Saif Azzuz’s “weych-pues / tàkhòne (where the rivers meet)”, opens Sunday, May 17th at Storm King Art Center! Presented as part of Storm King’s “Outlooks” series, the artist’s first large-scale outdoor public art commission takes the form of a giant sturgeon made of steel, aluminum, and salvaged car parts from the Hudson Valley, together with natural materials from the San Francisco Bay Area.
Read more about the work through the link in our bio and see the installation in person through November 9th.
“Saif Azzuz: weych-pues / tàkhòne (where the rivers meet)”
Storm King Art Center
17 May – 9 November 2026
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“Outlooks: Saif Azzuz” is organized by Eric Booker @ericguybooker , Associate Curator. Installation photos by Jeffrey Jenkins. Progress and fabrication photos by David Schulze.
We’re pleased to share a sneak preview of our upcoming presentation at TEFAF New York 2026. Visit us at Booth 312, where we’ll feature works by Etel Adnan, Saif Azzuz, John Chamberlain, Richard Diebenkorn, Teresita Fernández, Jessie Henson, Jim Hodges, Donald Judd, Yayoi Kusama, Bruce Nauman, Alice Neel, Gerhard Richter, Sean Scully, Jasmin Sian, Barbara Stauffacher Solomon, Manfredo de Souzanetto, Joseph Stella, and Jonas Wood.
TEFAF New York 2026
Park Avenue Armory
15 – 19 May 2026 | Booth 312
Images:
Joseph Stella
“Portrait of Marcel Duchamp”, circa 1923-4
Silverpoint and oil on paper
Framed Dimensions:
25 1/2 x 23 1/2 x 2 inches
64.8 x 59.7 x 5.1 cm
Paper Dimensions:
18 1/2 x 16 1/2 inches
47 x 41.9 cm
Yayoi Kusama
“Days”, 1953
Gouache on paper
Framed Dimensions:
24 1/2 x 20 1/4 x 1 1/4 inches
62.2 x 51.4 x 3.2 cm
Paper Dimensions:
14 x 10 inches
35.6 x 25.4 cm
Alice Neel
“Woman”, 1966
Oil on canvas
Framed Dimensions:
48 3/4 x 33 3/4 x 1 7/8 inches
123.8 x 85.7 x 4.8 cm
Canvas Dimensions:
46 x 31 inches
116.8 x 78.7 cm
John Chamberlain
“Tonk #2-86”, 1986
Painted and chromium-plated steel
11 x 10 x 5 inches
27.9 x 25.4 x 12.7 cm
now out! ✨@saifazzuz : Keet Hegehlpa’ (the water is rising) brings together artwork and installation images made over the course of 2019–2026. Azzuz silhouettes native plants, waterways, and animals. Interested in material history and cultural and ecological inheritance, Azzuz uses metal, wood, paint, and gathered materials to make portraits of the land, revealing the interconnectedness of all living systems and the care needed to sustain them.
preorders are in the mail! i will have copies with me this wknd @seattleartbookfair .
join us on May 24, 2–4pm @anthony_meier_ for the book launch! 💫
Join us at the Headlands on Thursday, June 4 for the Annual Art Auction! The evening brings together artists, collectors, and supporters in celebration of creative practice and the community that sustains it.
Your engagement supports artists as they continue to experiment, take risks, and pursue new directions. Headlands stands apart for its interdisciplinary approach, coastal setting, and close ties to the Bay Area’s broader cultural landscape, as well as its remarkable community of alumni.
We’re honored to contribute Jasmin Sian’s “in life” in support of Headlands’ mission. Tickets are now available via the link in our bio!
Artwork Image:
Jasmin Sian
“in-life,” 2014
Graphite and cut-outs on encyclopedia book page (Texas)
Framed Dimensions:
11 x 10 1/2 x 1 1/2 inches
27.9 x 26.7 x 3.8 cm
Artwork Dimensions:
4 3/8 x 4 1/8 inches
11.1 x 10.5 cm
We’re pleased to congratulate Jessie Henson on her first solo museum exhibition, “Everything Comes Next”, on view at the Joslyn Art Museum through 5 July 2026.
