The Lisa Sette Gallery presents~ The World Is Too Much For Us~after Wordsworth's 1802 poetic sentiments a group exhibition Oct. 17th - 30th of Dec. 2026 examines parallel changes in our culture now.

 

This  interesting presentation between poetic sentiment and cultural commentary as a parallel to to the past and the changes we are currenting experiencing is worth viewing on line or in person. . 

Marie Navarre opening, 2026 archival digital print, Rives BFK, cut film positives, 24" x 62 3/16"

The World Is Too Much With Us

Group Exhibition

Exhibition Dates: October 17 – December 30, 2026 Opening Reception with artists: Saturday, October 17, 2026 1:00 - 3:00pm The world is too much with us; late and soon, Getting and spending, we lay waste our powers… In the early years of the Industrial Revolution, Wordsworth’s 1802 sonnet laments humanity’s sudden turn toward novel technologies and meaningless commerce, a shift of human attention away from the unknowable systems and fierce beauty of the natural world. As a contemporary response, The World Is Too Much With Us at Lisa Sette Gallery features new works by Binh Danh, Ala Ebtekar, Timothy Horn, Alan Bur Johnson, Mayme Kratz, David Kroll, Carrie Marill, Marie Navarre, Beverly Penn, and others; whose works examine the parallel changes taking place in our own era. Lisa Sette Gallery’s timely and stunning collection of contemporary nature-inspired works recalls Wordsworth’s message that it is to our benefit to remain intimately connected to the primordial forces that shaped us, the “Sea that bares her bosom to the moon/The winds that will be howling at all hours.” Centuries removed, the sonnet’s message remains urgent and clarifying, and the artists of The World Is Too Much With Us express it through a variety of conceptual and material modes. Moon, sea, and winds are present in the atmospheric canvases of Ala Ebtekar, composed of cyanotype prints that Ebtekar exposes via the sun or moon, in seasonal or poetic cadences, paired with traditional Persian patterning depicting the sky and clouds. Inspired in part by the works of 11th-century Islamic philosopher Suhrawardi, who examined humanity’s relationship to light, Ebtekar’s works are made possible through the cosmic position of the earth. Humanity’s abiding need for illumination is revealed as a conduit to deep planetary time. Many of the artists of The World is Too Much With Us consider the connection between biological life and human aesthetic intent–the ways we are affected by and look toward natural systems even in the process of constructing our human-ordered objects. Beverly Penn, a creator of startling and voluminous cast bronze arrangements of found botanical specimens, states that she “imagines and depicts aspects of Nature that we actually cannot see, like root systems and fungal networks, as a way of calling attention to the magic and mystery of the unseen and yet most important systems that keep our planet alive.” The exquisite beauty of plant geometries, and their aching fragility under the stressors of human impacts, is also the subject of Timothy Horn’s coral-inspired assemblies of metal and pearl, while ironsmith and sculptor Kim Cridler focuses on the vessel as a timeless form that holds the human need for both functionality and ornamentation. A juxtaposition between the universal truths of nature and the contemporary attention economy is also present in the exhibit’s works: Alan Bur Johnson, whose delicate constructions of framed photographic transparencies both depict and present the images of insect swarms and wings, remarks, “I could stare into my computer screen all day, every day, strategizing my path to success and greater popularity. I might even make more money if I did. But, all that would be reflected in my eyes would be me staring at myself in the screen. In contrast, I view the circular images in my work as the reflections of nature in my eyes.” In diverse mediums, the still-life painter David Kroll, photographer Marie Navarre, and sculptor Mayme Kratz each consider the information that we receive from nature as mediated through limited human concepts of time, sentience, and storytelling. The duality between our perception of the natural world and the timeless workings of natural systems, as in Kratz’s resin-encased found objects; the strangely elastic moments of memory and the passage of time, in Navarre’s contemplative photo collages; and David Kroll’s delicate realism depicting otherworldly narratives in which human aesthetic impulse is mediated through the existence of the wild and mysterious biological designs of nature. Such examples of human nature in dialogue with the sublime and unknowable natural world are given poignant consideration in The World Is Too Much With Us. The exhibit’s work presents abundant evidence that even in times of miraculous technology, humans will always exist in a state of unbreakable connection to the earthly systems that birthed us. The World is Too Much With Us will open to the public with a reception with artists on October 17, and will be on exhibit until December 30, 2026.

