The White Room Gallery exhibition now-October 12th. See below update!

 

THE WHITE ROOM GALLERY

Presents

CAPTURED

SEPT 1ST - OCT 12TH 2026

MONICA VITTI, SOPHIA  & CATHERINE DENEUVE PAINTINGS BY JOHN FRANCIS GALLAGER

Curators’ Quote

‘THE IMAGINATION.

THE VIEWER’S ATTENTION.  

A MOMENT IN TIME.

This exhibit coincides with our partnership with the Hamptons International Film Festival so with that in mind portraits of movie legends like Sophia Loren, Elizabeth Taylor, Brigitte Bardot, Catherine Deneuve and Monica Vitti take center stage alongside vibrant abstract paintings that would enhance any set design. 

There is a strong element of storytelling in Captured.  Why is that woman alone in the parking garage?  Who is Catherine Deneuve calling on the phone and why does she look so scared?  

Mugshots of Bowie and Hendrix is the literal interpretation of captured creating their own narrative, with Morrison shown captured several times.  

Evocative black and white photographs are reminiscent of classic film noir and Hitchcock.  Beauty is also captured in this exhibit with elegant paintings of flowers and mirrored butterflies and the perfect stiletto.  Large abstracts create worlds within worlds, while mixed media floppy disks of Porsche and Rolex capture the spoils of success with a playful nod to the past.  

A lot is captured in Captured.   Purely by design. 

Bardot  & Liz Diamond Dust Screen Prints by Russell Young

PERMANENT COLLECTION INCLUDES

Russell Young

Nelson De La Nuez

Craig Alan

Greg Lotus

Markus Klinko

Punk Me Tender 

GROUP SHOW ARTISTS 

Taylor Smith 

Renee Levin

Suzanne Metz

David Bender

John Joseph Hanright

Steve Moors

The Guys With The Same Name

And more….

3 Railroad Avenue

East Hampton, NY 11937

www.thewhiteroom.gallery

OPEN  12-5pm

WED-SUNDAY

Press inquiries: Andrea 

art4thewhiteroomgallery@gmail.com

917.526.2767 

631-237-1481

--

Andrea McCafferty + Kat O'Neill

Owners+Directors

The White Room Gallery

#thewhiteroomgallery#fineartmagazineblog.blogspot.com #sunstormfineartmagazine.com#artfunhamptons#artfunphotography#artfunnew

THeMcBride/Dillman gallery exhibits~Kindred Spirits~ the work of Debra Cartwright, and Kellie Romany September 11 - November 2026. Details below..

 

Artists like Cartwright , and Romany reclaim the Landscape, and the expression of movement, though revisioning the space they open in their artwork to the viewers inclusive. of black, and indigenous cultures observations, and or feelings.  

