Keys Art opening reception Lucy Villeneuve August 1, 6-8 pm. See details below

Good Grief explores the dialectics of life. Over the past year, Lucy Villeneuve has developed this collection around the coexistence of seemingly opposing truths: grief and gratitude, the child and the adult, the unfamiliar and the idea of home, and the serious pursuit of joy. Through an evolving personal language of recurring symbols and intuitive mark-making, Lucy creates paintings that embrace complexity without demanding resolution. The depths of grief are woven together with immense love.  The adult shaped by grief watches over her inner child bumbling around her studio. Together, these works become a practice of dialectics, an ongoing exercise in living in the "yes, and." Lucy sees this as an increasingly important pursuit in a world that often seeks certainty as a form of comfort. Upside-down homes, scribbles, ladders, and abstract forms define the whimsical visual language through which these ideas unfold. Her recent work marks a shift from large-scale abstraction to intimate paintings, some measuring just 2 × 2 inches. Created in gouache and watercolor on paper, Good Grief marks a significant evolution in her practice and is the first presentation of this new body of work. Lucy Villeneuve is an artist based in Springs, New York. She holds a B.A. in Psychology and an M.S.Ed. in Education and spent several years as a middle school art teacher before dedicating herself fully to her studio practice. Good Grief is her first solo exhibition since making that transition.

Preview

The Parts of Me That Can Swim, 2026 Goache on paper 26x36

This is me!, 2026 Watercolor and Goache on paper 14x14

In the Attic of my 9 y.o. Heart, 2026 Goache and watercolor on paper 26 x 36

Copyright 2026 Keyes Art, All rights reserved.

Elenor Harwood Gallery Open Studio Pop up at the Gallery August 4-8 Summer Party 5-8 PM

 

Kira Dominguez Hultgren Open Studio Pop-Up at the Gallery August 4-8th & MSP Summer Party, August 8th, 5-8pm

Kira Dominguez Hultgren takes over the gallery August 4-8th to do an open studio pop-up! You can weave with her in the gallery (there are backstrap looms set up) or just come say hi while she picks up patterns in interactive altars and within oddly shaped frame looms. Punjabi dhurrie weaving, Swedish linens, and other slantwise Indian zigzag stripes play across the gallery. Kira also has work in Video Craft at the Museum of Craft and Design on 3rd Street until August 16th. Also, please join us to celebrate summer at Minnesota Street Project on August 8th! 5-8pm

For inquiries please contact Eleanor Harwood +1 415 867 7770 & eleanor@eleanorharwood.com

The Fell Line, 2025 Handspun and industrially spun wool, sari silk, untwisted hemp rope, and other yarn; loom bars 70” x 63” x 4”

Student Weaving on a Backstrap Loom

Current Exhibitions, Recent Installations, and Publications

Video Craft, Curated by Sarah Mills and Ariel Zaccheo, Museum of Craft and Design, San Francisco, February 28–August 16, 2026 You Stretched Diagonally Across it, curated by Su Wu, The Fabric Workshop and Museum, Philadelphia, July 15, 2026–January 3, 2027 So I told her I was half-Indian, permanent installation, Institute for Advancing Just Societies, Stanford UniversityIn the Silence Between Mother Tongues, Gifts of Art, Fine Arts Museums of San Francisco, 2025

Photos By Shaun Roberts

Kira Dominguez Hultgren Artist Bio

Kira Dominguez Hultgren (b. 1980, she/they, Oakland, CA) is a 2024 Center for Craft Research Fund recipient, 2024 Illinois Arts Council Fellowship recipient, and a 2024 United States Artists Fellow. They studied postcolonial theory and literature at Princeton University, and studio arts and visual and critical studies at California College of the Arts. Their research interests include material and embodied rhetorics, re-storying material culture, and weaving as a performative critique of the visual. Dominguez

Hultgren weaves with the material afterlife of a so-called multiracial family: Chicanx-Indigenous-Indian-Hollywood Hawaiian-Brown-Black. Instead of being passed down, weaving and textile processes are brought up, resurrected from family stories and fabrics. Questions about cultural appropriation and codeswitching, exoticism, and performing cultural misrecognitions occupy their practice. Dominguez Hultgren has exhibited their work broadly including shows at the Museum of Arts and Design, Lehmann Maupin Gallery, Ballroom Marfa, the San Jose Museum of Quilt and Textile, the Roswell Museum, Montgomery Museum of Fine Art, and Eleanor Harwood Gallery in San Francisco. Their public art projects include installations with the city of Berkeley, the city of Phoenix, and an upcoming installation at Stanford University’s Institute for Advancing Just Societies. When not in the studio, Dominguez Hultgren teaches weaving as an assistant professor at the School of the Art Institute of Chicago in Fiber and Material Studies.

