Showing posts with label artfunfall. Show all posts
Showing posts with label artfunfall. Show all posts

Friday, July 10, 2026

Oklahoma Contemporary Arts Center is having their fundraiser~Lux Affair: Psychedelic Elegance~ Thursday, September 24-7-10 p.m.

Oklahoma Contemporary Arts Center  is having their fundraiser~Lux Affair: Psychedelic Elegance~ Thursday, September 24-7-10 p.m. Looks like fun if your in the area. I wonder if any one was alive in the beginning of the Age of Aquarius living as a hippie Fine Art Magazine Blog wishes all the most fun ever. 

Disco ball, wide shot of party, and people posing in front of balloons

Luxe Affair: Psychedelic Elegance

Thursday, Sep. 24 | 7–10 p.m.


Join us for Luxe Affair: Psychedelic Elegance, Oklahoma Contemporary's stylish biennial fundraising celebration and one of the most anticipated evenings on the city's cultural calendar.

Inspired by the boundless imagination and creative legacy of Wayne Coyne, founder and frontman of The Flaming Lips, this spectacular after-dark event celebrates the forthcoming exhibition Happily One Freak: A Wayne Coyne Retrospective and transforms Oklahoma Contemporary into a vibrant world of art, fashion, music, and self-expression.

Luxe Affair logo

Guests will enjoy an unforgettable evening of bold fashion, immersive art, inspired cuisine, handcrafted cocktails, live entertainment, and unexpected experiences. The atmosphere is electric, and the experience is designed to reflect the creativity, individuality, and adventurous spirit that define both Wayne Coyne's artistic universe and the arts community we serve.

Creativity Is the Dress Code.

Throughout the evening, guests will encounter immersive installations, live performances, interactive experiences, and opportunities to connect with fellow arts supporters, creatives, and community leaders. Blurring the line between celebration and performance art, Luxe Affair invites guests to embrace curiosity, creativity, and the joy of the unexpected.

Proceeds from Luxe Affair ticket purchases and sponsorships support Oklahoma Contemporary's free admission and educational programs, helping ensure the arts center can continue to provide innovative exhibitions, impactful community programming, and accessible arts experiences for audiences throughout Oklahoma.

Sponsorship opportunities are now available! Sponsorship packages include a variety of exclusive benefits, including an invitation to an intimate in-gallery dining experience surrounded by Happily One Freak: A Wayne Coyne Retrospective in April 2027.

Header images: Photo by Stephanie Montelongo | Photo by Madi Rae Jones | Photo by Stephanie Montelongo


Oklahoma Contemporary logo (the words stacked and spelled out with vertical lines between each letter)

Learn more: okcontemp.org

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Oklahoma Contemporary Arts Center | 11 NW 11th St. | Oklahoma City, OK 73103

Opening Night Hamptons Fine At Fair, pics featuring: Impiglia Giancarlo and Olivia Janna Généraux. Have a happy art day!!!

In visiting the Hamptons Fine Art Fair  July 9 opening the presentation was collectively clean and neat. Art of all schools , styles were  displayed. I loved seeing Giancarlo, Nina  Impliga pictured below. Bravo Giancarlo on your induction into Hamptons Art Fair  Hall of fame. In meeting the artist Olivia Janna Genereaux,  the original east and NY abstract Expressions artistic  spirit was demonstrated in her work.   

So the Hampton Fine Art Fair Welcome (s all)  To Art Country

Hamptons Art Fair states: The art world comes to the Hamptons – Acquire What You Love

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.

Jamie Forbes, Fine Art Magazine Blog, Sunstormfineartmagazine.com 



Giancarlo, and Nina, Impiglia at the Counter Pont Contemporary booth opening night. 

Olivia  Janna Generaux, opening night  at here booth Janna's Gate Gallery

Content and images© rights reserved Jamie Forbes/ SunStormartPub. Co Inc. 2026
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#artfunfall#artfuncelebrate#artfunnow








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

Monday, July 6, 2026

THe photographer Bill Cunningham's exhibit~We all Dress for Bill~ will open in Winter 2027 at The New York Historical!

The photographic archives acquired by the New York Historical documents the  long standing career of Bill Cunningham's  curated  as images, by guest curator, Raul Martinez, Global Creative Director of Vogue and Anna Wintour, Conde Nast's Chief content officer  influence in fashion, and social ents captures life in New York City.  If you Love Fashion, and Photography this is a must see exhibition next winter. 



