A fun Group or newly created collected trading cards ~Mere Mortals Cl Hendry Deals In at Phillips!!! Available to view At Phillip,NYC August 28-30, 10AM -6 PM

 For your self or the kids. This is a fun collection of collectable cards for trade by Cj Hendry Phillips. . 

 

 

Mere Mortals: Cj Hendry Deals In at Phillips

 

 

New York, NY (August 28, 2026) — This August, artist Cj Hendry will present Mere Mortals, a playful and nostalgic exhibition at Phillips New York, inspired by the imaginative world of trading cards and childhood toys.

 

The concept began at home, watching her children trade cards with friends, alongside the wonderfully strange toy creations that have long captured her imagination. Bringing her signature sense of humor and whimsy to the idea, Cj has created a cast of unexpected characters made from a mix of familiar forms and mismatched parts — a world of 52 original characters brought to life as collectible trading cards.

 

Complete with claw machines and collectible surprises, the exhibition invites visitors to play, explore, and reconnect with the excitement of childhood in a hands-on, engaging environment.

"Mere Mortals started as this silly, joyful idea watching my kids trade cards with their friends, and it turned into a whole cast of characters I couldn't stop making," said Cj Hendry. "Getting to bring that world into a space like Phillips, and have people actually play with the work instead of just looking at it, is exactly the kind of collaboration I love."

 

"We're thrilled to welcome Cj back to Phillips with Mere Mortals," said Christine Miele, Sales Director, Ecommerce, Phillips. "Our previous collaborations with Cj and her team were met with tremendous enthusiasm — from her Crowns in New York to juju in Hong Kong — and we're delighted to continue building on that excitement together. This project brings a playful, accessible energy into our space at 432 Park Avenue, and gives our audience a new way to engage with Cj's work, both in person and online."

 

Trading cards and merchandise will be available for purchase on-site at Phillips New York from August 28–30 from 10 am to 6 pm. Prints and editions will be released online at cjhendrystudio.com beginning August 30 at 7:00 pm ET. Merchandise will include trading cards featuring 52 original characters, along with t-shirts, caps, pins, stickers, bags and patches.

 

 

About Cj Hendry:

Cj Hendry is an internationally recognized contemporary artist known for her hyperrealistic drawings and large-scale

installations. Through a distinctive practice that combines technical precision with audience-driven experiences, Hendry has developed a global following and established herself as one of the most influential independent artists working today.

 

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.

 

@maximus_communications / info@maximuscommunications.com / www.maximuscommunications.com

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Nicolas Auvray Gallery exhibition of ~Surfacing Forms~ works by artist J. Margulis. September 10-October 18, 2026-

             The works of J. Margulis  below display color, contrast, and texture enhancing  these abstractions                 within an optically 3D visual end image.               

SAVE THE DATE: Thursday, September 10 Dissolutions, 2026. Acrylic sheets, mixed media. 10 panels, 40 x 40 in. each, 200 x 80 in. total   J. Margulis Surfacing Forms Save the Date: September 10 – October 18, 2026 Opening Reception: Thursday, September 10, 6–8pm in presence of the artist 522 W 23rd St, New York, NY 10011 RSVP   Nicolas Auvray Gallery is pleased to present Surfacing Forms, a new exhibition by J. Margulis opening this September. From intimate wall works to immersive multi-panel compositions, it is the most extensive presentation of the artist’s practice to date. Constructed from painted, faceted slats set at precise angles, Margulis’s reliefs contain multiple compositions within a single structure. The works remain static while the image shifts with the viewer, revealing changing arrangements of color and form. Born in Venezuela, Margulis engages the country’s rich history of kinetic and perceptual art, associated with artists such as Carlos Cruz-Diez and Jesús Rafael Soto. Through complex surfaces and an expansive chromatic vocabulary, Surfacing Forms explores perception as fluid, spatial, and dependent on the viewer’s movement. Learn more and RSVP below. Please email info@nicolasauvraygallery.com for a VIP preview or walkthrough of the exhibition.   Learn More Featured Works Untitled, 2026. Acrylic sheets, mixed media, two panels, 36 x 36 in. each Porthole Fragments, 2026. Acrylic sheets, mixed media, four panels, 16 x 16 in. each Porthole Fragments (detail), 2026. Acrylic sheets, mixed media, 16 x 16 x 3 in. About J. Margulis J. Margulis is a visual artist working in kinetic wall relief. Born in Venezuela, Margulis’s practice extends a lineage of Venezuelan kinetic and optical art into a new body of work distinguished by topographic surface complexity and an expanded color language. Surfacing Forms is his most extensive exhibition to date. View this email in your browser Copyright © 2026 Nicolas Auvray Gallery, All rights reserved. #nicolasauvraygallery#fineartmagazineblog.blogspot.com 3sunstormfineartmagazine.com#artfunabstract#artfunnyc#artfunnow

Untitled Art Edit's Collectors Series part four . See details below.

