Need to plan ahead? Scottsdale Art week is 6 months away. See belo application for becoming a participant at the artfair.

 Hi All, if you are looking for venues to show your work Scottsdale in March should be great . The westher is good and Scottsdale Art Week pulls a crowd. Details below. 

First Look: Six Galleries Joining Scottsdale Art Week 2027

We are only six months away from the third edition of Scottsdale Art Week, presented by Scottsdale Ferrari, set to take place March 18-21, 2027, at WestWorld in Scottsdale. We have so many things happening behind the scenes right now that will make this year’s fair another success across the board. As we look ahead to another exciting edition, we are pleased to announce that booths are filling up quickly with quality blue-chip galleries from around the world. In today’s newsletter, we would like to highlight six galleries participating in Scottsdale Art Week 2027. Together, these galleries represent the range, quality, and international perspective that have become hallmarks of the fair, bringing exceptional works and fresh perspectives to Scottsdale’s growing art community. This first announcement of a select group of exhibitors offers just a glimpse of what collectors and art enthusiasts can expect next March. With galleries joining us from across the country and around the world, the 2027 edition is shaping up to be our most ambitious yet. We look forward to introducing more participating galleries in the coming months and welcoming collectors, museums, designers, and art lovers to Scottsdale for four days of exceptional art, discovery, and conversation. Nikoleta Sekulovic, Elinor Wylie, 2025, 78 3/4 x 106 1/4"

Rebecca Hossack Gallery (London)  We are proud to announce that Rebecca Hossack will be joining Scottsdale Art Week for the first time. We have been chatting with Rebecca when we see her at various fairs around the country, and we are thrilled that she will be coming to Scottsdale to share her vision with collectors at the fair. Rebecca Hossack Gallery is a contemporary art gallery based in Fitzrovia, London, specializing in Aboriginal, Australian, non-Western, and Western art. This year marks the 38th anniversary of the gallery. Over the course of those three decades, the gallery has built an international reputation for innovation, individuality, energy, and excellence.

Brittany Fanning, Start of Summer, 2025, 48 x 72"

Octavia Art Gallery (New Orleans)  Another first-time participant in the fair is New Orleans-based Octavia Gallery. Octavia presents the work of emerging, mid-career, and established artists with diverse cultural backgrounds and a strong focus on abstraction. The gallery represents the estate of first-generation Abstract Expressionist Fritz Bultman, as well as Art Deco sculptor Enrique Alferez. Octavia is owned and operated by women and was founded in 2008 by Pamela Bryan.

APPLY NOW FOR 2027 SCOTTSDALE ART WEEK

Cara Romero, Coyote Appears at Muhadagi Do'ag (Greasy Mountain), 2026 Cara Romero Gallery (Santa Fe) Cara Romero Gallery is located in downtown Santa Fe, New Mexico, and is owned by world-renowned Indigenous photographer Cara Romero. Cara has work currently hanging in the Guggenheim Museum, and her first solo exhibition just closed at the Phoenix Art Museum and is now headed to the Museum of Contemporary Art in Jacksonville, Florida. Cara represents a variety of contemporary Indigenous artists in her gallery, including Diego Romero, Matteo Romero, and Leah Fragua. When Cara participated in SAW last year, it marked the first time an Indigenous woman-owned gallery took a booth at an art fair in America. Ed Mell, Dilkon Downburst, oil on linen, 36 x 20" Medicine Man Gallery (Tucson) Medicine Man Gallery, owned by Mark Sublette, is a force when it comes to historic and contemporary Western and Native American Art. Owner Mark Sublette has also become a force in the social media and pod cast world, as his videos have over one million views and his podcast Art Dealer Dairies, was one of the first to document the Western and Native art worlds. Medicine Man Gallery also sponsors the Best of Show Award each year for the Santa Fe Indian Market. Mark’s talk last year during our fair covering the career of Ed Mell and Maynard Dixon was one of our most attended of the weekend. Ryan Campbell, Untitled, Acrylic and Gold Leaf on Canvas, 48 x 72" Melissa Morgan Fine Art (Palm Springs, Ca) Melissa Morgan Fine Art is a leading destination for contemporary art in the American West, known for its distinctive program, refined eye, and deeply personal approach to collecting. Located on El Paseo in Palm Desert, California, the gallery spans 6,000 square feet alongside a half-acre outdoor sculpture garden. Founded in 2002 by Melissa Morgan, the gallery was built on the belief that art is not only to be seen but also experienced.  Sulette van der Merwe, Threshold, 2026 Blond Contemporary (London) Blond Contemporary is based in London, UK, and specializes in Contemporary Art and Photography. They are also secondary market specialists and a growing primary platform for emerging talent. At the Scottsdale Art Week last year, they wowed visitors with an assortment of digital and original works by David Hockney. Inventory also includes works by Milton Avery, Jean-Michel Basquiat, Peter Blake, Sophia Bounou, Alexander Calder, Eric Fischl and Sam Francis. As you can see, Scottsdale Art Week 2027 presented by Scottsdale Ferrari is already shaping up to be a standout fair, with respected blue chip galleries from around the world coming together to connect with a dynamic and growing community of collectors and art lovers in the Phoenix metropolitan area. We have booths available at all sizes but they are going quickly. Apply now for your gallery to be considered for Scottsdale Art Week 2027.   Join Mailing List