Top: Carrie Marill Garden of Depths, 2026 Acrylic and gold leaf on linen 48" x 108", three panels at 48" x 36" each Bottom: Alan Bur Johnson Nucleus, 2026 238 framed images 53.5” x 114.5” x 2”

To request high resolution images, please contact us at (480) 990-7342 or email us at sette@lisasettegallery.com For over 40 years, Lisa Sette has remained committed to discovering and exposing original, intriguing forms of expression. Lisa Sette Gallery exhibits painting, sculpture, photography, video, installation, and performance pieces from an impressive roster of emerging and established artists, as well as maintaining a clientele of local and international collectors devoted to its founder’s adventurous curatorial vision.

LISA SETTE GALLERY 210 East Catalina Drive Phoenix, Arizona 85012 480 990 7342 GALLERY HOURS Tuesday - Friday 10am - 4pm Saturday 11am - 4pm (Closed Sundays and Mondays) #lisasettegallery#sunstormfineartmagazine.com#fineartmagazineblog.blogspot.com #artfunchange#artfunconcept#artfunphoenix#artfunnew,

Cooper Cole Gallery features Kate Newby's site specific installation of ~anything anything~ Museum Brandhorst through May,2027

Ms. Newby's work as  dialogues "change" as a concept of season effects seen in her bricks  installed within the trafficked landscape around the Museum Brandhorst photographed over time. .

Kate Newby anything, anything  Museum Brandhorst Munich, Germany Until May 30, 2027   Request available artworks by Kate Newby   For all other inquiries please contact the gallery: info@coopercolegallery.com +1.416.531.8000     Kate Newby's site-specific work understands the transit zone in front of the Museum Brandhorst as a place of permanent change. Like a sculptural drawing in the landscape, her intervention anything, anything resists the monumental and the closed, and conceives of public space as a place of interwoven histories, times, and contradictions. Approximately 1,000 bricks are arranged in two lines, each over 80 meters long, in the green strip between the museum building and the sidewalk of Türkenstraße. Opened in the context of the exhibition Carrying the intervention can be experienced in the public space for twelve months, thus encompassing a full annual cycle.   Before firing, Newby worked the bricks: she translated traces she observed in the urban environment into the clay through drawings, indentations, and patterns – sometimes incorporating shards of glass that are inextricably fused with the material. Like small pieces of landscape, they now collect rainwater, dirt, and objects carried by the wind – artifacts that document transience and the social fabric of the place.   The intervention, created in 2024 for the Berlin monastery ruins, finds a new form in Munich. Approaching Walter De Maria's sculpture Large Red Sphere (2002/10) in the "Türkentor" (Turkish Gate), it resists the monumental and enclosed. Embedded in the ground along "Türkenstraße" (Turkish Street), the work evokes canal channels and alludes to the never-realized waterway project of the "Türkengraben" (Turkish Ditch), which gave the street its name.   To learn more, please visit the Museum Brandhorst website.     Kate Newby (b. 1979, Auckland, Aotearoa New Zealand) creates site-responsive works that are inserted directly into exhibition spaces and surrounding areas. Newby creates handmade, crudely constructed sculptural interventions that simultaneously connect and contrast their environments. Drawing out both the physical and poetic qualities of materials (usually materials such as concrete, textiles, glass, and ceramics), her work explores whether situational context can be just as informative as materiality and content. Underpinning Newby’s process is a performative ethos: she investigates the way material interventions made in response to a site’s particular temporal, physical, and geographical conditions can be a means of transformation and intervention. Kate Newby received her Doctorate of Fine Art in 2015 from the Elam School of Fine Arts at the University of Auckland. Recent institutional exhibitions include Palais de Tokyo, Paris; Museum of New Zealand, Adam Art Gallery Te Pataka Toi, Wellington; Mori Art Museum, Tokyo; The Institut d’Art Contemporain, Villeurbanne; Kunsthalle Wien, Vienna; 21st Biennale of Sydney; Sculpture Center, New York; Blaffer Art Museum, Houston’ Sharjah Biennial, UAE. In 2012, she won the Walters Prize, New Zealand’s largest contemporary art prize, and in 2019 Newby was awarded a Joan Mitchell Foundation Painters & Sculptors Grant. Kate has undertaken residencies at The Chinati Foundation, Artpace, Fogo Island, and the International Studio & Curatorial Program ISCP. Newby currently lives and works in Wilson County, USA.     Kate Newby anything, anything  Museum Brandhorst Munich, Germany Until May 30, 2027 #museunb#brandhorst#fineartmagazineblog.blogspot.com#sunstormfineartmagazine.com#artfunconcept, #artfunenvironment#artfunnow