Lisa Sette Gallery exhibits Carrie Marill & Jan Maarten Voskuil~ Points of Stillness~ January 9, - February 2027. Details below.

 

Fineartmagazineblog.blogspot is way out a head on this exhibition. Pace it in your calendar. Enjoy the early notice. 

Jan Maarten Voskuil Squaring the sky, 2026, acrylic on linen, diameter 50" Points of Stillness Carrie Marill & Jan Maarten Voskuil Exhibition Dates: January 9 – February 27, 2027 Opening Reception with Carrie Marill & Jan Maarten Voskuil: Saturday, January 9, 2027 1:00 - 3:00pm In a contemporary iteration of minimalist principles, pure object and pattern offer individual contemplation in the paintings of Carrie Marill and Jan Maarten Voskuil. Voskuil’s sophisticated geometrical experiments have evolved over two decades of thoughtful and slyly humorous engagement with minimalist painting and its philosophical complexities. Marill’s meditations on pattern and volume grant both the artist and the viewer an aesthetic space that is free of preconceived ideas; an opportunity for attentiveness without judgment or limitation. Points of Stillness will showcase new works by the two artists; opening to the public on January 9, 2027. Marill’s newest works–columns of gestural and limpid crystalline facets painted on linen canvases–delineate a place of stillness and quiet, even among the dynamic shapes and depths that they depict. Her paintings direct us to a thought process prior to assumption or action; a mineral epoch in which untethered perception is a source of profound information. Marill, who recently relocated from Arizona to Mexico, compares her artistic practice to the process of learning Spanish. “I move through Mexico and instead of understanding all conversations, I have become exquisitely attentive. Watching facial expressions, body language, cadence, repetition. I recognize patterns before vocabulary,” she remarks. A collector of imagery and processes, Marill’s career as a painter is defined by an embodied learning of human perceptive patterns. She has studied and taken as subject matter a range of global and natural visual systems, from plant and coral growth to modernist and miniaturist traditions to quilt designs. In each example, the meditative properties of repetition and limitation become a focus. She says, “Much of my practice begins with what I think of as ‘active noticing’: the slow, deliberate observation of the visual systems that quietly organize the natural world.” In Marill’s new body of work, the chemical processes of molecules arranging into geometrical structures inform paintings that move and systematize in mysterious rhythms–forming an accretion of entrancing and refractive shapes. Crystals embody a remarkable paradox: they are formed through immense pressure and immense patience, yet they emerge with extraordinary clarity and precision. Their faceted surfaces scatter light while revealing an invisible internal order. In these paintings, crystalline forms become a way to explore how complexity arises from simple rules, how pressure creates structure, and how light can make those hidden systems visible. –Carrie Marill Jan Maarten Voskuil’s career as a painter began in the realm of realism, but, like the first generation of minimalist artists, he felt that the dominant painting style of his contemporaries had become specialized to the point of superficiality and sought to pare down painting to its essential parts. “I was making realist oil-paintings and even self-portraits, but it didn’t fulfill me,” says the artist. “I decided to narrow my view and try to return my painting to a reduced and minimalistic aspect. So I ended up making modules, just pure white, simple modules.” Linen canvases stretched across curved frames, Voskuil’s modules are a fascinating distillation of form–both a radical paring down of the traditional composition of the painting, and unique volumetric objects that challenge the expectation of a straight-edged canvas. In the minimalist tradition, Voskuil saw these modules as an inverse of Carl Andre’s “flat sculptures”, two dimensional shapes that Andre exhibited on the floor. “I said, actually, I'm going to do the same, but for painting,” remarks Voskuil, with a twinkle in his eye. “And I always have this discussion: people tell me, ‘Yeah, but they are not paintings, they are sculptures,’ and I always say, ‘No, they suck as sculptures, but as paintings, they are quite good.’” Working within the range of his mathematical abilities, he plans and constructs his geometrical frames in his own studio, and delights in the chiaroscuro-like interplay of light and shadow along the curved edges of his works. Voskuil’s work has continued to engage in clever and unexpected ways with the Dutch concepts of De Stijl–in which the art exists for its own sake, unconnected to the artist’s personal narrative–while at the same time tracing a clear arc of personal creative experimentation. When asked about the deep, saturated colors of some more recent works, Voskuil admits, “Well, actually, I do like color. I am a colorist, I think, deep inside. But also, I don’t, because that makes it personal, and it depends on the day and on the person [which color they will respond to]. I don't believe in having a favorite color. I can sympathize with any color.” There's a conceptual side to my work, but to me, conceptual art is not interesting without the execution. And actually, the execution always gives surprises. That's the most interesting thing about it. That's the real challenge for an artist in my opinion –Jan Maarten Voskuil Voskuil and Marrill’s works on linen are connected by a dedication to their craft that extends beyond the modernist milieu, and by an attention to the quiet geometries of light and form. Their works extend a path toward clarity and purpose in a time of fractal distractions, allowing the viewers expansive interior spaces for personal contemplation, as well as connection to a human history of attention and curiosity. Carrie Marill Theia, 2026, acrylic and gold leaf on linen, 36" x 36" x 2" To request high resolution images, please contact us at (480) 990-7342 or email us at sette@lisasettegallery.com For over 40 years, Lisa Sette has remained committed to discovering and exposing original, intriguing forms of expression. Lisa Sette Gallery exhibits painting, sculpture, photography, video, installation, and performance pieces from an impressive roster of emerging and established artists, as well as maintaining a clientele of local and international collectors devoted to its founder’s adventurous curatorial vision. LISA SETTE GALLERY 210 East Catalina Drive Phoenix, Arizona 85012 480 990 7342 GALLERY HOURS Tuesday - Friday 10am - 4pm Saturday 11am - 4pm (Closed Sundays and Mondays)

