See Casey Chalem Anderson photo of ~Nor'easter at Towd Point~All details below

 Casey caught a shot at Southampton, North Sea. Fun to see . 

Nor’easter at Towd Point

In the 09/30/2026 edition: 
By casey on Sep 29, 2026 05:02 pm

Towd Point Nor’easter
photo

There is something so homespun and “aw shucks” about the name Nor’easter. It is as if it is just an innocent visit from some relatives from some small town that you’ve barely heard of. It’s so familiar and friendly with that apostrophe that allows the drop of the “th”, almost cute. And it happens every Fall that I can recall. But it packs a wallop of water. Sometimes not too intense, but this time it just happened to coincide with the Harvest Moon, the full moon. The moon at its most powerful, pulling at the tides and making the sea spill over anything that attempted to contain it.

But look at what you can see.

Color was rung out of the skies, as if the sun just forgot to wake up. In the sky was a barely there breath of yellow that made the overall grayness heavier, like a curtain drawn across the entire horizon. Look just below where the sky meets the water, and bright silver-white marks move across the horizon in abbreviated dashes. And just under the bright whiteness is gray green, a color that reminds me of a dirty 20-dollar bill; you really don’t want to touch it. If you’re smart, you keep a safe distance.

The waters rush in, pushing past every boundary where sand used to be. A sandbar planted with griege -colored salt grass holds on in the mid-distance. Where I stand, blades of olive-green salt marsh, tipped with orange, poke up through the calmer water closer in. Here the grasses blow over, all bending to the left, to the west. These yellow-green grasses glisten and sparkle against the bleached-out, whipped-up scene. The grasses are sturdy, deeply planted in the sand with their deep brown roots exposed beneath them. They will hold on.

Putting up a photo is unusual for me here, but I didn’t have time to paint this. I’d like to soon, before I forget what it all felt like.

Hope all is well after the storm,

Casey

Here’s the link for new prints available:   https://www.artfullywalls.com/artists/casey-chalem-anderson-83481

If you need any help with sizing or framing on the Artfully Walls site, please get in touch.

 

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The Haines Gallery presents ~Just One Work/ Wendy Red Star~ as part of the 250 Year , Indigenous Futures show currently at the gallery.

 Wendy Red Star, Crow Tribal member, work a photographic collage with fabric features her piece depicting  the 2025 Crow Fair, Montana,. Ms, Red Star is a distinguished artist with multiple museum show, fellowships, and art awards.  See details below 