donnat@artweekgroup.com 631-574-7256

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Martos Gallery exhobits Dan Asher ~Eye of the Beholder~ September 18-November 7, 2026

DAN ASHER   IN THE I OF THE BEHOLDER OPENING FRIDAY, SEPTEMBER 18TH, 6-8PM Dan Asher, Untitled, 1982 FOR IMMEDIATE RELEASE Dan Asher In the I of the Beholder Organized by Bob Nickas OPENING RECEPTION, FRIDAY, SEPTEMBER 18TH, 6 - 8PM September 18 – November 7, 2026 Adventurer/ethnographer, whether on the streets of the East Village or far afield—South America, Asia, Antarctica—a painter, photographer, sculptor, an obsessive draftsman, the artist Dan Asher (1947-2010) was a true force of nature. He possessed a restless energy, an elevated intelligence, well-read, well-traveled, always searching. An iconoclast, a mischief-maker, at times insistently impolite, the sort of figure today’s professionalized art world can’t easily accommodate, he slipped in and out of various scenes to which he was magnetically attracted. He could be alternately chaotic and hyper-focused, compulsive and meditative, all these dualities in the balance, and which also describe his art over five decades. He never conformed to anyone else’s idea of what he should do, how he should behave, or followed a predictable path that would have led to an easier career trajectory. His active mind and mercurial personality were too alive for that, while the bumps in the road were, by all accounts, mostly of his own making. True artists are often their own worst enemies, and Dan was both. But true to oneself and one’s art is what counts in the end. And here we are all these years after his too early passing, looking back on what he accomplished, the art, the artist present in all he recorded on a circuitous journey, yet purposeful in its twists and turns. Dan embodies something proposed by Paul Thek, another roguish wanderer who once, in a 1987 painting, would dreamily advise: “While there is time let’s go out and feel everything.” Was all this art done by one person? Some may wonder as they make their way through this show. But then doesn’t Dan Asher exemplify the idea that we are never only one person? Proceeding with the sense that we can, if we’re willing, curious enough and not so easily satisfied, live multiple lives, interacting with and connected to others who may be thought of as unknowing extensions of our inner world, as we are of theirs, spokes on a wheel radiating out from our very limbs, the tips of our fingers. Dan once wrote: “I believe that drawing is the closest link of one’s nervous system to the outside world.” Clearly, he was drawn to energies emanating from many directions, and in simultaneity. With a tremendous sensitivity, it’s tempting to identify him as a receiver, as all compelling artists are, open to whatever came his way and was pursued, often compulsively. He was too intense for some, but then he emerged from an intense time, one that appears increasingly distant to our own, a period inhabited by outsize personalities engaging in willful reinvention, the only recourse to limited options and inertia, or as punk reasoned: “Rip it up and start again.” In mid-’70s New York, in and around the East Village, where Dan lived, it was inevitable that he would react to the undeniable pulse of a new music scene. He picked up a camera and began taking pictures of the Ramones, Debbie Harry of Blondie, Richard Hell, Iggy Pop, and early on, before he became a worldwide star, Bob Marley, who Dan befriended and would go on to visit in Jamaica. The intimate portraits of Marley in this show are simply stunning. The tallest painting here, with a looming, totemic figure, features a Marley quote that Dan surely took to heart: “You’re running, and you’re running, and you’re running, but you can’t run away from yourself.” The psychological aspect of Dan’s art is inescapable. One work on paper, undated although likely from the mid-‘80s, is captioned at the bottom with the word Oubliette. This is from the French oublier, meaning to forget. An oubliette is a prison cell from medieval times, with a trapdoor in its ceiling, the only way in or out. A person imprisoned there was left to be forgotten, a solitary confinement, escape all but impossible. Appropriately, the face Dan painted is nearly erased in swoops of chocolate brown, which some may read as scatological, their visceral physicality worthy of Artaud.    