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Friday, July 3, 2026
Haines Gallery ~The Shape of Looking~ Group exhibition, July 10, - September 5,2025
Thursday, June 25, 2026
Not Reat Art & CODAworx Present : Acelebration of Public Art in the U.S.
NOT REAL ART and CODAworx Present '250: A Celebration of Public Art in the U.S.'— A Nationwide Art Exhibition for America's 250th Anniversary
LOS ANGELES, June 25, 2026 /PRNewswire/ -- NOT REAL ART, in partnership with CODAworx and Arterial, will launch 250: A Celebration of Public Art in the U.S. Honoring America's 250th anniversary, this landmark virtual exhibition features one public artwork from each of the 50 states, the District of Columbia, and Puerto Rico. 250 invites viewers on an immersive tour of installations in parks, deserts, city streets, and public interiors, showcasing the breadth and diversity of public art across the country. The exhibition will remain open and archived online indefinitely on NotRealArt.com.
250 highlights site-specific installations, sculptures, murals, bridges, archways, and multimedia experiences, shifting the conversation about art beyond traditional venues and into the public realm. Curated by Virginia-based arts writer Kirsten Bengtson-Lykoudis, 250 celebrates the artists who transform everyday environments into places of beauty, protest, reflection, and wonder, and reminds audiences that art is for everyone.
All artists and artworks featured in 250 are curated in partnership with CODAworx, the leading platform for the public art industry based in Madison, WI. Since 2014, CODAworx has connected all segments of public art and championed innovative public art worldwide. The artists, designers, architects, fabricators, and artisans they collaborate with have contributed to a remarkable selection of installations that celebrate community, creativity, and collaboration across the U.S.
250 is part of NOT REAL ART's First Fridays virtual exhibition series, which celebrates independent artists globally and introduces new thematic exhibitions on the first Friday of every other month. The exhibition is sponsored by Los Angeles-based arts nonprofit Arterial, whose mission is to democratize and amplify art in public spaces by sharing contemporary stories about the visual and performing arts.
Projects submitted by leading artists, design firms, fabricators, engineers, and government arts agencies are located in every state: (Alabama) Stephen Whyte's Sculpture Studio, (Alaska) Daniel Roache, (Arizona) Creative Machines, (Arkansas) Erin Ashcroft Artistry LLC, (California) Ilan Averbuch, (Colorado) Denver Arts & Venues (Connecticut) Svigals + Partners (Delaware) Chiodo Art Development, (District of Columbia) OxmanStudios, Inc. (Florida) Cultural Arts Alliance of Walton County (Georgia and South Dakota) Christopher Weed Sculpture Inc., (Hawaii) Glasmalerei Peters Studios / Peters Studio U.S. (Idaho) David Carmack Lewis, (Illinois) Ignition Arts, LLC, (Indiana) Torey Dunne, (Iowa) KenyonZubko Collaborative Beau Kenyon +Natalia Zubko, (Kansas) Ball-Nogues Design Studio, (Kentucky) Bollinger Atelier, (Louisiana) Marcus Brown, (Maine and Mississippi) Transformit, (Maryland and Wisconsin) RE:site, (Massachusetts) MASARY Studios, (Michigan) Formed For/Brodin Sculptures,(Minnesota) City of Bloomington Creative Placemaking, (Missouri) Matthew Mazzotta, (Montana) Jessica Bodner, (Nebraska) James Tyler, (Nevada) Davis McCarty, (New Hampshire) Lyubov Muravyeva, (New Jersey and New York) Mayer of Munich, (New Mexico) Lordy Rodriguez, (North Carolina) MARC FORNES/THEVERYMANY, (North Dakota) Anne Labovitz, (Ohio) Cliff Garten Studio, (Oklahoma) Narduli Studio, (Oregon) Ray King Studio, (Pennsylvania) Ava Blitz, (Puerto Rico) Pseudo Mero, (Rhode Island) Peter Diepenbrock, (South Carolina) Laurel Holtzapple, (Tennessee) Blessing Hancock, (Texas) Metalab, (Utah) Gordon Huether + Partners, Inc. (Vermont) Stephen Rhoades, (Virginia) WMATA Art in Transit Program, (Washington) Sarah Helen More, (West Virginia) Humanity Memorial Inc., and (Wyoming) Elizabeth Best, G. Brown Design Inc.
About the Curator
Former New York gallery director Kirsten Bengtson-Lykoudis (she/her/hers) serves as staff writer, archivist, and curator for NOT REAL ART. She enjoys rambling through NRA's vast digital archive of contemporary artworks and getting to know the people behind them. After growing up in the Twin Cities, Kirsten traveled between Florida, Russia, Sweden, New York, France, Italy, the Aegean Islands, and Washington, DC, before landing in Richmond, Virginia. A photographer, student of Russian literature, devout polyglot, and nonfiction writer, she is currently plotting her next trip to Greece.