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Lisa Sette Gallery
210 East Catalina Drive
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Any Zerner & Monte Farber are announcing the release of the Karmic Balance Tarot: Divination and insights for Intentional Living~ on October 27th. Details belwo~

 Friends I have known Amy & Monty for what I think is forty years or more. The New Tarot deck, and books appears to be verys special. If you want to meet Amy & Monty at the Amityville Apothecary, November 21, 3:00- 4:30  for their book signing and lecture they will be there along with Danielle , and Dina your hosts for the event. Amy's art work is always stunning.  

Dear Friends, Happy October 1st! Autumn is bringing exciting new magic to our Enchanted World, and we have some wonderful announcements to share with you!

Meet The Karmic Balance Tarot We are thrilled to announce that our newest deck, The Karmic Balance Tarot: Divination and Insights for Intentional Living, will be released on Tuesday, October 27th and it is available for preorder now! Created for these challenging and often confusing times, this deck encourages you to examine the past, present, and future so you can better understand the forces, energies, lessons, and revelations shaping your life and make more conscious choices moving forward. The set includes 78 beautifully illustrated tarot cards, a 200-page full-color guidebook with insightful card meanings, a velvet carrying pouch, and a keepsake box.   AMAZON BARNES&NOBLE ENCHANTED WORLD BAM   Enter Our Karmic Balance Tarot Contest! To celebrate the release, one lucky winner will receive a private one-hour Zoom psychic/astrology/tarot reading with Monte. Preorder the deck and email your receipt to info@theenchantedworld.com by November 1st. Please use the subject line "Karmic Balance Tarot Contest." We will announce the winner on November 2nd.

Join Us at Amityville Apothecary We will be appearing in person at the wonderful Amityville Apothecary on: Saturday, November 21, 3:00–4:30 p.m. Join us for a lively tarot talk and demonstration, followed by a signing of The Enchanted Tarot: 35th Anniversary Edition and our brand-new Karmic Balance Tarot. We love Dina and Dani, the marvelous proprietors of Amityville Apothecary, and we are so happy to be returning to the magical space they have created at 174 Park Avenue, Amityville, NY. Bring your Tarot questions and come say hello - we would love to see you! #amyzernermontefarber#karmicbalancetarot#mityville apothecary#fineartmagazineblog.blogspot.com#sunstormfineartmagazine.com#artfuntarot, #artfunmetaphysical#fineartnew,

Corring Museum of Glass awards Kenn Willians, bead meaker, the prestigious Rakow Commission for 2026

Ken Williams is a Northern Arapaho, and the Cattaraugus Tribal Nations artist. His work in  contemporary bead making is extraordinary. Williams will lecture November 5th , 2026  6 pm EST. See all details and his list of awards below. 

Corning Museum of Glass Announces Ken Williams Jr. as Recipient of the 2026 Rakow Commission

 

CMoG’s prestigious Rakow Commission marks its 40th year by supporting a new work in glass by Ken Williams Jr., the first beadwork artist selected for the commission

Ken Williams Jr. will publicly unveil the work at CMoG during a Connected by Glass lecture on November 5, 2026 at 6 pm EST

 

CORNING, NY, October 1, 2026 — The Corning Museum of Glass (CMoG) announced the selection of beadwork artist Ken Williams Jr. (b. 1983, Northern Arapaho and Cattaraugus Seneca) as the recipient of the 2026 Rakow Commission. Marking the Commission’s 40th year, the selection is the first Rakow Commission awarded for beadwork. The completed work will be unveiled on November 5, 2026, during a Connected by Glass lecture by the artist followed by a closer look at the work in the Contemporary Art + Design Galleries.