 

170 Central Park West
at Richard Gilder Way
New York, NY 10024

 
 

The New York Historical Exhibition of Bill Cunningham’s Newly Acquired Archive to Open in Winter 2027

“We All Dress for Bill” to be Guest Curated by Vogue’s Raul Martinez, with Advisory Support from Alex Gonzalez and Anna Wintour

The New York Historical, New York’s first museum, has today announced “We All Dress for Bill”—the new exhibition celebrating famed photographer Bill Cunningham’s decades-long career—will open in the winter of 2027. On view in the Klingenstein Family Gallery, the signature exhibition space in The Historical’s new Tang Wing for American Democracy, the exhibition will feature Cunningham’s photographs capturing street fashion, fashion shows, and parties across New York City. Raul Martinez, Global Creative Director of Vogue, will guest curate, and Anna Wintour, Condé Nast's Chief Content Officer, will support the exhibition in an advisory capacity, along with creative director Alex Gonzalez. The title of the exhibition, “We All Dress for Bill,” is inspired by Ms. Wintour’s famous comment.

Cunningham was a frequent photographer and visitor at The Historical, and the Museum hosted his 85th birthday party accompanying an exhibition of his photography—after which he left on his bicycle to photograph that evening’s events around town. The Historical acquired his extensive archive in 2025.

“While modestly traveling New York by day and night on his bicycle, Bill Cunningham’s contributions were legendary,” says Dr. Louise Mirrer, President and CEO of The New York Historical. “He documented the fashion moments of our times, he shined a light on the celebrations of New York’s cultural institutions, and along the way he built an archive of stunning photographs. And there’s no more important and appropriate partner for this exhibition than Raul and Anna. We’re also grateful to New York Historical Trustee Sally Klingenstein Martell for her generous support of the archive.”

“Photography, fashion, and New York are my greatest passions, so the opportunity to curate this one-of-a-kind collection is a great gift,” said Mr. Martinez. “During our first conversations about the exhibition, my colleague Anna Wintour shared, ‘Well, we always used to say ‘we all dress for Bill,’ so that’s the most natural title for the exhibition.’ I heartily agree.” Martinez has been the global creative director of Vogue since 2024, and his work with photography was honored with a National Magazine Award. 

The exhibition will be co-curated by Martinez and The New York Historical’s Valerie Paley, Senior Vice President and Sue Ann Weinberg Director of the Patricia D. Klingenstein Library.

Known for riding around the streets of New York City on his bicycle wearing his iconic blue French worker’s jacket, Bill Cunningham was one of the most influential style authorities and trend-spotters of the 20th century. Often covering multiple fashion shows and high-profile gatherings in the course of one day, Cunningham was equally renowned for his work capturing fashionable New Yorkers in his candid street photography. 

Born in 1929 and raised in Boston, Cunningham moved to New York in 1948, initially working in advertising before turning his attention to millinery and making hats under the name “William J.” After serving in the US Army, he returned to New York and began a career in journalism, writing for the Chicago Tribune and Women’s Wear Daily, while also taking photographs of fashion on the streets of New York. The New York Times first published a group of his impromptu pictures in December 1978, which soon became a regular series and continued for the rest of his career. Cunningham passed away in 2016. 

The Sally Klingenstein Martell "Bill Cunningham Archive" at The New York Historical consists of approximately 600 linear feet of items, the majority of which are photographs spanning from the late 1960s to the 2010s. The subjects range from on-the-street fashion, parties, weddings, benefits, and galas, including three decades of the Met Gala. Additionally, the archive documents his millinery efforts, through receipts, textile swatches, scrapbooks, and news clips and includes notebooks from his visits to Paris in the 1960s.

The New York Historical’s collection includes the bicycle that Cunningham rode; his camera; his signature blue jacket; and scrapbooks from his millinery line. The collection also includes selections from Facades, Cunninghan’s eight-year photographic project documenting New York City’s architectural and fashion history, featuring portraits mainly of fellow photographer Editta Sherman, dressed in period costume and posed in front of buildings from the same era. In 2014, The New York Historical hosted an exhibition showcasing photographs from Facades. 

Support
Lead support for The Sally Klingenstein Martell “Bill Cunningham Archive” is provided by Sally Klingenstein Martell. Major support is provided by Helen Appel, Lois Chiles, Maureen and Richard Chilton, Jr., the Weill Family Foundation and Joan & Sanford I. Weill, Audrey and Martin Gruss, Fiona and Eric Rudin, and Alice L. Walton Foundation. Important support is provided by Judy Francis Zankel and Norman S. Benzaquen, the Joyce and Daniel Cowin Foundation, Jamee and Peter Gregory, Agnes Gund, Marlene Hess and James D. Zirin, Judy and Leonard Lauder, Alexandra Lebenthal and Jay Diamond, Linda Lindenbaum, E. John Rosenwald, Jr., Deborah and Charles Royce, Ophelia and William Rudin, Katherine Farley and Jerry Speyer, Lizzie and Jonathan Tisch, Laurie M. Tisch, Alice and Thomas Tisch, Barbara Tober, Lulu C. Wang, the John L. and Sue Ann Weinberg Foundation, and Ann Ziff.