About First Fridays
First Fridays is an online exhibition series celebrating independent artists nationwide. This bi-monthly feature of NOT REAL ART, an online platform based in Los Angeles, helps people discover today's contemporary artists. Since its debut in 2023, First Fridays has showcased 766 artists and 1,045 artworks across 39 exhibitions, featuring painting, sculpture, photography, digital art, mixed media, and more. Upcoming exhibitions include The Art of Resistance (September 4 – November 5, 2026), which explores art as defiance, dissent, and solidarity—works that speak truth, challenge power, and refuse to look away; and Southern Gothic: Artists Working Below the Mason-Dixon (November 6 – December 31, 2026), a curated look at artists, aesthetics, and stories rooted in the American South—its mythology, contradictions, and unique creative voice.
About CODAworx
CODAworx is on a mission to demonstrate the power of public art to change the world. As the public art industry leader, the company provides creative professionals a platform to showcase their work, connect, and find opportunities. Powered by a database showcasing thousands of projects with a collective budget of over $13 billion dollars, CODAworx leverages live events, awards programs, publications, data, and digital tools to empower public art in the experience economy.
About NOT REAL ART
NOT REAL ART is a free, independent platform for discovering today's contemporary artists. The site helps working artists tell their stories and promote their work through exhibitions, podcasts, grants, and editorial coverage. NOT REAL ART is owned and operated by Crewest Studio LLC, an independent media company dedicated to creative culture and the arts. Follow @notrealartworld and visit NotRealArt.com.
About Crewest Studio
Crewest Studio LLC is a mission-driven, independent media and entertainment company dedicated exclusively to the visual and performing arts. Based in Los Angeles, Crewest develops, produces, publishes, and distributes television shows, movies, documentaries, podcasts, events, books, and blogs serving creative arts and culture. Crewest has worked with ABC/Disney, A&E Networks, PBS, Instagram, Microsoft, and the U.S. State Department, among others.
About Arterial
Arterial is a 501(c)(3) nonprofit organization dedicated to telling contemporary stories about the visual and performing arts. Based in Los Angeles, Arterial sponsors and funds arts-related media projects across film, television, podcasts, and digital formats. Since its founding in 2024, Arterial has supported NYC filmmakers Logan Hicks and Jeremy Chilnick in completing their documentary, The Underbelly Project, and SoCal PBS for the Emmy-winning show "Art Bound." In 2025, Arterial became the fiscal sponsor for the unscripted television show "Arthouse," raising nearly $50,000 for its pilot. In 2026, Arterial will syndicate 50 hours of arts educational content to one million incarcerated people via the Edovo platform. Arterial also owns and operates ArtsvilleUSA.com, a digital discovery platform for arts and crafts.
SOURCE NOT REAL ART / Crewest Studio
#notrealart#fineartmagazineblog.blog.blogspot.com#sunstormfinearmagazine.com#artfunchange,
#artfuncreate#artfunvirtual#artfuneasy
Yale Center for British Art : Loyalists and Sons of Liberty: America 250 now through December 21, 2026
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Tuesday, June 23, 2026
The "Forever Grateful" Haight Street Art Center JUly 3,2026 -September 3, 2026. celebrating an era of extraordinary change sparked through art and music!
Fine Art Magazine had the privilege of meeting, and or interviewing Grateful Dead band members : Jerry Garcia, 1993 interviewed at the Ambassador Art Gallery, Soho,
Bob Weir, met at my Father's Place, 1976 and reviewed his performance at My Father's Palace , Roslyn, NY
Rock Scully, long time manager representing Jerry Garcia's art at Art Expo NY https://youtu.be/pw_2L3xw1oY?si=ibWA0jBBE0tPEzZ1
My Opinion: The Grateful Dead's artistic impact as a group, and individually change the landscape of art culturally sparking a tidal wave response in 1965 through 1995.
Jamie Forbes/Publisher Fineartmagazineblog.blogspot, and SunStormfineartmagazine.com
Art creates our window to the world!!!!
“Forever Grateful”
The Ultimate Grateful Dead Exhibition
July 3 – September 20, 2026
An Extraordinary Glimpse Into the Magic Behind the Music
and the Renowned Artists Who Shaped the Band’s Visual Identity
The Haight Street Art Center is proud to present Forever Grateful, a landmark exhibition that pays tribute to the timeless legacy of the Grateful Dead. Opening July 3, 2026, and celebrating the Center’s 10th anniversary, this exhibit, featuring an unparalleled collection of artworks, instruments, and memorabilia, invites visitors to explore three decades of the band’s groundbreaking history.