Dan was close to Jean-Michel Basquiat in the ‘80s, and Dan’s now classic oil stick paintings and drawings, particularly the mask-like portraits, can be seen in relation to the raw expressionism of that period in downtown New York. (Basquiat’s experimental no wave group, Gray, would title a song with Dan’s name, an insistent instrumental that captures his frenetic side.) For all the agitation and noise in Dan’s work, some are deeply poignant, soulful, haunting. He created, one after another, subtle line drawings that are quiet, contemplative. What connects them to the expressive oil stick canvases and drawings? Whether broadly gestural or subtle, slowly or rapidly rendered, the line has a life of its own. With the onset of the ‘90s, Dan’s visual language was established in its abandon as well as its reserve. He made delicate pen on paper images, recurring figures mostly in profile, turned to the left, as sensitively felt as the ‘80s paintings pulse with unbridled urgency. While repetition is a hallmark of his work, as you move from one head or profile to another, each will reveal its own distinct personality. No one posed for them; the drawings seem to have posed for themselves. Dan’s more minimal graphite images can be so tenderly rendered you might imagine them lost to a sudden gust of wind from an open window. Those rendered in oil stick are palpably inscribed, whether with a seemingly effortless touch or accrued density. His ink on paper works evidence a lyrical choreography/calligraphy. This is an artist who operated at different registers, with modulated and greater velocity, guided by his wavering temperament. But it’s all Dan, just the same. He’s there, hovering over an un-stretched length of canvas on the floor or fixed on a sheet of paper at his desk—persistently, patiently, impatiently. Later in life, Dan was diagnosed with Aspergers, which for him explained a lot, his difficulties socially, and with himself, and it came as a relief he’s said. What’s important to consider in this respect is his photography, the way he was drawn to observe others with real empathy—people in the street, the elderly, a young boy with an emotional disability. His stunning photos of icebergs in Antarctica, from his travel there in the late ‘90s, appear to us today in a time of climate crisis as images of fragility as well as great beauty. While the iceberg photos seem at odds with those Dan took of amateur wrestlers, we can consider his motivations by way of a directive articulated in the late ‘60s by another highly intelligent obsessive, Lee Lozano, who said: “Seek the extremes.” And yet for all the implied violence in the wrestling photos, and Dan was drawn to poignant moments at these events more often than not, hi’s empathetic response to the world is just as present in them as when he captures an older, forgotten man curled up on a Tokyo street. For an artist who could be confrontational, he confronted his own life through his work, and it could be tender, it could be moving, and beautiful. Was Dan Asher always wrestling with himself? Aren’t we all? —Bob Nickas *The title of this text comes from one of Dan Asher’s many notebooks, a selection of which was co-published by Shoot the Lobster and Rat Star Press as Class Notes, 2018, edited by Ryan Foerster.     “In the I of the Beholder” is written twice on a page of its own, dated 25 May 91, 27th st NYC. This phrasing plays off the well known aphorism, “Beauty lies in the eye of the beholder.” By changing eye to I, Dan asserts his central position, not only his vision but his mind and sense of self, first person, in all he does. Read by anyone else, as inevitably it would be, he makes a place for others to claim their agency. Finally, I am deeply indebted to all the personal reminiscences of Dan’s friends, fellow artists, curators and dealers collected in the book Far From the Madding Crowd: Perspective on the Life and Work of Dan Asher, edited by Brandon Johnson, published zingmagazine, 2015. Martos Gallery · 41 Elizabeth St · New York, NY 10013-4637 · USA #martosgallery#fineartmagazineblog.blogspot.com#sunstormfineartmagazine.com#artfunnyc#artfunnew#artfunnow shootthelobster.com Martos Gallery is open Tuesday – Saturday, 10AM - 6PM shootthelobster.com Martos Gallery is open Tuesday – Saturday, 10AM - 6PM Martos Gallery  41 Elizabeth Street New York, NY 10013 ------ +1 212 560 0670  martosgallery.com shootthelobster.com Martos Gallery is open Tuesday – Saturday, 10AM - 6PM

Oh WOW Thrigh SEptember 28th, 2026, ~Bubbies Take Manhattan: One Space Art Tribeca presents Hunt Slonem's Fantastical World!