Williams Jr. began experimenting with beadwork at an early age on the Cattaraugus Seneca Indian Territory and later refined his technique alongside master bead workers from his mother’s Northern Arapaho family. Widely celebrated for his pictorial beadwork, he is using the Rakow Commission as an opportunity to move beyond functional and wearable forms, creating a standalone wall panel. Drawing inspiration from Pop Art and a vibrant color palette, the framed composition features the artist’s cat, Valentino, complete with a thought bubble depicting his favorite foods as part of his “Yum Series.” Williams Jr.’s work, titled, I Am the Hungry Cat, bridges ancestral artistic traditions with a playful, contemporary sensibility, expanding the possibilities of glass as a medium for narrative art.

“Beadwork is something I grew up with,” said Williams Jr. “It is both familiar and comforting, carrying generations of knowledge passed down through my heritage. To have this traditional art form recognized through the Rakow Commission is deeply meaningful. I’ve always used glass beads to tell stories, but experimenting with a new vehicle and format gave me the freedom to try something fresh and personal. Glass beads allow me to honor my ancestors while pushing my practice toward the future, and I’m thrilled to be able to bring that spirit to CMoG.”

“Ken’s work demonstrates how Indigenous artistic traditions engage dynamically with contemporary art,” said Tami Landis, curator of postwar and contemporary glass at CMoG. “By bringing his extraordinary beadwork to a new format and infusing it with his distinct personality and humor, Ken expands our understanding of what beadworking can be. This Rakow Commission celebrates an artist who respects the lineage of his craft while fearlessly innovating within it, and we are excited to bring his vibrant story to our galleries.”

“In a year when CMoG celebrates its 75th anniversary, The Studio marks 30 years, and the Rakow Commission reaches its 40th year, it is especially meaningful to add another first to the Museum’s history: the first Rakow Commission awarded for beadwork,” said Jessica Levin Martinez, president and executive director of the Corning Museum of Glass. “Ken Williams Jr.’s commission reflects the spirit of this milestone moment, honoring the deep traditions of indigenous beadwork while expanding how visitors understand glass as a medium for storytelling and artistic expression.”

The Rakow Commission has been awarded annually by CMoG since 1986 to an artist who is making important strides in contemporary glass. One of the most prestigious awards for artists working in glass, the Commission recognizes global creatives known for technical innovation and conceptual depth, providing a monetary award and resources to continue to push the field forward. Each year, artists are nominated by the curator of postwar and contemporary glass and selected by a committee. Once completed, the commissioned piece is displayed in the galleries. This program is made possible through the generosity of the late Dr. and Mrs. Leonard S. Rakow. Past award winners include Lino Tagliapietra, Jiří Harcuba, Toots Zynsky, Preston Singletary, among others.

A special Connected by Glass program will take place on November 5, 2026, at 6 pm EST, when the 2026 Rakow Commission work will be revealed in the Contemporary Art + Design Galleries. In-person attendees will be among the first to experience the installation immediately following the public talk, which will also be livestreamed. The in-person event is free and open to the public, and online attendees can register to receive the livestream link on the Corning Museum of Glass website. After the lecture, Museum Members are invited to a reception with the artist in the galleries.

About Ken Williams Jr.
Ken Williams Jr. is a contemporary bead worker who began his career at an early age, experimenting as a self-taught artist who learned by observing family and friends. He completed his BA in museum studies at the Institute of American Indian Arts, Santa Fe (2007), and while there took beadwork classes from noted beadwork artist Teri Greeves. Since 2003, he has participated in the Southwest Association for Indian Arts (SWAIA) Annual Indian Market, Santa Fe, and since 2006 in the Heard Museum Annual Indian Market and Festival, Phoenix. Williams Jr.’s work has been widely exhibited and has garnered many awards. It is in many prominent collections, including the Nerman Museum of Contemporary Art, Wheelwright Museum of the American Indian, Heard Museum, Museum of Indian Arts and Culture (MIAC), Montclair Art Museum, Utah Museum of Natural History, Utah Arts Council, National Museum Scotland, and the Hood Museum at Dartmouth College, as well as many private collections nationwide.