Just One Work | Wendy Red Star Take a closer look at a single artwork from our current exhibition 250 Years, Indigenous Futures. Today, we proudly present:   WENDY RED STAR Chiaxxúapilake (Fifty), 2025 Fabric with archival pigment print photograph on board 25.25 x 49.25 x 1.25 inches, framed INQUIRE Wendy Red Star’s multidisciplinary practice is grounded in the histories, archives, and her lived experience of the Apsáalooke (Crow) Nation.  Drawn from her ongoing series A Float for the Future, Red Star’s 2025 photographic collage Chiaxxúapilake (Fifty) highlights a pair of ornately decorated parade cars of the annual Crow Fair. Held each August in Crow Agency, Montana, where the artist was raised, the six-day event is the largest gathering of Native Americans in the United States. There, in a daily morning parade, automobiles join horses as ceremonial vehicles adorned with beadwork, saddles, Pendleton blankets, traditional regalia including elk-tooth dresses, and other markers of Apsáalooke pageantry—symbols of an enduring Tribal culture adapted for contemporary life.   Detail from Wendy Red Star, Chiaxxúapilake (Fifty), 2025   Red Star likens these parade vehicles to “maps of identity,” offering insights into the families and lineages they represent. She collages her images onto backdrops of colorful satin fabric often worn under traditional regalia made of wool. “Incorporating both the outer regalia and the clothes underneath is a way of acknowledging the identity of the Apsáalooke people, not just in terms of how we celebrate publicly,” the artist shares. “It’s a window into what’s normally hidden or less visible; our public and private selves are set side-by-side.” Turning objects into subjects and allowing them to speak, Red Star reveals forms that, as she has said, “represent a resilient and proud community…that overcomes obstacles to keep its culture alive.” Wendy Red Star (b. 1981, Billings, MT; lives and works in Portland, OR), of the Piegan clan and from the district of Pryor, is a multidisciplinary artist whose practice is deeply rooted in the community, culture, and history of the Apsáalooke (Crow) people. Her first career survey, Wendy Red Star: A Scratch on the Earth, opened at the Newark Museum of Art in 2019 and traveled to the San Antonio Museum of Art and Columbus Museum of Art through 2023.   Her first career survey, Wendy Red Star: A Scratch on the Earth, opened at the Newark Museum of Art in 2019 and traveled to the San Antonio Museum of Art and Columbus Museum of Art through 2023. Her work has been presented internationally at institutions including the Metropolitan Museum of Art, Whitney Museum of American Art, Brooklyn Museum, The Broad, J. Paul Getty Museum, and Fondation Cartier pour l’Art Contemporain, as well as the 2023 Sharjah Biennial and 2026 NGV Triennial. A major solo exhibition will open at the Smithsonian’s National Portrait Gallery, Washington, DC, in 2027. Red Star was named a MacArthur Fellow in 2024, the same year she received the International Center of Photography’s Infinity Award. Other honors include an Anonymous Was A Woman Award (2022), Smithsonian Artist Research Fellowship (2018), and Louis Comfort Tiffany Foundation Biennial Award (2017). Her monographs include Delegation (Aperture/Documentary Arts, 2022) and Wendy Red Star: Bíilukaa (Radius Books, 2023). Her work is held in more than 80 public collections, including the Guggenheim Museum, Metropolitan Museum of Art, Museum of Modern Art, San Francisco Museum of Modern Art, Smithsonian American Art Museum, and Whitney Museum of American Art. Installation view of Wendy Red Star's works in 250 Years, Indigenous Futures at Haines Sales Inquiries: alexandra@hainesgallery.com Press Inquiries: irene@hainesgallery.com   Images: 1 & 2) Wendy Red Star, Chiaxxúapilake (Fifty), 2025. Courtesy of the artist and Roberts Projects, Los Angeles. Photo: Paul Salveson; 3) Portrait of Wendy Red Star. Courtesy the artist and Roberts Projects, Los Angeles. Photo: John D. and Catherine T. MacArthur Foundation; 4) Installation view of 250 Years, Indigenous Futures. Photo: Shaun Roberts.

2 Marina Boulevard, Building CSan Francisco, CA 94123 US Tue - Sat: 10:30 AM - 5:30 PM #thehainesgallery#fineartmagazineblog.blogspot.com #sunstormfineartmagazine.com#artfunidian #artfunnow#fineartindigenous#fineartindian 

A Call out to Artists: The 27th Annule Art in the Square Southlake Texas April 23-25, 2027, Application Deadline 11/11/2026

 Artists this looks like a qualified art show in a beautiful setting. Weather will be nice i Texas at this time of the year n the Dallas Fort Worth area.  

27th Annual Art in the Square Southlake (TX) April 23-25, 2027 Application deadline 11/11/26

APPLY HERE

Call to Artists

WHAT: 27th Annual Art in the Square    WHERE: Town Square in Southlake, Texas WHEN: April 23-25, 2027 | Fri. 4pm - 9pm | Sat. 10am - 9pm Sun. 11am - 6pm NOTEWORTHY: 150 juried artists Tent Rental available Discounted lodging at on-site hotel Art in the Square Emerging Artist for developing artists in DFW Metroplex Estimated attendance: 50,000  24-Hour Security Easy set-up and take-down Spacious layout Free convenient parking for autos and oversized vehicles Free electrical (strictly limited to 300 watts per booth) Booth sitting Water and snacks delivered to artists Set-up luncheon on Friday Complimentary coffee and continental breakfast Saturday and Sunday Jury Fee: $40 - nonrefundable Booth Fee: $550 (10'x10'); $1050 (10'x20'); $300 (Emerging Artist)