Eleanor Harwood Gallery 1275 Minnesota Street, Suite 105 San Francisco, CA 94107 www.eleanorharwood.com +1.415.867.7770 #elenorharwoodgallery#ffineartmagazineblog.blogspot.com#sunstormfineartmagazine.com, #artfunnow#artfunsummer#artfumweaving#artfunhappy,

Casy Chalem Anderson exhibits at THe F=Romany Kramoris Gallery Sag Harbor, August 13- September 3, 2026

The Spark Before the First Brushstroke

In the 07/29/2026 edition: 
By casey on Jul 28, 2026 05:45 pm

Sharing the beginning of an oil painting……………

Most people imagine that a painting begins when the brush first touches the canvas. For me, it begins much earlier.

A few days ago, I was driving through Sag Harbor on my way to Southampton. As I passed Long Beach, something caught my eye. Along the edge of the bay, wildflowers had appeared as if overnight. Tall Queen Anne’s lace rose above the grasses, surrounded by delicate lavender blossoms that seemed to have volunteered their way into the landscape. Behind them was the bay, an extraordinary teal blue, deep and luminous, almost jewel-like in the morning light.

I pulled over.

I carefully walked into the grasses, taking photographs from every angle. Not because I intended to copy what I saw, but because I didn’t want to lose the feeling of that place. I knew immediately that this wasn’t simply a beautiful view; it was the beginning of a painting.

I still had to get to my errands, so the drive ahead became part of the creative process. I turned off the radio.

When an idea takes hold, I don’t want anything competing with it. My mind becomes completely absorbed. I begin asking myself questions. What size canvas wants to hold this scene? Should the flowers dominate, or should the sweep of the bay carry the painting? How much sky? What colors will capture that impossible blue-green water? Which greens will make the grasses glow?

It’s one of the greatest pleasures I know.

There is an excitement that comes before a painting exists, when everything is still possible. I don’t know exactly what the finished painting will look like. In fact, I never do. The reference photographs are only the starting point. The painting grows from memory, emotion, and intuition as much as observation.

That uncertainty is part of the magic. By the time I arrived back at my studio, I wasn’t thinking about the errands I had planned that day. I was thinking about pulling out a canvas, laying out paint, and searching for the right mixtures to capture the colors I had just witnessed and the feeling they left behind.

The painting now sits on my easel, still unfinished.

Its composition continues to evolve. Some flowers will disappear. Others will become more prominent. The grasses will shift. The light will find its way across the canvas in ways I can’t yet predict.

That is what I love most about painting. The finished work is never simply a record of a place. It is a record of being moved by a place.

Until next time,

Casey

 Show: Romany Kramoris Gallery, 41 Main Street, Sag Harbor, NY, August 13 – September 3, reception on Saturday, August 15, 5-6:30 PM

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Krasner Pollack house Study Programe for the week ahead.

These programs are on line virtual, and live. See below for details.

___________________________________________________________________________ Virtual Art Programs with  Joyce Raimondo, Education Coordinator ____________________________________________________________________________ Thursday, July 30, 2026, 11:00 am - 12:00 pm  BANNED: CENSORSHIP AND MODERN ART Workshop How do artists challenge societal norms, at times, sparking controversy? Joyce Raimondo presents examples of censorship in modern art and its impact on artists, institutions, and the public. Following the talk, participants are invited to create art that addresses censorship or challenges the status quo. Have drawing or paint supplies on hand. Offered by Field Library Click here to register with Field Library _______________________________________________________ ART ON THE BEACH Workshop Sun, sand, and surf! How do artists capture the beach in innovative paintings? Following a presentation of paintings by Pablo Picasso, Willem de Kooning, William Merritt Church and others, paint or draw your idea of summer at the seaside. Have paint or drawing supplies on hand. Offered by East Hampton Library Click here to register with East Hampton Library ______________________________________________________________________________ Image: William Merritt Chase, At the Seaside Plan your in - person visit! CLICK HERE FOR FAMILY WORKSHOPS AT THE MUSEUM

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