NY 11937

www.thewhiteroom.gallery


OPEN  12-5pm

Tues -Sunday

Press inquiries: Andrea 

art4thewhiteroomgallery@gmail.com


917.526.2767 

631-237-1481

Andrea McCafferty + Kat O'Neill

Owners+Directors
The White Room Gallery

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l"Space, with Melissa Madara offers a pane discussion of the world of Leonora Carrington July 16, 2026 6:30 pm NYC. Tickets required see below.

My Opinion: The ~ Shape of Dreams~  works by Leonora Carrington opened in May, at L'Space Gallery.and runs through July  25th,  2026 . The panel discussion regarding the philosophical motivation; and the emphasis on the occult nature noted by the talk within her works has not been noted in art world  that I am aware of. It does not mean it's not applicable. Tarot, and Kabbalah  were popular during the time frame I have been in the arts.

I have seen Carrington's work over a 50 period of time. Her  artistic process and motivation has been understood  by me as captivating. I walked the Brewster Gallery during  her Exhibition ~Recent Works exhibited in 1990. Carrington's works, and images have grown in value and artistic importance  when displayed in galleries, and international art fairs.   It's worth the trip to see the sculpture.  Jamie Forbes, Publisher, Fineartmagazineblog.blogspot.com, and SunStormFineartmagazine.com


Tarot, and Kabbalah  were popular during the time frame I have been in the arts.