Chronicling the legendary journey of the Grateful Dead from 1965 to 1995, Forever Grateful offers Dead Heads, casual fans, and art lovers an extraordinary glimpse into the magic behind the music and the artistry that became synonymous with the band’s cultural impact. Spanning both floors of the Center, the exhibition includes more than 400 works, including paintings, pen and ink drawings, original lithographs used to create visually stunning posters, photographs, vinyl records, instruments, and rare ephemera, tracing the evolution of one of the most influential and enduring forces in the music and ethos of America.
At the heart of the exhibition, the largest gallery space is dedicated to a meticulously engineered 1:4 scale replica of the band’s iconic Wall of Sound. This fully operational installation serves as both a focal point and an engaging visitor attraction, broadcasting live recordings from the Grateful Dead’s storied career. The Wall of Sound stands as a testament to the innovative spirit of its creators, anchoring the exhibition with the renowned audio tradition that defined the band’s performances, and offering an opportunity for visitors to gather, listen, and connect. “Forever Grateful,” states Dennis McNally, exhibition advisor and Grateful Dead historian, “celebrates the spirit, artistry, and cultural influence that made the Grateful Dead not just a band, but a phenomenon.”
The Grateful Dead reflected the spirit of freedom, creativity, and innovation that has long been associated with California, while creating music that resonated far beyond the state's borders. Rooted in Northern California, the band developed a distinctive identity that blended experimentation, community, and reinvention. Echoing the imagery of “Estimated Prophet,” including the evocative line “California, preaching on the burning shore,” their music forged a profound connection with audiences, embedding their legacy in the fabric of California culture while ultimately becoming a defining part of the American musical landscape.
Forever Grateful at its core honors the vibrant Dead Head community, celebrating the fans and artists who helped create a lasting legacy. From the first fan club founded by Bobby Weir’s Palo Alto classmates to the nationwide phenomenon of decorated mail-order ticket envelopes, the show highlights the unique bond between the band and its devoted audience.
“Dead Heads are like people who like licorice. Not everybody likes licorice, but people who like it really like licorice.” – Jerry Garcia
“My family is pleased to know that the Haight Street Art Center will be featuring a Grateful Dead exhibition this summer. What originated here in the 60s and the resulting cultural shift felt across the world will never be forgotten. There’s nowhere like San Francisco and there’s nothing like the Grateful Dead!“ said Trixie Garcia.
“Created by Dead Heads for Dead Heads, Forever Grateful, serves as both a museum exhibition and a gathering space for visitors to enjoy music, art, photography, and artifacts of the band that defies description and its equally indescribable community,” comments HSAC Board Chair, Roger McNamee.
Focusing on the creative vision of renowned artists whose iconic works forged the band’s unique visual identity, Forever Grateful spotlights the creative pioneers of San Francisco’s “Big Five” rock-poster artists, including Wes Wilson, Stanley Mouse, Alton Kelley, Victor Moscoso, and Rick Griffin, whose innovative designs and influences—from Viennese Secessionist posters to surf and car culture—helped shape the aesthetic of an era. Also celebrated for their contributions, with original works from the mid-1960s, are Ruth Garbell and Mari Tepper, as well as 1980s artist Tina Carpenter, who together are rare female voices in what was traditionally a male-dominated poster scene.
Among the instantly recognizable motifs showcased in the exhibition are skeletons and the American flag. These symbols have become hallmarks of Grateful Dead iconography. The skeleton was first introduced in 1966 by Wes Wilson, whose poster featuring a cigar-chomping skeleton—originally created by Jose Guadalupe Posada—set the stage for future artistic interpretations. Twenty years later, Rick Griffin’s anniversary artwork combined these motifs, reinforcing the band’s quintessentially psychedelic Americana aesthetic.
A highlight of the exhibition is the legendary “A Skeleton Amid Roses” illustration. Artists Alton Kelley and Stanley Mouse discovered Edmund Joseph Sullivan’s drawing in a 1913 edition of 12th-century Persian poet and mathematician, Omar Khayyam’s quatrains, using it for the band’s September 1966 Avalon Ballroom shows, and later as the cover art for the 1971 album “Skull and Roses.” Sullivan’s original circa 1900 drawing, along with poster copies and acetates for the artwork’s vivid layers, will be on display during the second of three gallery rotations. *Due to the fragility of the artworks and instruments on display in the Center’s Epicenter gallery, works will rotate throughout the run of the show.
Can You Pass the Acid Test? Instrumental in establishing the band within California's cultural landscape and emerging counterculture was the Grateful Dead’s early psychedelic experiences, particularly through their participation as the house band for the renowned Acid Tests. “These experiences had a profound impact on the band,” states McNally, “shifting their approach from traditional performance to one where the entire audience participated in the event, effectively making everyone present part of the collective experience. This participatory paradigm became foundational for the band's ethos over the subsequent thirty years.”