Exhibitions at The New York Historical are made possible by the Saunders Trust for American History, the Evelyn & Seymour Neuman Fund, the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. WNET is the media sponsor.

About The New York Historical
New York’s first museum, The New York Historical is a leading cultural institution covering over 400 years of American history. Our offerings span groundbreaking exhibitions; peerless collections of art, documents, and artifacts; acclaimed educational programs for teachers and students nationwide; and thought-provoking conversations among leading scholars, journalists, and thinkers about the past, present, and future of the American experiment. The New York Historical is a museum of museums and a collection of collections. We are home to the Patricia D. Klingenstein Library, the Center for Women’s History, the DiMenna Children’s History Museum, and the future American LGBTQ+ Museum. We elevate the perspectives and scholarship that define the United States’ democratic heritage and challenge us all to shape our ongoing history for the better. Connect with us at nyhistory.org or at @nyhistory on Facebook, Twitter, Instagram, TikTok, YouTube, and Tumblr.

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Wednesday, July 1, 2026

Up Comig Phillips London Austin July 16, 2026 below preveiw




 
 
PHILLIPS ANNOUNCES HIGHLIGHTS FROM THE JULY 
MODERN & CONTEMPORARY ART SALE IN NEW YORK 
 
Auction on 16 July Set to Feature a Cross-Century Selection Spanning 
Impressionism, Early Modernism, Post-War Abstraction,  and Contemporary Practice 
 
Werner Bronkhorst Kicks Off His Auction Debut with From Every Corner, Channeling the Global Fever of the World Cup 
 
  
Werner Bronkhorst Isa Genzken 
From Every Corner, 2026 Basic Research, 1989 Estimate: $100,000–150,000 Estimate: $80,000–120,000 
 
NEW YORK – 29 JUNE 2026 – Phillips is pleased to announce highlights from the Modern & Contemporary Art Sale taking place on 16 July in New York. Spanning late 19th-century painting through early modernism, Post-War abstraction, and contemporary practice, the sale presents a wide-ranging survey of more than a century of artistic production. The exhibition will be on view at Phillips New York from 9–15 July, offering collectors and audiences the opportunity to engage with a thoughtfully curated selection of works across periods, geographies, and artistic movements. 
 
Leading the sale is Werner Bronkhorst’s From Every Corner (2026), marking the artist’s debut at a major international auction house. Emblematic of Bronkhurst’s signature style, the monumental composition features 48 football players in motion across a vivid green ground — a work whose sale is made all the timelier against the backdrop of enthusiasm across the globe for the ongoing World Cup. Ahead of its sale in New York, From Every Corner will be previewed in Los Angeles beginning 9 July at 8175 Melrose Avenue as part of Werner Bronkhurst’s exhibition Big Balls, before it goes on view at Phillips’ Los Angeles galleries ahead of the sale in New York.  

  
Pierre Eugène Montézin 
La Fenaison en Normandie 
Estimate: $30,000–50,000 
 
 


Additional highlights from the sale reflect the breadth of the category, from European landscape painting to early 20th-century figuration. Pierre Eugène Montézin’s La Fenaison en Normandie captures the enduring appeal of the pastoral through a luminous treatment of rural life, while Alice Neel’s early The Lost Phoebe, executed circa 1930, offers a rare glimpse into the formative years of the celebrated American 
The Peaceful Livingroom (2014) transforms a quiet interior complete with a housecat into a meditation on color and domestic intimacy. 
 
Contemporary highlights further underscore the range of the sale. Carol Bove’s 2012 
YES! THIS DAMN UNIVERSE! coincides with her major survey exhibition Carol Bove,  currently on view at the Solomon R. Guggenheim Museum, New York, through 2 August Carol Bove 
YES! THIS DAMN 2026, where her work engages questions of perception, scale, and spatial relationships. UNIVERSE!, 2012 Rashid Johnson’s  2012 Nukeout exemplifies his materially driven practice.  Estimate: $20,000 - 30,000 

Rashid Johnson’s  2012 Nukeout

Alice Neel The Lost Phoebe, circa 1930 Estimate: $40,000–60,000

painter. Post-War and late 20th-century practices are represented through diverse approaches to abstraction and figuration. Sir Frank Bowling’s Bumble Bee exemplifies his layered, color-driven surfaces, while Isa Genzken’s Basic Research (1989) transforms the textures of her studio floor into a richly worked abstract surface, recording traces of her immediate environment through a process of imprint and gesture. Chris Ofili’s Triangle – Fall (2017) belongs to the artist’s richly worked “triangle” series, while March Avery’s 

