The Amityville Apothecary hosts free special events : Tarot readings Sunday, and Saturday. See the new schedule below

Dina, & Dana host inclusive events to all seeking  multiple views for sources of knowledge as metaphicas can stop in. . The space is beautiful. All detail and info for contact below. 

Happy Feral Friday, Witches! 💎😈 We're coming to you from Massachusetts, where we're currently roaming one of the largest gem shows on the East Coast and buying up ALL the sparkly things for tonight's Live Sale. And trust us... we've already found some GOOD stuff. 👀 Join us TONIGHT on Instagram Live at 8:30 PM EST for the FIRST LOOK at our fresh-from-the-gem-show finds! 💎 Brand-new crystals & collector pieces 🔥 Gem show goodies before they hit the shop ✨ 15% OFF during the Live Sale 📦 FREE SHIPPING on orders over $125 Basically, we're doing the digging so you can shop the treasures from your couch. You're welcome. 😂 🔮 This Weekend at the Apothecary SATURDAY: Vinny is in the shop offering tarot readings all day! SUNDAY: Nick is back for tarot readings AND private 1-on-1 tarot lessons. Whether you're looking for some guidance or want to sharpen your own tarot skills, book some time with him! But first... FERAL FRIDAY. TONIGHT. 8:30 PM EST. 💎🔥 Grab your fave bev, get comfy, and prepare to fight respectfully in the comments over your favorite rocks. See you LIVE, witches! Dani, Dina & the Amityville Apothecary Team ✨‼️ P.S. We're hosting a Silent Supper with Sasha Graham this October! See details below for this not-to-be-missed event ‼️✨ JOIN US ON INSTAGRAM LIVE Check out our awesome August classes! Protection Shadowbox Class- August 20th 2026 6:30PM EST | IN PERSON ONLY $55.00 Virtual Class: The Harvest Working Cord with Loren Morris | August 23rd, 4:00pm EST $55.00 - $70.00 Materia Magica: The Herbal Roots of Ancient Magic with Ike Baker | In Person Saturday, September 5th 7pm EST $55.00 Silent Supper with Sasha Graham, An Evening of Spirits, Supper & Tarot | In Person Tuesday, October 27, 6:30pm EST $111.00 New Episode of Apothecary After Dark with Kelly Ann Street just launched! Listen everywhere podcasts are streamed. LISTEN TO SEASON 4 EP5 NOW

Amityville Apothecary 174 Park Avenue, Amityville, NY, 11701 #amityvilleapothecary#fineartmagazineblog.blogspot.com #sunstormfineartmagazine.com#arfuntalk#arfunlearn#arfundiffrent,

Norwegian Film Instute announces Eskil Vogt has received a film grant based in artistic evaluation. See other films of merrit and details below.

New Eskil Vogt feature receives NOK 10 million production grant Untitled.  Production grant: NOK 10,000,000.  Production company: Mer Film AS.  Producers: Maria Ekerhovd, Lars Thomas Skare.  Director and screenwriter: Eskil Vogt.  Total budget: NOK 109 733 652. The production grant is awarded based on artistic evaluation.   Eskil Vogt has previously written and directed the feature films Blind (2014) and The Innocents (2021), and has twice been nominated for the Best Original Screenplay Oscar, as co-author of The Worst Person in the World (2021) and Sentimental Value (2025). Sentimental Value won the Best International Feature at this year's Academy Awards.  Untitled is a psychological thriller about art, power and the blurred boundaries between memory and truth. Eskil Vogt has written the screenplay and will be directing.  "Untitled is an ambitious project that builds on Eskil Vogt’s distinctive artistic vision. Eskil Vogt is a filmmaker with a strong artistic voice and a significant international profile, and with his third feature as a director, he continues to develop and challenge himself artistically. Supporting filmmakers in developing their artistic practice over time is a key priority in our new strategy, where strengthening creators and their careers is one of our main commitments", says Kjersti Mo, CEO of the Norwegian Film Institute.  Untitled is produced by Mer Films AS, internationally renowned production company headed by Maria Ekerhovd. Recent production credits include Sentimental Value - Academy Award-, BAFTA-, Golden Globe-, Cannes- and European Film Award-winner; Academy Award-nominee The Ugly Stepsister (2025), and upcoming Renate Reinsve feature Butterfly (2026), which premiered at this year's Rotterdam International Film Festival.     Untitled has previously received a total of NOK 700,000 in development grants from the Norwegian Film Institute. www.norwegianfilms.no The Norwegian Film Institute is a public institution operating under the authority of the Ministry of Culture. We support and promote films, series and games. Read more here. Read more about the Norwegian Film Institute's Privacy statement here.  #norwegianflilminstitute#fineartmagazineblog.blogspot.com #sunstormfineartmagazine.com#artfunculture#artfunnew#artfunnow#artfunnorwegian#artfunfilm