If you're in  Manhattan stop by the  One Space open Tribeca ! This should be the most fun for all. 

Slomen's artwork energizes the atmosphere with creativity.  

  

 

 Bunnies Take Manhattan: One Art Space Tribeca Presents Hunt Slonem’s Fantastical World

Hunt Slonem Blue Hutch (2025) Oil on Wood, 20” x 24” (Image Credit: Hunt Slonem)

Through the Looking Glass Puts the Celebrated Artist’s
 Rabbits, Butterflies, Color and Diamond Dust Center Stage

Hunt Slonem’s unmistakable universe of rabbits, butterflies, birds and brilliant color arrives at One Art Space in Tribeca this summer with “Through the Looking Glass,” an exhibition bringing together works that capture the repetition, movement and fascination with nature that have become signatures of the celebrated American neo-expressionist artist.

The exhibition is on view from Friday, August 21^st through Monday, September 28^th, 2026 with an opening reception in early September, at One Art Space. The exhibition, Hunt Slonem’s first New York City exhibition in five years, moves between scale and intimacy, from expansive canvases populated by Slonem’s recurring natural motifs to jewel-like paintings framed almost as treasured objects. At its center is “Pink Ascension” (2021), a monumental 77-by-101-inch oil on canvas in which butterflies drift across a luminous pink field, transforming one of Slonem’s most enduring subjects into an enveloping study of rhythm, repetition and movement.

At the other end of the scale is “Blue Hutch” (2025), a 20-by-24-inch oil on wood depicting a gathering of Slonem’s instantly recognizable rabbits against a vivid blue ground. Presented within an ornate frame, the work captures the playful tension that runs throughout Slonem’s practice: spontaneous brushwork and seemingly simple subjects placed within compositions that feel at once contemporary, decorative and almost devotional.

Hunt Slonem Pink Ascension (2021) Oil on Canvas, 77” x 101” (Image Credit: Hunt Slonem)

Those two works establish the poles of a broader exhibition that ranges across Slonem’s visual vocabulary. Butterflies emerge repeatedly in works including “Red Sea Migration III” (2026), “Silver Ascension Travel Tomorrow” (2022) and “White Ascension (August Moon)” (2026), while his celebrated rabbits multiply across canvases and smaller works such as “Blue Rhapsody Diamond Dust” (2023), “Totem Fluffle” (2026) and “Pink Pair” (2026). The presentation also extends beyond painting to include Slonem’s sculptural work, reflecting the breadth of a practice in which familiar forms are continually revisited through changes in scale, material, color and surface.

Curator and Co-Owner of One Art Space, MaryAnn Giella McCulloh commented on the new exhibition, “There is something almost jewel-like about Hunt Slonem’s artistry - the color, texture, and repetition, from his bunnies to his butterflies and beyond, draw you in. Beneath that beauty lies a deeper visual language, where nature, imagination, color, and mystery become one. Through the Looking Glass is an invitation into his extraordinary world”

The repetition is fundamental to Slonem’s work. Inspired by nature and by the exotic birds with which he surrounds himself, the artist has spent decades returning to rabbits, butterflies and tropical birds, creating an immediately identifiable visual language characterized by textural brushwork, saturated color and repeated forms. Slonem has described his fascination with the patterns found throughout nature, from feathers and leaves to blades of grass as central to that approach.

Artist, Hunt Slonem said of new exhibition Through the Looking Glass, “A dream of what I see through the looking glass, where my creatures go, where we cannot see them, following their wonder — wonderland and inspiration, the source of all my creativity. A joyous venture. ”

Hunt Slonem Fiona Ireland (2025) Oil on Wood 10” x 8” 
(Framed Height: 16.5” x 14.5”) (Image Credit: Hunt Slonem)

Hunt Slonem Rafflesia (2023) Glass 10.5” x 6” x 5” (Image Credit: Hunt Slonem)

“Through the Looking Glass” by Hunt Slonem is curated by MaryAnn Giella McCulloh and presented at One Art Space, 23 Warren Street in Tribeca. The exhibition is on view from Friday, August 21^st through Monday, September 28^th, 2026.