As part of our Edit’s Collection Building series, we explore the personal philosophies, relationships, and experiences that shape how collections take form. In this edition, we speak with Beau Necco, a Miami-based collector and entrepreneur whose approach to collecting is grounded in curiosity, meaningful dialogue, and the connections forged through art with his partner, Heather Martin. From studio visits and travel to longstanding relationships with artists and galleries, Necco reflects on building a collection through trust, discovery, and the enduring experience of living with work that moves him.

Edit

Untitled Art (UA): What does it mean to you to be a collector? Beau Necco (BN): To me, collecting is about the connection. The works I live with remind me as much of conversations, friendships, and experiences as they do of aesthetics. Some of the most meaningful moments have been talking with artists, hearing how they think, and understanding what drives them.

"Seeing work in different contexts and countries — museums, artist studios, regional exhibitions — changes the way you understand it.  Over time, you start noticing threads between artists and movements that help your collection develop naturally.” - BN

Laura Footes, I'll Stay In the Shade, 2025. Image courtesy of Carl Freedman Gallery.  UA: What do you enjoy most about Miami Art Week? BN: The people. It’s always about the people. During Miami Art Week, the entire city transforms into this enormous conversation about culture, design, architecture, music, and art. But for me personally, the best part is always the human side of it — reconnecting with artists, meeting new people, and having those unexpected conversations that only seem to happen during that week. There’s an openness and creative energy that feels really special.

Lola Stong-Brett, When I Didn't Think I'd Feel Again, 2025. Image courtesy of Carl Freedman Gallery.  UA: Do you have a specific philosophy you adhere to with your collecting and any advice you'd give to emerging collectors for how to meaningfully develop their own collections? BN: My advice to emerging collectors is to spend time with artists and galleries before worrying about market conversations. Go to studios, ask questions, read, travel, and trust your eye. You don’t need to buy the biggest name in the room for a collection to have meaning. Often the most rewarding relationships come from supporting artists early and growing alongside them.

“Art has always inspired me — visually, emotionally, and intellectually. Over time, what began as admiration evolved into collecting, but the feeling is still the same.” - BN

UA: What, in your opinion, should the role of art fairs be in this moment? BN: I think art fairs should create access and dialogue. The best fairs aren’t just marketplaces — they’re cultural meeting points. They introduce people to artists they may never have encountered otherwise and create opportunities for real exchange.

UA: Is there an artist or artists that you discovered or acquired at Untitled Art, and do you have any highlights from the fairs in Miami Beach or Houston? BN: Some of my favorite moments last December came while working with Robert Diament from Carl Freedman Gallery at Untitled Art, Miami Beach. I was especially drawn to the work surrounding the Margate artists — Lola Stong-Brett, Laura Footes, and Lindsey Mendick. Their work is now in my home here in Miami. Honestly, the highlight is rarely about the acquisition itself. It’s about meeting the artists, hearing the stories behind the work, and understanding the environments they come from. I was fortunate to meet Lola and Laura, among many others, and the great Tracey Emin when I visited Margate earlier this year. Those conversations stay with me as much as the pieces do.

To explore the collection of past essays from the Untitled Edit, please visit our website.

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Hi the Whitney Museum Exhibition~ The Lost World of Minnie Evans~ Opens August 22, 2026. see details below

 