Guangdong Museum of Art Presents Forst MajorMuseum Retrospective of Oswaldo Vigas in Asia August 15- November 22, 2026.

 Link to more information about the artists and his works below. 

Guangdong Museum of Art Presents First Major Museum Retrospective of Oswaldo Vigas in Asia

Spanning seven decades, Oswaldo Vigas: Reality Is What I Imagine brings the Venezuelan modernist’s practice to China  The exhibition explores Vigas’s “amphibian modernity” through a transpacific dialogue between Latin America and China

Oswaldo Vigas, El Alacran, 1952. Image courtesy of Oswaldo Vigas Foundation Archives. Photo: Renato Donzelli.

GUANGZHOU, CHINA — August 13, 2026 — The Guangdong Museum of Art presents Oswaldo Vigas: Reality Is What I Imagine, the first major museum retrospective of the Venezuelan artist in Asia, on view August 15 through November 22, 2026. Spanning seven decades of Vigas’s practice, the exhibition brings together a focused selection of paintings alongside rarely seen archival materials, offering a new perspective on an artist whose work challenged the boundaries between abstraction and figuration, modernity and ancestry, and European artistic traditions and the cultural histories of Latin America.  Co-organized with Kwai Fung Hin Art Gallery and supported by the Oswaldo Vigas Foundation, the exhibition is co-curated by Venezuelan curator Gabriela Rangel and Chinese curator Jiang Jun. Their collaboration places Vigas within a broader reconsideration of modernism beyond a predominantly Eurocentric framework, bringing a Latin American artistic experience into dialogue with a Chinese perspective on the multiple and multidirectional histories of modern art.  Rather than positioning Vigas as a peripheral figure within an established history of Western modernism, the exhibition examines how he developed an autonomous visual language from the intersection of multiple cultural histories. His seven-decade career moved between Venezuela and Paris and across abstraction, figuration, Informalism, and neo-figuration, while remaining deeply connected to the ancestral imagery, myths, and material culture of Latin America.  Rangel describes this refusal to settle into a single artistic or cultural category as Vigas’s “amphibian modernity”—a practice capable of moving between different cultural and aesthetic ecosystems without belonging exclusively to any one of them. Vigas, she argues, did not simply adopt European modernism; he transformed it through a sustained engagement with the histories, symbols, and cultural memory of Latin America.

“I have never been rigorously abstract, nor rigorously figurative. What I have always tried to be, is rigorously Oswaldo Vigas.” — Oswaldo Vigas

Born in Valencia, Venezuela, in 1923, Vigas initially studied medicine before dedicating himself fully to painting. From the 1940s onward, he developed a distinctive body of work rooted simultaneously in international modernism and the cultural heritage of Latin America. His early Brujas (Witches) emerged from his exploration of pre-Columbian imagery, including the Venus of Tacarigua and Venezuela’s ancient petroglyphs, transforming ancestral forms into hybrid figures that occupy the space between the human, animal, and mineral worlds. His visual language also drew on African art and the ancestral traditions of the Americas. During his years in Paris, from 1952 to 1964, Vigas encountered the international exchanges surrounding postwar modernism, yet rather than adopting a single European model, he developed an increasingly independent language that moved between organic geometric abstraction, Informalism, and neo-figuration, while retaining a connection to the symbolic forms of his earlier work.  Curator Jiang Jun approaches Vigas’s work from a perspective that questions the traditional, Western-centered account of modernism. He places the artist within a broader, polycentric and multidirectional history of modern art, in which different cultural traditions are understood as active sites of modernity rather than secondary responses to European models.