UPCOMING: KINDRED SPIRTS: DEBRA CARTWRIGHT AND KELLIE ROMANY  September 11 - November 1, 2026  Opening Reception: 9/11/26 6-8 pm  McBride / Dillman is pleased to present Kindred Spirits, a two-person exhibition of new work by Debra Cartwright and Kellie Romany, on view from September 11 through November 1, 2026. Landscape is never simply landscape, and color is never merely color. In the work of Debra Cartwright and Kellie Romany, abstraction becomes a means of excavating the histories embedded within both. At a moment when the histories of race, gender, and the nation itself are increasingly contested, Kindred Spirits brings together two artists who insist that painting remains a powerful site for examining what has been erased, obscured, or deliberately forgotten. Though working through distinct visual languages, Cartwright and Romany each explore how histories of race, embodiment, and place can be carried through abstraction, transforming landscape, color, and material into sites of memory, resistance, and repair. Debra Cartwright, The Clearing, 2026, oil on canvas, 48 x 48 in. / 121.92 x 121.92 cm For Debra Cartwright, the American landscape is neither neutral nor empty. Her new paintings begin with compositions borrowed from the nineteenth-century landscapes of Robert S. Duncanson, the first internationally celebrated Black American landscape painter, whose seemingly idyllic scenes have long been understood to contain subtle meditations on freedom, slavery, and the contradictions of the American project. Cartwright reimagines these landscapes through the luminous chromatic language of Richard Mayhew, whose work reclaimed the genre from its association with Manifest Destiny and colonial expansion, asserting the land as a repository of Black and Indigenous histories rather than white possession. Into these spaces, Cartwright introduces fragmented and abstracted Black female bodies sourced from nineteenth-century gynecological and medical illustrations, exposing the long history of Black women's bodies as sites of scientific scrutiny, reproductive exploitation, and state-sanctioned control. The resulting paintings refuse the historical separation of landscape and body, revealing both as terrains shaped by conquest, extraction, memory, and survival. Kellie Romany, Intertwined, 2025, oil paint and graphite on board, 48 x 48 inches Kellie Romany approaches many of these questions through the physical behavior of paint itself. Eschewing the brush, she manipulates pigment by tilting and moving her surfaces, allowing gravity, viscosity, and time to determine the work's evolving forms. Bleeds, clots, rings, fissures, and stains produce cell-like structures that evoke both biological processes and geological formations. Romany uses a palette of skin tones to construct abstractions that reflect bodies traversing through systems and landscapes. Each painting records a history of accumulation, movement, and interruption, suggesting that belonging is neither singular nor static but continuously formed through migration, exchange, and transformation. In a cultural moment increasingly defined by rigid boundaries and essentialist thinking, her work in this exhibition serves as a timely reminder of the importance of fluidity, interdependence, and relation. Together, Cartwright and Romany present abstraction not as an escape but as a language capable of holding historical complexity. Rather than illustrating Black experience, both artists embed it within systems of color, material, and place, asking viewers to reconsider the landscapes we inherit, the bodies we occupy, and the histories that continue to shape both. The exhibition proposes that memory is itself a political terrain—and that painting remains one of its most compelling forms of resistance. Debra Cartwright holds an MFA from Rutgers University, NJ and a BA in Art History from the University of Virginia, VA. Her works have been exhibited at Welancora, New York, BODE Projects, Berlin, Sotheby’s New York, Fridman Gallery, NY, Wesbeth Gallery, NY, Allouche Gallery, NY, CFHILL, Stockholm and the New York Academy of Art. Kellie Romany received a Masters of Fine Arts in Painting from the School of the Art Institute of Chicago in 2011 and a Bachelors of Fine Arts from the Maryland Institute College of Art in 2008. Romany has exhibited both nationally and internationally, including museum shows at the High Museum of Art, Crystal Bridges Museum of American Art, and DePaul Art Museum. For more information, contact Ashley Dillman - ashley@mcbridedillman.com. RETURNING TO FALL HOURS SEPTEMBER 11  Wednesday : 11-6 Thursday: 11-6 Friday: 11-6 Saturday: 11-6 Sunday: 1-5

195 HENRY STREET  NEW YORK, NY 10002 United States  #mcbride,dillangallery#fineartmagazineblog.blogspot.com#sunstormfineartmagazine.com#artfunnyc#artfunwomen#artfunnew

Henry Wessel's black and white Photographic exhibition at the Grolier Club September 8, - November 14, 2026

Glimpse the photographer Henry well acclaimed photographs of American life, and landscape of the America West at the Grolier Club!! Worth seeing how his eye capture the essence of the 1070's 

Henry Wessel – Photographs and Books On View September 8 – November 14, 2026

NEW YORK CITY — The Grolier Club presents a spotlight exhibition on photographs and books by Henry Wessel (1942–2018), curated by Grolier Club member Jack Gray from his collection. On view from September 8 through November 14, 2026, in the Club’s Second Floor Gallery, Henry Wessel – Photographs and Books features more than 65 photographs, including Wessel’s “Incidents” and “Traffic” portfolios in their entirety, and highlights from Wessel’s full body of work from more than four decades. A catalogue, published by The Grolier Club, will be available this autumn.   Wessel first came to prominence in 1972 with a solo exhibition at The Museum of Modern Art, New York, and his practice initially centered on exhibitions with related catalogues. He later moved emphatically to making sequences of photographs intended as one work. These were issued as portfolios and published as books with minimal context.   Curator Jack Gray met the artist in 1976, when he was one of Wessel’s undergraduate students at the San Francisco Art Institute. Gray began to collect Wessel’s work while still a student, and a chance meeting 20 years later led to a close friendship. Wessel’s work now forms the core of Gray’s personal collection. “Hank and I often looked at photographs together. We loved talking about them. A core dialogue centered on a question: What made an interesting photograph?,” writes Gray. “His commitment to making what he called ‘still photographs that function as visual haikus’ was consistent throughout his career.” Exhibition Highlights One of Wessel’s earliest works on view is Untitled (1968), a photograph of a deserted road with mountains in the distance, bisected by a telephone pole. This work was featured in MoMA curator John Szarkowski’s influential 1973 book Looking at Photographs: 100 Pictures from the Collection of The Museum of Modern Art as the last of the 100 images, and Wessel was the youngest photographer included in the book. Another enigmatic early work on view, San Francisco (1973), features an older man in a dark suit, seen from behind as he stands on a beach and looks out at the ocean.