Using an industrial sewing machine and delicate polyester and nylon thread, Jessie Henson builds on the language of postwar American abstraction, while writing a new chapter in the long history of embroidery. Henson engages in a labor-intensive and time-consuming process to repeatedly sew onto paper.
As the thread accrues to form a dense, velvety coating, the paper can no longer sustain the surface tension, leading to warping, creasing, and tearing. Henson applies shimmering gold leaf to some of the works, encouraging light to dance across their surfaces, lending the already jewel-like objects an air of opulence. “Everything Comes Next” features several small bronze casts made from found embroideries that nod to her early interest in the possibilities of thread, alongside a selection of sewn paper works in vibrant colors. This selection includes a new multi-component installation that transforms one gallery wall into an undulating topography.
“Everything Comes Next”
The Joslyn Art Museum, Omaha
Open through 5 July 2026
Artwork Images:
Jessie Henson
“Whispering (By the River)”, 2026
Polyester and rayon thread on paper
32 x 22 x 2 inches
81.3 x 55.9 x 5.1 cm
Jessie Henson
“Whispering (From the Beginning)”, 2026
Polyester and rayon thread on paper
32 x 22 x 2 inches
81.3 x 55.9 x 5.1 cm
Installation image courtesy of the Joslyn Art Museum, with photography by Dana Damewood. Portrait of the artist by Mike Vitelli, New York. Artwork images by Christopher Burke, New York.
“The simplest description of Leonardo Drew is that he is a sculptor. It is also inadequate. He is a builder of pressure systems, a draftsman of matter, a composer of weathered surfaces, a choreographer of collapse, a formal thinker whose medium is transformation itself.”
KOLUMN Magazine offers a closer look at Leonardo Drew’s life and work, situating his practice within a broader inquiry into material, time, and change. Read the full article via the link in our bio.
Artwork Image:
Leonardo Drew
“Number 381”, 2023
Cast bronze and paint
96 x 72 x 76 inches
243.8 x 182.9 x 193 cm
Hand-cut and technically exacting, Jasmin Sian’s practice offers a meditation on transience, perception, and care. In “The Wonderworld of Fennel and Jasmin”, a lace-like composition is paired with a handmade miniature catalog, inviting a cross-media encounter with the artist’s deep attention to process and detail.
Working on found materials such as deli bags and confectionery wrappers, Sian reconstitutes them into delicate, filigreed structures. Within these compositions, botanical forms—Texas pines, New York ginkgos, and small studies of chickweed, clover, and thyme—coexist with finely rendered birds and other animal friends, shaped by the artist’s connection to nature through both daily observation and lived memory. Her all-season bicycle rides through New York City offer a slower pace and room for attentive looking, allowing the natural world to emerge within the urban environment, while recollections of her mother’s garden in the Philippines and the Texas bayou inform the plants and animals that appear. The works reward sustained looking, revealing an intricacy that belies their modest scale.
A selection of her work is currently on view at the Whitney Biennial.
Images:
Jasmin Sian
“The Wonderworld of Fennel and Jasmin”, 2015
Ink, graphite and cut-outs on deli bag paper; mixed media on leftover gold leaf book; wooden shelf
Coat of arms: 4 1/2 x 5 1/4 inches (11.4 x 13.3 cm)
Book: 3 3/4 x 3 3/4 inches (9.5 x 9.5 cm)
Shelf: 5 1/2 x 11 3/4 x 7 1/2 inches (14 x 29.8 x 19.1 cm)
Bridging the intimate and the iconic, Libby Black creates a living collage from a constellation of references drawn from her personal archive, blurring the boundaries between biography, pop culture, and art history. Reimagined in watercolor, acrylic, ink, and graphite, her recreations of artist postcards, fashion ads, and personal ephemera reflect how the personal and political, the fleeting and the lasting, exist side by side—reframing the everyday as something worth a closer look.
Libby Black
“Kiss of Life”, 2026
Installation comprised of over sixty individual drawings, watercolor and paper sculptures. Materials include: watercolor, pencil, gouache, acrylic paint, paper, and glue
Dimensions variable with installation
