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“Brick & Mortar” & other types of spaces for artists to flourish: Reflect & discussion with Yvonne Force Villareal @culturecorps , Josh Bear @baerfaxt and Allan Schwartzman @schwartzman.art , moderated by Jenny Wu
Join us @gazelliarthouse

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“What? Why did you ask that? What do you know about my image duplicator?” Opening this weekend: The Whitney Museum’s survey of Roy Lichtenstein ‘Like New’ is brilliant and brilliantly installed, and the perfect show for now. Co-curated by Meg Onli and guest artist Alex Da Corte, the show explores a fascinating obsession with how images are copied, altered, disseminated and consumed. Lucid and tight, it gathers many of the artist’s most iconic images - crying girls, laughing cats, brushstrokes, and mirrors - including a complete rehang of Lichtenstein’s legendary 1962 solo debut at Leo Castelli Gallery. Matisse, Sturtevant, Louise Lawler, and Richard Pettibone make surprise guest appearances, among others. See it on repeat! 💥 💥 💥

#roylichtenstein @roylichtenstein
@whitneymuseum @schwartzman.art
#roylichtensteinlikenew @augustoarbizo

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With Art Week NYC just a month away, advisor and curator Augusto Arbizo of Schwartzman& shares his guide to Tribeca, highlighting Margot Samel, Southern Guild, and Marian Goodman Gallery. From Annie Hémond Hotte’s symbolist paintings to Nairy Baghramian’s sculptures and installations, the exhibitions reflect the range of the neighborhood’s gallery programs.

Between gallery visits, Arbizo recommends Vietnamese food at Pasteur Grill and sponge cake at Kam Hing Coffee Shop in Chinatown.

Art Week NYC takes place November 11–14, bringing together more than eighty galleries and over twenty-five institutions across the city.

Explore the program at the link in bio.

Images:
–Augusto Arbizo. Photo: Courtesy of Schwartzman&, New York.Augusto Arbizo. Photo: Courtesy of Schwartzman&, New York.
–Margot Samel.
–A work by Amine El Gotaibi.
–Marian Goodman Gallery. Photo: Alex Yudson.
–Kam Hing Coffee Shop.

#ArtWeekNYC

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Krasner and Pollock: Past Continuous opens today in New York. Bringing together over 120 paintings, this breathtaking, landmark exhibition at The Metropolitan Museum of Art is the first comprehensive NY presentation devoted to their work in more than two decades and is beautifully curated by David Breslin and Brinda Kumar. It proposes a complex and fascinating story of parallel practices and individual breakthroughs, and contextualizes their stories against the backdrop of 1940s Manhattan and later in the Springs, Long Island. After his death in 1956, Krasner outlived Pollock by 27 years, managing his legacy while advancing her own - fascinating to see evolve here, in paintings. Including many stupendous loans and groupings of works - the show is a stunner!

@pollockkrasnerfoundation #leekrasner
#jacksonpollock @metmuseum @davidcbreslin @brinda.k @schwartzman.art

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We’re proud to celebrate the APAA members recognized by @ARTnews among the Top 150 Art World Professionals, a testament to the expertise, ethics, and leadership that define our community of art advisors.

Congratulations to Agopian Art Advisory, AWG Art Advisory, Victoria Burns Art Advisory, Cromwell Art, EAB Fine Art Services, Andrea Feldman Falcione, Elizabeth Fiore Art Advisory, Patti Gilford Fine Arts, Goodman Taft, Hazen Art Advisory, Megan Fox Kelly Art Advisory, Lester Fine Art, LSS Art Advisory, Ruth | Catone | Goulding, Samuels Creative & Co., Schwartzman&, Chrissie Shearman Art Advisory, Sokoloff + Associates, Elizabeth Szancer, Worth Art Advisory, and Zlot Buell + Associates.

Advisors work at the center of the art ecosystem, building collections with their clients over time and in close collaboration with artists, galleries, institutions, conservators, framers, art handlers, and shippers. Their inclusion underscores that role in shaping collections, guiding stewardship, and advancing transparency across the art market.

Congratulations to all on this well-deserved recognition!

@aileenagopian @awgartadvisory @victoriaburnsart @cromwellartllc @eabfine @laartadvisor @fioreelizabeth @pattigilfordfinearts @abigail_ross_goodman @andreahazen @meganfoxkelly @lesterfineart @lssartadvisory @samuelscreative @schwartzman.art @christinashearman_art_advisory @anasokoloff @elizabethszancer @worthartadvisory @maryzlot @sabrinabuell

#AssociationofProfessionalArtAdvisors #ARTnews #topartprofessionals #artadvisor

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A fun fall dinner to mark and celebrate the new season in New York, with art colleagues and friends, at Schwartzman&, surrounded by an installation of inspiring works by women artists including Virginia Chihota, Jackie Ferrara, Hannah Wilke, and Elizabeth Murray.