The Acid Tests were first held in the Bay Area in late 1965, before spreading to Los Angeles and Portland, Oregon in 1966. These events, during which time marked the official adoption of the name 'The Grateful Dead' by the band, were organized by Ken Kesey—author of One Flew Over the Cuckoo’s Nest—and the Merry Pranksters, including notable individuals such as Neal Cassady (fictionalized in Jack Kerouac’s On The Road) and Owsley “Bear” Stanley, known for his role in manufacturing and supplying LSD. Later, Owsley would play a pivotal role in advancing the band's audio technology, ultimately culminating in the development of the Wall of Sound.
Forever Grateful goes beyond visual art to showcase the Grateful Dead’s legendary sound innovations, highlighted by a working 1:4 scale model of the band’s iconic Wall of Sound. Inspired by guitarist Jerry Garcia’s early passion for high-fidelity audio, the original Wall of Sound was a groundbreaking audio system featuring 600 speakers and nearly 50 McIntosh amplifiers. So massive was the 75-ton behemoth, that it required four semi-trailers and a dedicated crew for transport and set up.
“The thing that really set the Grateful Dead apart from everyone else was its sound, states curator Ben Marks. “It wasn’t merely a technical achievement—the lack of distortion in the band’s live sound allowed you to fully experience the music.”
Among Owsley “Bear” Stanley’s strongest attributes was a fanatical devotion to excellence, which applied not only to his chemical creations for the famed Acid Tests, but also to sound. In a study for the painting that would become the album cover for Live/Dead, the first live multi-track recording ever made, artist Bob Thomas painted the letters “RIBS” on the side of the rising figure’s coffin, alas, a detail that would not make it into the final art. The meaning of the abbreviation, “Rest In Bear’s Sound,” however has endured over time, as anyone who has enjoyed a live Grateful Dead show, or even a live Grateful Dead recording, has experienced.
The exhibit’s fully functional Wall of Sound replica—designed and built by Anthony Coscia of Coscia Guitars—boasts 500 speakers powered by 9,000 watts, recreating the concert experience that defined the Dead’s live shows. Exhibition visitors can “Rest In Bear’s Sound” as multi-track recordings play through the Wall, honoring the Grateful Dead’s live audio legacy and the pioneering spirit of its innovative creators. Visually evoking Bill Graham’s famed Winterland stage designs, the Wall of Sound is flanked by paintings inspired by the iconic banners that once hung behind the stage, including Alton Kelley and Stanley Mouse’s crowned skull from the Grateful Dead’s 1966 Avalon Ballroom poster.
Photo Captions:
Edmund Joseph Sullivan, A Skeleton Amid Roses, 1903, Ink with Pencil Underlay on Illustration Board; Courtesy of Private Collection.Paul Foster, Fillmore Auditorium Acid Test, 1966, Offset Lithograph, colored by Owsley Stanley; Courtesy of Private Collection.
Haight Street Art Center announces Forever Grateful, a two-part exhibition series honoring the enduring legacy of the Grateful Dead — and marking the organization's 10th anniversary.
The first exhibition, Forever Grateful, opens July 3, 2026, at Haight Street Art Center. Spanning both floors of the Center, the collection-driven exhibition brings together more than 400 works — paintings, original lithographs, pen and ink drawings, photographs, vinyl records, instruments, and rare ephemera — chronicling the band's journey from 1965 to 1995. It is among the most comprehensive presentations of Grateful Dead visual culture ever assemble.
The second exhibition, Forever Grateful, Golden Gate Park, opens September 5, 2026. As part of the second Forever Grateful exhibition, Third Rail Projects, the award-winning New York immersive performance company, will create moments of experiential performance that animate parts of the exhibition. Together with a team of local artists, Third Rail Projects adds psychedelic and performance-driven experiences to the exhibition, during which visitors will encounter performers at various points throughout their journey, from dance parades to intimate exchanges. Anchored by Ken Kesey and the Merry Pranksters' legendary Furthur bus and Jerry Garcia's BMW, the exhibition encourages opportunities to share, reflect, and enjoy the kaleidoscopic, transformative energy of the Deadhead community.
Together, the exhibitions offer the Bay Area — and visitors from around the world — two distinct and complementary ways of experiencing the music, the art, and the community the Grateful Dead made possible.
Forever Grateful is on view at Haight Street Art Center beginning July 3, 2026. Forever Grateful, Golden Gate Park runs September 5 – October 25, 2026, at Hall of Flowers, Golden Gate Park, San Francisco.
Friday, June 19, 2026
Kasper Contemporary Gallery 908Summer Benefit June 5-September 5 2026
This one looks like fun. Stop in if your travel to the Hampton's this summer!!!!
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