“Vigas’s art transformed cultural friction, identity crises, and cultural consciousness into a powerful creative force, achieving a localized reconstruction of modernism.”  — Jiang Jun, co-curator

Jun places Vigas’s work in dialogue with ancient Chinese and Indigenous American civilizations. Through this comparative approach, the exhibition considers how modernism might be understood when viewed through multiple cultural and geographic centers rather than as a single universal model. He offers a different reading of Vigas’s trajectory, one in which Vigas’s engagement with modernism is shaped by the complex cultural history of Latin America.  The exhibition unfolds across four periods of Vigas’s career: his early engagement with ancestral figuration and the Brujas series; his transformative years in Paris; his return to Venezuela and development of a syncretic neo-figuration; and the increasingly liberated biomorphic language of his later decades. Together, these works reveal a practice characterized not by stylistic consistency, but by continual movement, reinvention, and return.  The presentation at the Guangdong Museum of Art marks a significant new chapter in the international recognition of Oswaldo Vigas, bringing his seven-decade practice to Chinese audiences and placing his work within a broader conversation about the multiple histories and geographies of modern art.

Oswaldo Vigas: Reality Is What I Imagine  August 15 – November 22, 2026  Guangdong Museum of Art (Bai'etan), Halls 7 & 8, 2/F  Guangzhou, China  ABOUT THE CURATORS  Gabriela Rangel is Executive Director of the Museum of Contemporary Art Tucson (MOCA). From 2019 to 2021, she served as Artistic Director of MALBA, Buenos Aires, and from 2004 to 2019 was Director of Visual Arts and Chief Curator at Americas Society in New York. She has curated numerous exhibitions of modern and contemporary art and has contributed to publications including Art in America, Hyperallergic, Parkett, The Brooklyn Rail, and Art Nexus.  Jiang Jun is an independent curator and art critic, curator-at-large of the Shenzhen Museum of Contemporary Art & Urban Planning, and Chairman of the Art and Economy Professional Committee of the Zhejiang Creative Design Association. He studied at the Kunstakademie Münster and received a doctorate in Art Studies from the China Academy of Art. He co-curated the Chinese National Pavilion at the 60th Venice International Art Biennale, as well as the 7th Guangzhou Triennial and the 2023 Chengdu Biennale.  ABOUT OSWALDO VIGAS  Oswaldo Vigas (1923–2014) was one of the most distinctive figures of Latin American modern art. Over a career spanning more than seven decades, he developed a singular visual language informed by European modernism, Indigenous and pre-Columbian imagery, Venezuelan cultural traditions, and an ongoing exploration of the relationship between abstraction and figuration. His work was exhibited internationally throughout his lifetime and remains the subject of continued scholarly and institutional research. For more information, please visit oswaldovigas.com. ABOUT THE OSWALDO VIGAS FOUNDATION  The Oswaldo Vigas Foundation is a nonprofit institution dedicated to preserving, researching, and promoting the legacy of Oswaldo Vigas. In 2022, the Foundation launched the artist’s online catalogue raisonné, documenting more than seven decades of his artistic production. The Foundation also supports publications, exhibitions, archival research, and scholarly projects related to Vigas’s life and work.  ABOUT KWAI FUNG HIN ART GALLERY   Established in Hong Kong in 1991, Kwai Fung Hin is a leading art gallery with locations in Hong Kong and Singapore that specializes in 20th century modern and contemporary art. Kwai Fung Hin's mission is built on long-term relationships with a focused roster of talented artists, each recognized for their devoted vision, global perspective, and deep respect for their cultural roots. Through a multi-platform program of gallery and museum exhibitions, publications, education and archival works, the gallery's research driven approach provides dedicated support for their creative development and the preservation of their artistic legacies.  #guangdongmuseumart#fineartmagazineblog.blogspot.com#sunstormfineartmagazine.com#artfunnow#artfunchinese#artfuncreative#artfunforall

Untitled Art Houston 2026 Oct 3rd. See details below.

Featured events listed below.  

Narsiso Martinez, Regador Sombrero de Cartón, 2026. Image courtesy of Charlie James Gallery.

Untitled Art, Houston is pleased to welcome back a group of galleries whose participation in the inaugural fair helped shape its introduction to the city. Defined by strong engagement across Houston’s collecting, institutional, and artistic communities, these returning exhibitors reflect the relationships and dialogue that continue to inform the fair’s presence in the region. Ahead of your visit this October, we invite you to discover a selection of galleries and the presentations they will present at the 2026 edition.