@schwartzman.art @simonprestonnyc @michaelrudokas @jules.her_

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‘Proserpina / Devil Chaser: Rosemary Mayer and Ree Morton’ on view at Gordon Robichaux, Friday thru Sunday 12-6pm and by appointment.

This is the first two-person presentation dedicated to the work of Rosemary Mayer and Ree Morton—groundbreaking artists who shared a friendship for several years before Morton’s untimely death in 1977. While closely associated with the feminist art movement and Post-Minimalism, their radical, multidisciplinary practices exceed these categorizations. Inspired by a wide range of overlapping interests including language, memory, and the natural world, Mayer and Morton developed their own distinct material and conceptual vocabularies and embraced hybridity, decoration, allegory, theatricality, kitsch, and biography as critical forms.

The installation at Gordon Robichaux is anchored by Rosemary Mayer’s ‘Proserpina’ and Ree Morton’s ‘Devil Chaser,’ two rarely exhibited sculptures created in 1975 that were inspired by plants, flowers, and the language and mythology connected to them. The exhibition also gathers together and integrates artworks that expand on the artists’ affinities and divergences, including several of Mayer’s delicate color pencil and watercolor drawings exploring fabric, flowers, and language; a recording of Mayer reading from her 1976 artist’s book ‘Passages;’ and a series of Morton’s ‘Signs of Love’ text paintings and ‘Beaux’ sculptures. Two works on view directly memorialize the artists’ friendship: a flag dedicated to Mayer from Morton’s ‘Something in the Wind’ installation (1975) and a drawing from Mayer’s balloon work ‘Some Days in April (1978),’ made the year after Morton’s death.

The artists’ friendship, exchange, and practices are also contextualized through a selection of archival materials including correspondence, publications, sketchbook drawings, and installation and performance documentation.

The exhibition is presented in collaboration with The Estate of Rosemary Mayer and The Estate of Ree Morton, with the support of Allan Schwartzman.

IMAGE: Ree Morton ‘Beaux’ c. 1974, Enamel on celastic, 9 x 9¾ x 1¼ in

@rosemarymayerar @helenmariereillymorton #ReeMorton #RosemaryMayer

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“In classic New York style, these two Romantic Conceptualists, whose paintings, sculptures, and installations elide the difference between material form and rhetorical description-each artist radical in their rigorous commitment to sentimental or cliché motifs, each the creator of gestures, atmospheres, settings—fashioned gorgeous innovation from minimal, lean resources, see: Ree Morton’s single-word oil paintings and Rosemary Mayer’s rarely exhibited 1975 ‘Proserpina,’ a model sculpture inspired by the Greek goddess indentured to a husband from hell, which gives Vladimir Tatlin’s ‘Monument to the Third International’ a run for its money (bigger isn’t better, bitch). —Paige K. Bradley for Cultured

@guiltgroupe @rosemarymayerart #RosemaryMayer #ReeMorton @schwartzman.art @helenmariereillymorton #Proserpina

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Opening Sunday at Gordon Robichaux: ‘Proserpina / Devil Chaser: Rosemary Mayer and Ree Morton’

Sunday September 13th, 12-6pm

This is the first two-person presentation dedicated to the work of Rosemary Mayer and Ree Morton—groundbreaking artists who shared a friendship for several years before Morton’s untimely death in 1977. While closely associated with the feminist art movement and Post-Minimalism, their radical, multidisciplinary practices exceed these categorizations. Inspired by a wide range of overlapping interests including language, memory, and the natural world, Mayer and Morton developed their own distinct material and conceptual vocabularies and embraced hybridity, decoration, allegory, theatricality, kitsch, and biography as critical forms.

The installation at Gordon Robichaux is anchored by Rosemary Mayer’s ‘Proserpina’ and Ree Morton’s ‘Devil Chaser,’ two rarely exhibited sculptures created in 1975 that were inspired by plants, flowers, and the language and mythology connected to them. The exhibition also gathers together and integrates artworks that expand on the artists’ affinities and divergences, including several of Mayer’s delicate color pencil and watercolor drawings exploring fabric, flowers, and language; a recording of Mayer reading from her 1976 artist’s book ‘Passages;’ and a series of Morton’s ‘Signs of Love’ text paintings and ‘Beaux’ sculptures. Two works on view directly memorialize the artists’ friendship: a flag dedicated to Mayer from Morton’s ‘Something in the Wind’ installation (1975) and a drawing from Mayer’s balloon work ‘Some Days in April (1978),’ made the year after Morton’s death.

The artists’ friendship, exchange, and practices are also contextualized through a selection of archival materials including correspondence, publications, sketchbook drawings, and installation and performance documentation.