WHITNEY MUSEUM OF AMERICAN ART PRESENTS THE FIRST MAJOR SOLO MUSEUM EXHIBITION OF MINNIE EVANS IN MORE THAN FIVE DECADES Marking fifty years since the Whitney debuted the artist's first museum solo exhibition, this landmark survey celebrates the visionary work of one of America's most revered self-taught artists. — The Whitney Museum of American Art presents The Lost World: The Art of Minnie Evans, opening August 22, 2026, just over fifty years after the Whitney organized Evans's groundbreaking first solo museum exhibition in 1975. The exhibition reintroduces audiences to one of the most extraordinary and original artistic voices in twentieth-century America.  Minnie Evans began making art in her early forties and spent the following four decades creating radiant drawings, paintings, and collages inspired by dreams, visions, spiritual revelation, mythology, popular culture, and the natural world. Guided by a profound religious faith and a vivid inner life, Evans transformed flowers, birds, angels, and human faces into intricate compositions that blur the boundaries between the earthly and the divine. She described these visionary works as portals into a Biblical Eden she called the "lost world."  Bringing together works created between 1935 and 1981 in Wilmington, North Carolina during the Jim Crow era, the exhibition reveals the artist's remarkable ability to envision harmony and transcendence amid a world of social and racial tensions. Through densely layered imagery, luminous color, and recurring spiritual motifs, Evans created a body of work that remains as relevant and resonant today as when it was first made.  The exhibition arrives at a moment of renewed interest in Evans's work. While her drawings and paintings have appeared in influential exhibitions such as The Milk of Dreams at the 2022 Venice Biennale, Supernatural America: The Paranormal in American Art (2022) at the Minneapolis Institute of Art, and Surrealism and Us: Caribbean and African Diasporic Artists Since 1940 (2024) at the Modern Art Museum of Fort Worth, Evans has not been the subject of a major solo museum presentation since the 1990s. This landmark exhibition offers an unprecedented opportunity to experience the full breadth of her artistic vision and legacy.  “Evans is part of a long tradition of American artists who found sacred meaning in the natural world,” said Barbara Haskell, Curator at the Whitney Museum of American Art. “Her decades of working at the Airlie Gardens gave her a profoundly personal relationship to nature. In filtering her experience of the gardens through dreams and visions that resonated with her inner life, fears, and religious faith, she created images of a lost paradise whose abundance can feel simultaneously ecstatic and claustrophobic.”   "The Whitney’s 1975 exhibition played a transformative role in introducing Evans's work to museum audiences in New York and beyond,” said Kim Conaty, the Nancy and Steve Crown Family Chief Curator at the Whitney. “Fifty years later, we’re thrilled to train our focus once again on this exceptional artist, whose exquisite works offer a powerful lens through which to examine American history, spirituality, creativity, and resilience.”    The Lost World: The Art of Minnie Evans returns the artist to the institution where a historic milestone began and reflects the Whitney's ongoing commitment to expanding the story of American art by highlighting artists whose contributions have historically been overlooked. The exhibition showcases an extraordinary range of creative expression, foregrounding the achievements of a Black woman artist working independently in the American South during much of the twentieth century.   The Lost World: The Art of Minnie Evans is organized by the High Museum of Art, Atlanta, and curated by Katherine Jentleson, the High Museum’s Senior Curator of American Art and Merrie and Dan Boone Curator of Folk and Self-Taught Art. The presentation at the Whitney Museum of American Art is organized by Barbara Haskell, Curator, with Caroline Webb, Curatorial Assistant.  PRESS CONTACT For press materials and image requests, please visit our press site at whitney.org/press or contact: Cree Solomon-Bonhomme, Publicist    Whitney Museum of American Art   (212)-671-1845 Cree_Solomon@whitney.org   Whitney Press Office whitney.org/press (212) 570-3633 pressoffice@whitney.org EXHIBITION SUPPORT Major support for The Lost World: The Art of Minnie Evans is provided by the Barbara Haskell American Fellows Legacy Fund and the Kapadia Equity Fund. ABOUT THE WHITNEY The Whitney Museum of American Art, founded in 1930 by the artist and philanthropist Gertrude Vanderbilt Whitney (1875–1942), houses the foremost collection of American art from the twentieth and twenty-first centuries. Mrs. Whitney, an early and ardent supporter of modern American art, nurtured groundbreaking artists when audiences were still largely preoccupied with the Old Masters. From her vision arose the Whitney Museum of American Art, which has been championing the most innovative art of the United States for ninety years. The core of the Whitney’s mission is to collect, preserve, interpret, and exhibit American art of our time and serve a wide variety of audiences in celebration of the complexity and diversity of art and culture in the United States. Through this mission and a steadfast commitment to artists, the Whitney has long been a powerful force in support of modern and contemporary art and continues to help define what is innovative and influential in American art today. Whitney Museum Land Acknowledgment The Whitney is located in Lenapehoking, the ancestral homeland of the Lenape. The name Manhattan comes from their word Mannahatta, meaning “island of many hills.” The Museum’s current site is close to land that was a Lenape fishing and planting site called Sapponckanikan (“tobacco field”). The Whitney acknowledges the displacement of this region’s original inhabitants and the Lenape diaspora that exists today. As a museum of American art in a city with vital and diverse communities of Indigenous people, the Whitney recognizes the historical exclusion of Indigenous artists from its collection and program. The Museum is committed to addressing these erasures and honoring the perspectives of Indigenous artists and communities as we work for a more equitable future. To read more about the Museum’s Land Acknowledgment, visit the Museum’s website. VISITOR INFORMATION The Whitney Museum of American Art is located at 99 Gansevoort Street between Washington and West Streets, New York City. Public hours are Monday, Wednesday, and Thursday, 10:30 am–6 pm; Friday, 10:30 am–10 pm; and Saturday and Sunday, 10:30 am–6 pm. Closed Tuesday. Visitors twenty-five years and under and Whitney members: FREE. The Museum offers FREE admission and special programming for visitors of all ages every Friday evening from 5–10 pm and on the second Sunday of every month.

Whitney Museum of American Art 99 Gansevoort Street New York, NY 10014 whitney.org                                Discover the Whitney’s audio guides and accessible content on Bloomberg Connects.  Update your preferences to change the types of emails you receive from the Whitney. Forward this email to a friend. Unsubscribe from all Whitney emails. Image credit: Minnie Evans, Untitled (Three Figures and Angels Collage), 1961–1967. Oil, crayon, and pencil on paper and canvas, 14 × 19 in. (35.56 × 48.26 cm). Collection of John Jerit. © The Estate of Minnie Evans  Minnie Evans, Untitled (The Lions of Judah Collage), 1968. Oil and crayon on paper and board, 19 1/2 × 23 1/2 in. (49.53 × 59.69 cm). Collection of Christian Daniel. © The Estate of Minnie Evans  #thewhitneymuseum#fineartmagazineblog.blogspot.com#sunstormfineartmagazine.com#artfunfantasy #artfunnow#artfun