Buy Tickets

Lisa Edelstein, Narsiso Martinez, Shizu Saldamando, and John Ahearn and Rigoberto Torres Charlie James Gallery, Los Angeles Charlie James Gallery brings together four practices that examine how personal histories, labor, community, and representation shape the ways lives are recorded and remembered. Across painting, sculpture, portraiture, and life casting, the presentation centers on individuals and communities whose experiences are often overlooked within dominant historical narratives.

Wenhui Hao, Colleen Barry, and Gary Kuhn Half Gallery, New York / Los Angeles The group presentation by Half Gallery explores the shifting boundaries between figuration, abstraction, and objecthood. Moving across painting and sculpture, the booth considers how image, material, and form can carry both narrative and ambiguity. Together, the three practices create a considered exchange between storytelling and formal experimentation.

Kyle Staver, 2025. Image courtesy of NINO MIER GALLERY.

Tim Braden, Kyle Staver, Otis Jones, and Norm Clasen NINO MIER GALLERY, Brussels / New York The group exhibition by NINO MIER GALLERY is centered on the enduring pull of the Romantic sublime, tracing how landscape, natural phenomena, and cultural myth continue to shape our understanding of the environment. The presentation shifts between direct observation and imaginative reconstruction, featuring mountain ranges, desert vistas, organic forms, and mythic narratives that become vehicles for considering nature as both physical reality and psychological space.

Vanessa Prager, Julian Stanczak, David Hicks, and Pam Posey Diane Rosenstein Gallery, Los Angeles Color, surface, and material shift continually across Diane Rosenstein Gallery’s presentation, moving from optical abstraction and sculptural painting to ceramics and landscape. Familiar forms are reworked through optical effects, layered textures, and tactile processes, allowing the observed world to shift between representation and abstraction.

Julia García, Blue Willow, 2024. Image courtesy of HAIR + NAILS.

Emma Beatrez, Julia García, and Christina Ballantyne HAIR + NAILS, Minneapolis / New York Between painting and sculpture, HAIR + NAILS’ presentation is shaped by contrasts in process, gesture, and material. Moving between meticulously built surfaces and more fluid approaches to image-making, the booth explores how light and the human figure can emerge through markedly different painterly languages. Small-scale sculptures extend  into the surrounding space, introducing a tactile counterpoint to the works on the wall.

Bertozzi and Casoni, Dora, 2023. Image courtesy of ABC ARTE.

Antonio Kuschnir, Jorrit Tornquist, and Bertozzi and Casoni ABC ARTE, Genova / Milan In the group presentation from ABC ARTE, the artists offer distinct yet complementary approaches to painting and sculpture: grounded in myth, narrative, and symbolic imagery, as well as in the scientific and phenomenological study of color. Their dialogue highlights how both figuration and abstraction can operate as tools to question how we see, perceive, and construct visual reality.

Patrick Alston, Sarah Blaustein, and James Benjamin Franklin Library Street Collective, Detroit  Library Street Collective presents a focused exploration of color as both an emotional force and a sensory experience, bringing together works that move across gesture, atmosphere, and materiality. Across the booth, painting expands beyond image-making into something tactile and spatial, holding traces of the body, the natural world, and domestic experience.

Jude Pauli, Untitled #74, 2025. Image courtesy of La Loma.

Skylar Hughes, Merrick Adams, and Jude Pauli La Loma, Los Angeles The works by the three artists will span painting and sculpture, shaped by the tension between softness and structure, atmosphere and construction, for La Loma’s presentation. Landscape dissolves into abstraction while ceramic forms take on a more graphic, architectural presence, inviting viewers to move between the organic and the constructed.

Explore our Galleries

Stay tuned for further presentation highlights from our 2026 Houston Exhibitors as we continue our series and for our Programming Release, including Special Projects, Performances, and Panel Discussions, as part of the Untitled Podcast.

Official Partners The Official Partners of Untitled Art, Houston 2026 are Lexus andLALO Spirits. Supporting Partners include J.P. Morgan Wealth Management. Prize Partners include Casa Santa Ana, Houston Grand Opera, Hotel Daphne, PAC Art, Park House Houston, Public Art of the University of Houston System, and UT MD Anderson. With the support of the City of Houston and Houston First Corporation. Additional partners will be released in the lead-up to the fair.

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