Wessel’s “Traffic” and “Incidents” portfolios are shown in full in the exhibition. “Traffic,” 28 black and white photographs made in the 1980s and issued as a portfolio in 2017, is limited to images of people in cars, taken from a car. Wessel commuted from his East Bay home to his teaching job in San Francisco and discovered that he could take advantage of the morning and evening light to photograph on the road. He prepared the camera for one-handed use—because “a glance was enough”—and soon he was looking forward to the daily drive. The “Incidents” portfolio was assembled in 2012 from 27 black and white photographs that Wessel had taken over decades; none had been published or exhibited before. The images are fleeting moments in everyday California life, often bathed in Wessel’s signature bright sunshine, such as Incidents No 5 (undated), in which passengers in a car seem to emerge from the shadows with each closer look.

In the 1990s, Wessel created the “Real Estate” and “Night Walk” projects. “Real Estate” was his first sustained project in color, as he returned to a subject and approach that attracted him from the first roll of film he shot—photographs of houses taken from a car window. In 1995, walking his dog at night in the Sunset Park neighborhood of Los Angeles, Wessel became fascinated with how the world is reconfigured by the lights at night, finding inspiration for his “Night Walk” series: “The spot lighting of particular areas, the lack of ambient light, the unnatural way that shadows are cast, all take us to an unfamiliar place, a world that is stage-like with its implied drama.” The exhibition also features select work by photographers who inspired Wessel, such as Walker Evans, Weegee, and Helen Leavitt, as well as friends and peers like Tod Papageorge, Garry Winogrand, and Lee Friedlander. Publications by German publisher Steidl, which closely collaborated with Wessel to reproduce his work with great attention to detail and minimal text, are also on view, including books of Incidents and Traffic/Sunset Park/Continental Divide.  Wessel said, “I don't have an attitude of going out to take pictures. I simply take pictures. If there’s light out and my eyes are open, it’s usually reason enough to be able to work. It’s the facility that the camera provides that makes photography to me a very vital medium, a very challenging medium and in a sense, a very indulgent medium. The preparation to work is almost nonexistent.”

Programming The Grolier Club will present free public programs related to the exhibition, including a panel on Wednesday, October 28, at 6:30pm. More information and updates can be found at http://grolierclub.eventbrite.com.   Upcoming Exhibitions Pioneers in Hand Papermaking: 50 Years of Innovation at Dieu Donné September 8 – November 28, 2026 Ground Floor Gallery   Black Brilliance: An American Chronicle December 3, 2026 – February 20, 2027 Second Floor Gallery   Uncertainty and the Quantum Revolution December 16, 2026 – March 13, 2027 Ground Floor Gallery   Crossing Boundaries: Women Travelers and Writers in South and Southeast Asia, 1715-1945 March 4 – May 15, 2027 Second Floor Gallery   About The Grolier Club Founded in 1884, The Grolier Club is America’s oldest and largest society for bibliophiles and enthusiasts in the graphic arts. Named for Jean Grolier (1489/90-1565), the Renaissance collector renowned for sharing his library with friends, the Club’s objective is to promote “the study, collecting, and appreciation of books and works on paper.” Through the concerted efforts of an international network of over eight hundred men and women—book and print collectors, antiquarian book dealers, librarians, designers, fine printers, binders, and other artisans—The Grolier Club pursues this mission through its library, its public exhibitions and lectures, and its long and distinguished series of publications.   Visiting The Grolier Club 47 East 60th Street, New York, NY 10022  212-838-6690, www.grolierclub.org Hours: Monday–Saturday, 10 am to 5 pm Admission: Exhibitions are open to the public free of charge  Image Captions/Credits (top to bottom): Henry Wessel, Incidents No 5, no date, gelatin silver print. © The Estate of Henry Wessel Henry Wessel, Untitled, 1968, gelatin silver print. © The Estate of Henry Wessel Henry Wessel, Traffic No 24, no date, gelatin silver print. © The Estate of Henry Wessel Henry Wessel, Real Estate No 90467, no date, C-print. © The Estate of Henry Wessel #thegrolierclub,henrywesselphotographs#fineartmagazineblog.blogspot.com #sunstormfineartmagazine.com#artfunphotography#artfunlandscapes#artfunnow