The exhibition is presented in collaboration with The Estate of Rosemary Mayer and The Estate of Ree Morton, with the support of Allan Schwartzman.

IMAGES: Ree Morton ‘Devil Chaser’ 1975, elastic and enamel on wire, 20.5 x 46 x 21 in

#ReeMorton @helenmariereillymorton @rosemarymayerart @gordonrobichaux

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Opening Sunday at Gordon Robichaux: ‘Proserpina / Devil Chaser: Rosemary Mayer and Ree Morton’

Sunday September 13th, 12-6pm

This is the first two-person presentation dedicated to the work of Rosemary Mayer and Ree Morton—groundbreaking artists who shared a friendship for several years before Morton’s untimely death in 1977. While closely associated with the feminist art movement and Post-Minimalism, their radical, multidisciplinary practices exceed these categorizations. Inspired by a wide range of overlapping interests including language, memory, and the natural world, Mayer and Morton developed their own distinct material and conceptual vocabularies and embraced hybridity, decoration, allegory, theatricality, kitsch, and biography as critical forms.

The installation at Gordon Robichaux is anchored by Rosemary Mayer’s ‘Proserpina’ and Ree Morton’s ‘Devil Chaser,’ two rarely exhibited sculptures created in 1975 that were inspired by plants, flowers, and the language and mythology connected to them. The exhibition also gathers together and integrates artworks that expand on the artists’ affinities and divergences, including several of Mayer’s delicate color pencil and watercolor drawings exploring fabric, flowers, and language; a recording of Mayer reading from her 1976 artist’s book ‘Passages;’ and a series of Morton’s ‘Signs of Love’ text paintings and ‘Beaux’ sculptures. Two works on view directly memorialize the artists’ friendship: a flag dedicated to Mayer from Morton’s ‘Something in the Wind’ installation (1975) and a drawing from Mayer’s balloon work ‘Some Days in April (1978),’ made the year after Morton’s death.

The artists’ friendship, exchange, and practices are also contextualized through a selection of archival materials including correspondence, publications, sketchbook drawings, and installation and performance documentation.

The exhibition is presented in collaboration with The Estate of Rosemary Mayer and The Estate of Ree Morton, with the support of Allan Schwartzman.

IMAGE: Ree Morton ‘Atmospheres (Signs of Love)’ 1976, Oil on plywood, 13½ x 18 in

#ReeMorton

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Please join Gordon Robichaux and Schwartzman& for ‘Rosemary Mayer and Ree Morton,’ a panel discussion with Kendall DeBoer, Tausif Noor, Gillian Sneed, and Allan Schwartzman moderated by Marie Warsh

Tuesday September 15th, 2026 6:00pm
Schwartzman&
535 West 22nd Street, 4th Floor
New York, New York 10011

*RSVP is essential: mara@gordonrobichaux.com.
Seating is limited and confirmation is required.*

Presented in conjunction with the exhibition ‘Proserpina / Devil Chaser: Rosemary Mayer and Ree Morton’ on view at Gordon Robichaux September 13 - November 1, 2026

Images: (Left:) Rosemary Mayer ‘Untitled Floral Form’ 1976, Watercolor on paper, 26 x 20 in, Courtesy Gordon Robichaux, NY, and The Estate of Rosemary Mayer (Right:) Ree Morton ‘Test Piece’ c. 1975, Enamel on celastic, wire and wood, 6 x 12 x 1½ in, Courtesy The Estate of Ree Morton

@gordonrobichaux @schwartzman.art @tausifnoor @gilliansneed @silkyjuicy @marierayray @allan_schwartzman @rosemarymayerart

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Exploring the Cleveland Museum of Art, a treasure-filled encyclopedic museum with strong holdings of Greek and Roman sculptures, American paintings, European Renaissance, and Asian antiquities, among others. Highlights include: Picasso’s La Vie, George Bellows’ Stag at Sharkeys, and Warhol’s 100 Marilyns.

1 George Bellows
2 Chardin
3 Hammershoi (new acquisition)
4 Monet
5 Picasso’s La Vie, Modigliani
6 Gauguin
7 Orazio Gentilleachi
8 European paintings
9 Andrea del Sarto
10 Caravaggio
11 Cleveland Apollo, 4th c. BCE
12 Greek and Roman busts
13 Protective Figure, Assyrian 833-859 BC
14 Seated Buddha, Heian Period
15 Luohan Figures, Song / Yuan Dynasty
16 @simoneyvetteleigh, Rembert, Rashid Johnson
17 Alice Neel
18 Warhol 100 Marilyns
19 Krasner, Chamberlain
20 Pollock

@clevelandmuseumofart @schwartzman.art
#clevelandmuseumofart @augustoarbizo

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