NOW ACCEPTING APPLICATIONS on ZAPP Application Deadline: November 9, 2026 Artist Notification: December 9, 2026 Booth Fee Due: January 20, 2027 For more information, please visit our Website Contact: Terri Messing at ArtInTheSquare@verizon.net

We are so excited to celebrate our 27th year!  In 26 years, Art in the Square has grown in reputation to become one of the top small fine art shows in the country. We were proud to be ranked #1 by the Sourcebook for 2019 and 2020 and are regularly top ranked. Featuring 150 artists in a beautiful upscale setting, the 2½ day show draws attendance from both Dallas and Fort Worth. With its relaxed, friendly atmosphere and serious potential shoppers, this show has become a favorite of professional artists.

The National Museum of the Native American showcases ~A Prairie Band of Potawatomi Doll~ Mighty MIniatures~See details below.

 Thes figurines/ dolls are special to see! Visit the Smithsonian site of the museum itself to see the collection of dolls or use the database link below . . 

FROM THE COLLECTION A Prairie Band Potawatomi Doll November in New York will bring a major new exhibition to the National Museum of the American Indian showcasing some of the collection's smallest works. Mighty Miniatures will feature more than 300 works from the museum's collection of more than 1,300 miniatures from around the Western Hemisphere, including baskets woven from strands of horsehair, pottery that could balance on a fingertip, and intricately made small toys such as tipis or boats. Prairie Band Potawatomi doll, 1880–1920 Kansas. Hide, horsehair, cotton cloth, silk ribbon, wool yarn, glass beads, German silver, wood, vermilion. 9.8 × 5.3 × 2.0 in. NMAI 24/1799. Although many pieces in the exhibition were created as souvenirs or keepsakes to be sold to tourists and collectors, some were made and then used by the Indigenous communities that created them. This is the case with dolls and playthings, such as this one made by the Prairie Band Potawatomi during the late 19th or early 20th century. Dolls and other miniatures were important teaching tools for Indigenous children as they learned about the world around them and the communities they lived in. Through play, children began to learn the skills they would need as adults, such as pretending to hunt with small bows, learning to set up a toy tipi, or sewing small clothes for a doll. These practical lessons helped develop problem-solving, physical, and social skills over time. Details that reflect a community Dolls especially are used by children to decipher their world as they use them to mimic the adults that surround them. Dressed and adorned like their community, these dolls preserve the traditional techniques used at the time and typically use the same materials. The body, moccasins, and pouch of this Prairie Band Potawatomi doll are made of deer hide or buckskin, and her hair is made of black yarn and horsehair. Embellished with beadwork and silk ribbons mirroring Potawatomi ribbonwork, her clothing is made from wool and cotton fabrics. Back view of the Prairie Band Potawatomi doll, showing details of the clothing and ribbonwork. The miniature replicas of German silver jewelry, ornaments, and beaded necklaces reflect her wealth, while the representation of a bear claw tied around her neck, the beaded medicine bag, the prescription stick, and the leather pouch containing vermilion illustrate that the woman is likely a healer. When compared to a photograph of Prairie Band Potawatomi women from Mayetta, Kansas, wearing ribbonwork dresses during the time the doll would have been made, the similarities are clear. Wakabushkuk and Wam-to-she-quart, Prairie Band Potawatomi women from Mayetta, Kansas, wearing ribbonwork dresses, 1860–1930. David C. Vernon Collection. NMAI P22021, NMAI Archives. These tiny works from locales ranging from North, Central, and South America and Hawai‘i spark wonder and delight at their minuscule size while their histories and stories are so massive. As we welcome Mighty Miniatures to New York, we hope you will join us to celebrate our smallest works in big ways. Explore Mighty Miniatures View the doll in the collections database Your support helps the museum care for the collection, share stories like this one, and create opportunities for people to learn more about Native peoples and cultures. DONATE TODAY © 2026 National Museum of the American Indian Fourth Street & Independence Avenue, Washington, DC 20560 #nationalmuseumnativeamericanindian#fineartmagazineblog.blogspot.com #sunstormfineartmagazine.com#fineartnativeamerican#fineartindigenous#fineartfun#artfunnow#artfunindigenous