About the Corning Museum of Glass
In 2026, the Corning Museum of Glass celebrates 75 years as the foremost authority on the art, history, and science of glass. It is home to the world’s most important collection of glass, including the finest examples of glassmaking spanning 3,500 years. Live glassblowing demonstrations (offered at the Museum and on the road) bring the material to life. Daily Make Your Own Glass experiences at the Museum enable visitors to create work in a state-of-the-art glassmaking studio. The campus in Corning includes The Studio, a year-round glassmaking school celebrating 30 years in 2026, and the Rakow Research Library, with the world’s preeminent collection of materials on the art and history of glass. Located in the heart of the Finger Lakes Wine Country of New York State, the Museum is open daily 9 a.m.– 5 p.m. from April through December. Winter Hours (January–March) are 9 a.m.–5 p.m. on Monday – Tuesday, Thursday – Sunday (closed Wednesdays). Children and teens, 17 and under, receive free admission.

Images
Ken Williams Jr., photo courtesy of the Corning Museum of Glass
Ken Williams Jr., I Am the Hungry Cat (detail), 2026, 40th Rakow Commission Corning Museum of Glass Media 

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The Staller Center for the Arts Stony Brook University's fall schedule details below!!!!

 The Staller is a warm intimate setting in which to catch an act or see a performance. Dates and link to tickets below. 

Autumn is officially here! It feels like we were just getting ready to open our Fall season, and somehow it’s already October – which means we’re entering one of our busiest months here at Staller Center. With everything going on, it’s easy to get a little 'lost in the sauce', so let’s break down some of what’s coming up.   First, a quick update about An Intimate Evening with David Foster & Katharine McPhee. As you know, their performance has been rescheduled to January 31, 2027, and I’m excited to announce that we’ve released additional seats for the new date (including a few in the FRONT ROW)! So if you didn't get tickets before or you couldn't make the old date, now's your chance. And yes, I know it’s technically a Spring 2027 show now, so we’ll let it count as a sneak peak for the new season...   Before I get too far ahead of myself, though, we have plenty happening this month. An Evening with David Sedaris is coming up this Sunday, and we’re getting down to the last tickets. This will be David’s third time performing at Staller; he first sold out our theater in 2013 and returned for another performance in 2017. We’re thrilled to have him back, this time introducing his newest book, The Land and its People. And for those of you who would like to meet your favorite writer in person, David will be signing books in the lobby after the show!   Another show I want to make sure is on your radar is Gravity & Other Myths Presents: Ten Thousand Hours. This is one of those shows that's sort of difficult to describe. Is it cirque? Dance? Stunts? Music? Well, yes. Gravity & Other Myths is known for creating performances as physically impressive as they are inventive, and Ten Thousand Hours is just that. If you’re looking for something completely different from anything else on our Fall calendar, this is it.   I also want to take a moment to talk about classical music at Staller. We created our Classics at Staller series in response to the growing interest in classical music in our community, and it represents the amazing collaboration between Staller Center and the Stony Brook University Department of Music. Between our ticketed performances and the Music Department’s several free concerts and events throughout the year, there is no shortage of tremendous classical music on campus. Highlights this month include Eugene Drucker (violin), Lawrence Dutton (viola), and Paul Watkins (cello) in our Emerson Legacy Concert on October 11, playing Bach, Beethoven, and Debussy, along with Jennifer Frautschi (violin) and Christina Dahl (piano) performing Respighi, Schoenberg, and Elgar in a duo concert on October 28.   Believe it or not, it’s not too early to start thinking about the holidays. We announced HOME (for the holidays) as our newest December holiday performance, featuring stage-and-screen power couple Jarrod Spector and Kelli Barrett, and I’m really looking forward to this one – it goes beyond just a holiday concert and offers a glimpse into the real-life chemistry and amazing talent of two Broadway stars, up close and personal.    But if December feels a little too far away right now, we have a celebration coming up much sooner – Disney Pixar’s Coco in Concert returns on October 30! This special screening is the perfect way to conclude Hispanic Heritage Month and celebrate Día de los Muertos with the whole family. Hear the Grammy-winning musical score performed live by a 20-piece orchestra. Costumes and face paint encouraged, of course.   I'll leave you with this: at the end of the month, we’ll be announcing our Spring 2027 Season! If you’re a Friend of Staller, you’ll get early access to season announcements and, most importantly, early access to tickets.   I hope you’ll make Staller Center part of your Fall plans. My team and I look forward to sharing these incredible performances with you this season and for many more to come.   Warm wishes, Alan Inkles Director, Staller Center for the Arts

FALL TICKETS & INFORMATION

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