Rashid Johnson 
Nukeout, 2012 
Estimate: $70,000–100,000 
 

    
Sir Frank Bowling, R.A. Chris Ofili 
Bumble Bee, 2003 Triangle – Fall, 2017 
Estimate: $20,000–30,000 Estimate: $60,000–80,000 Alice Neel 
The Lost Phoebe, circa 1930 
Estimate: $40,000–60,000 
March Avery 
The Peaceful Livingroom, 2014 
Estimate: $20,000–30,000 
 

 
 
  
 
 As Phillips marks its 230th anniversary in 2026, the house celebrates more than two centuries at the forefront of the  global market for Modern & Contemporary Art, Design, and Luxury. Founded in 1796 by the charismatic auctioneer 
 
 Harry Phillips, the company has, since its earliest days, offered a distinct and forward-looking approach to sales and  collecting. Over the centuries, Phillips has delivered record-breaking results and landmark offerings, while also  pioneering new modes of collecting via the likes of Dropshop. Through its partnership with Bacs & Russo, Phillips  continues to lead the industry in watches, setting new benchmarks for excellence, innovation, and connoisseurship.  Today, Phillips remains true to the entrepreneurial spirit of its founder while redefining the role of a 21st century  auction house.
 
Auction: 16 July 2026 
Auction viewing: 9–15 July  
Location: 432 Park Avenue New York, NY 10022  
Click here for more information: https://www.phillips.com/auction/NY010926  
 
ABOUT PHILLIPS 
Phillips: where the world’s curious and bold connect with the art, design, and luxury that inspires them. As a leading global platform for buying and selling 20th and 21st century works, Phillips offers dedicated expertise in the areas of 
Modern and Contemporary Art, Design, Photographs, Editions, Watches, and Jewels. Auctions and exhibitions are     
primarily held in New York, London, Geneva, and Hong Kong, with representative offices based throughout Europe, the United States, and Asia. Phillips offers a regular selection of live and online auctions, along with items available for immediate purchase. Phillips also offers a range of services and advice on all aspects of collecting, including private sales and assistance with appraisals, valuations, and financial planning. Visit phillips.com for further information. 
*Estimates do not include buyer’s premium; prices achieved include the hammer price plus buyer’s premium.   
 
PHILLIPS NEW YORK – 432 Park Avenue, New York, NY 10022 
PHILLIPS LONDON – 30 Berkeley Square, London, W1J 6EX 
PHILLIPS HONG KONG – G/F, WKCDA Tower, West Kowloon Cultural District, No. 8 Austin Road, West Kowloon 
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Ray Grasse is a rennasiance artist. ~The Deep Sea~ a musical composition inspired by Debussy is belwo.

 Ray Grasse is a noted astrologer, photography, musician, and writer on metaphysical topics. I admire his body of work, and artist process. Check out Ray's websites, and posts. See the ~Deep Sea ~below. Jamie Forbes

THE DEEP SEA 

Though I grew up mainly on the rock and roll music of the 60s, my mother introduced me to a different kind of music when she played Debussy’s “Clair de Lune” on the piano, and later on, played a recording of his orchestral composition “La Mer” (the Sea) on the family record player.

There was something about Debussy’s work that affected me profoundly. I became obsessed with his compositions, and struggled to express similar feelings of my own on the piano, which I had some lessons in years earlier. I had also been deeply impacted by the soundtracks composed by Bernard Hermann for films like “Journey to the Center of the Earth” and “Jason and the Argonauts, and those influences couldn’t help but find their way into my efforts, too.

Me at 18 playing the family piano, my father reading the paper behind.

And so was in freshman year during college that I began work on a piece I’d later title “The Deep Sea.” Things progressed slowly, and it took a full four years to complete. Not having an actual orchestra at my disposal, I used the four track recorder I bought from a college classmate to overdub layers of background voices to simulate the effects of string sections.

But it would be over 30 years before I’d actually get into a formal studio to do a fully fleshed-out recording of the piece, at my friend Bill Kavanagh’s studio in Oak Park, Illinois. With the new synthesized sounds available nowadays I was able to create more of an orchestral effect, and finally finished it in 2006.

An important twist in the story happened when I sent a copy of the recording to my old friend Rebecca Romanoff, who had married my old teacher Goswami Kriyananda (of Chicago) and moved to the south of France — not far from my ancestral stomping grounds in Grasse, France, fittingly enough. Rebecca had been playing with the visual possibilities of computer graphics, and in 2012 surprised me with a beautifully executed video to accompany my composition. 

Sadly, she passed on from cancer not long after, but left us with this beautiful work. I hope you enjoy it. —R.G. 


Ray Grasse is a writer, astrologer, and photographer living in the American Midwest. He is author of ten books, and a CD of his music is available on Amazon, titled The Sea Withinhttps://www.amazon.com/Sea-Within-Ray-Grasse/dp/B00PK1WZPW/

www.raygrassephotography.com

https://www.raygrasse.com/

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