Photo credits: Hunt Slonem, One Art Space

About Hunt Slonem:
Hunt Slonem is an American neo-expressionist artist recognized for his paintings of rabbits, butterflies and tropical birds, as well as sculpture and his restoration of historic properties. Inspired by nature and the exotic birds with which he lives and works, Slonem has developed a distinctive visual language built around repetition, vivid color and expressive brushwork. His work is represented in the permanent collections of approximately 250 museums worldwide, including The Metropolitan Museum of Art, Solomon R. Guggenheim Museum, Whitney Museum of American Art, Joan Miró Foundation and New Orleans Museum of Art.

For more information, please visit: www.huntslonem.com
IG: @huntslonem

About One Art Space:
One Art Space opened in May 2011 and for more than 16 years has been a cultural destination in the heart of Tribeca, presenting museum‑caliber exhibitions by established and emerging artists from New York and internationally. Led by co‑owners and women gallerists MaryAnn Giella McCulloh and Mei Fung, the gallery blends art and curatorial skill with business expertise. Located at 23 Warren Street in New York City, the gallery occupies a versatile ground‑level space with a glass façade, providing a perfect backdrop for both the artwork and the artist to shine.

 

MaryAnn’s background in creativity stems from her father, Joe Giella, a renowned Batman illustrator hired by Stan Lee, whose artwork was featured on two USPS stamps issued in 2006 as part of the DC Comics Superheroes release (The Green Lantern and The Flash).

 

Recent projects include sold out curated presentation of Shepard Fairey  at the Hamptons Fine Art Fair, as well as exhibitions featuring Al Diaz (SAMO©), Chuck Connelly, Andrew Salgado, and Purvis Young, presented during 150 years of Black History Month.

 

For more than a decade, One Art Space has championed women artists through its annual Women’s History Month exhibitions and major past and recent collaborations with NAWA (National Association of Women Artists).

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Pollock-Krasner House and Study Center weekly online presentations September 8-10 22026, see below registration link

For those who can't get out viewing and learning online at home is a plus. See all details below!

the Virtual art program is coordinated by Joyce Raimondo.   

___________________________________________________________________________ Virtual Art Programs with  Joyce Raimondo, Education Coordinator All virtual programs are free! Tuesday, September 8 , 12:00 - 1:15 pm (EDT) Virtual Art Cafe: The Creative Life Artists of all disciplines are invited to participate in our Zoom Art Cafe. The session begins with a presentation exploring practices that foster a creative life inspired by Pollock, Krasner, and other modern artists. Following, participants are invited to “check-in” — sharing their artistic endeavors, ideas, and questions.   Click here to register ____________________________________________________________________ Tuesday, September 8 , 2:00 - 3:00 pm (EDT) Virtual Tour Joe Zucker: 1,000 Brushstrokes  and presentation with writer Terry R. Myers Join Joyce Raimondo for a virtual walk-through of the exhibition Joe Zucker: 1,000 Brushstrokes on view at the Pollock-Krasner House and Study Center on view through September 12. Joe Zucker is one of the most innovative, and idiosyncratic, figures in contemporary American art. Following the tour, Terry R. Myers presents a selection of Joe Zucker’s work. Myers contributed the essay to the publication for his exhibition at The Parrish Art Museum in 1992, and he initiated the 1000 Brushstrokes exhibition at Maccarone in Los Angeles in 2017. Click here. to register _________________________________________________________________________ Wednesday, September 9 , 12:00 - 1:15 pm (EDT) How to Write an Artist Statement Kelly Olshan, —Artist and Program Officer, New York Foundation for the Arts (NYFA) shares her advise on how to write an artist statement along with Joyce Raimondo. Then attendees will begin writing their artist statements and selected attendees will be invited to share.  (Partially pre-recorded) Click here to register __________________________________________________________________________ Wednesday, September 9 , 2:00 - 3:00 pm (EDT) Double Take Look again! Learn how modern artists Dali, Picasso, and others create ambiguous images that play with our perception and can be seen in multiple ways. Then create a Surrealist collage filled with “double images.” Supplies needed: magazines, scissors, glue, and surface for your artwork, Offered by Rush Library Click here to register with library _____________________________________________________________________ Thursday, September 10 , 11:00 am - 12:00 pm (EDT) War and Peace in Modern Art From Picasso’s Guernica to his Doves of Peace, Joyce Raimondo presents modern artists’ response to war and their visions of peace. Following the presentation, participants are invited to use their creative power to envision peace in a painting or drawing. Offered by Field Library Click here to register with library _________________________________________ Image: Joe Zucker: 1,000 Brushstrokes at Pollock Krasner House and Study Center

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