BlackBook Art Gallery (2026)

Art + Impact is our ongoing social and cultural series that explores pressing contemporary issues and global conversations, through art. ART + IMPACT

BlackBook is an award winning arts & culture brand, founded in 1996 by Evanly Schindler as a print magazine, publishing and media company. Since its inception, BlackBook has been a point of convergence for social impact, culture, and art. Known for

its creative collaborations, the print magazine worked with leading brands and talent, serving as a launching pad for then-emerging names that have now become leaders in the arts and culture and entertainment fields. BlackBook debuted their Art+Impact initiative–an immersive series that includes exhibitions, books, podcasts, and events–that looks at the most pressing contemporary cultural issues through the lens of art. The series builds on BlackBook’s original ethos: to create a space where the world’s most influential artists and writers can address–and change–the cultural tides. BlackBook is also a full-service art advisory, and has partnered with some of the world's largest institutions, galleries, and collectors to exhibit and sell art.

01/05/2026

Honored to announce our Po***ck-Krasner House collaboration for our Summer Exhibition, “The Lost Generation: Then and Now”: AbEx and Contemporary Abstraction—it all starts in Springs NY, 1952, when Jackson Po***ck and Lee Krasner moved from Manhattan to live and work as artists in the Hamptons. Their home and studio is now the famed Po***ck-Krasner House.

Featured in our show are 1 of 6 screen prints from Po***ck’s 1951 black paintings. A technique later legitimized by Andy Warhol’s fine art use. And in 1962 Lee Krasner, with 110 artists, was commissioned to create a suite of 200 stone lithographs to decorate 2,200 rooms in the New York Hilton Hotel at Rockefeller Center.

On view May 22, 2026, , Southampton, NY.

On view: Jackson Po***ck, Untitled (after Number 8 [Black Flowing]),1964
Lee Krasner, Refractions, 1962
Both works are on loan from the Po***ck-Krasner House.

***ckKrasner

15/04/2026

Amy Sherald

From “Freestyle” (2001) () to the present, Black figuration has ascended into a defining force, paving roads for artists like Amy Sherald, who has carried that shift into institutional and cultural permanence.

Our Hamptons exhibition, Summer Figuration, follows this arc from those who shaped the movement, and those now expanding its language.

Opening May 22
Memorial Day Weekend
BlackBook Art Gallery, Hamptons

Pictured: Amy Sherald, Welfare Queen, 2012. On view May 22 - September 30 at BlackBook Art Gallery.

16/12/2025

Re-introducing ourselves: BlackBook Media is now BlackBook Art Gallery.
Find us at BlackBookArtGallery.com or reach us at [email protected]

11/12/2025

Flip through our art book with us!

Mother Nature in the Bardo brings together artists Van Gogh, Raymond Pettibon, Ed Ruscha, Andy Warhol, (and many more) with thinkers like Lucia Pietroiusti, Klaus Biesenbach, and Dr. Wes Sechrest of Re:wild into conversation around art, culture, and nature. Created in collaboration with UNESCO’s Global Education Monitoring (GEM) Report, the book expands upon the ethos of our 2025 traveling exhibition.

From starry skies to deep seas, protest signs to wild gardens, each page is a small portal into how artists have imagined our relationship to the natural world. Swipe through to peek inside... then imagine it on someone’s coffee table (or yours) this holiday season. Link to order in our bio!

08/12/2025

With sadness, immense gratitude, and celebration, we remember Frank Gehry (1929–2025).

“Architecture and any art can transform a person, even save someone. It can for children—for anyone. It still does for me.” - Frank Gehry

Gehry reshaped how we think about buildings, with Guggenheim Bilbao, Walt Disney Concert Hall, and so many others, he proved that architecture could be both civic landmark and living sculpture. His work bent metal and light into motion, expanding what a city, museum, concert hall or home could feel like.

That sense of movement had a quiet, personal origin: the carp he watched as a child swirling in his grandmother’s bathtub. The fish became a kind of lifelong companion in his imagination: an emblem of fluidity, light on scales, and forms that flex rather than follow the straight line. It surfaces again and again in his buildings, public sculptures, and studio works, where structure and sculpture fuse into one continuous flowing gesture.

The work we’re honored to have on view, Frank Gehry, Untitled (London I), 2013, belongs to that same current. Metal wire traces a drawing in space, while planes of ColorCore-formica catch and release light like a creature turning just beneath the surface. It’s not simply a model or a fragment, but a concentrated glimpse of the energy that runs through his most iconic projects.

We share this piece with deep gratitude for Gehry’s extraordinary contributions to art and architecture. His work leaves us with a living legacy: cities that feel more open and alive, generations of artists and architects who have drawn courage from his example, and a reminder that even the most radical forms can grow from something small, personal, and spiritual. His influence endures in every curve of metal and every flicker of light that still makes us stop, look up, and feel wonder.

25/11/2025

We’re thrilled to share that this quietly uncanny Dalí painting - Landscape with Telephones on a Plate, 1939 - has been placed by BlackBook Art Gallery into the Detroit Institute of Arts permanent collection. It was featured in our exhibition this Spring, Mother Nature in the Bardo, in Chelsea NYC.

Painted on the eve of World War II, it belongs to the artist’s remarkable “telephone” pictures—works in which black receivers scattered across plates and beaches turn everyday technology into a symbol of ominous messages and anxious waiting, echoing the tense phone diplomacy of the late 1930s.

This panel once belonged to the great Surrealist patron Edward James, the eccentric poet who championed Dalí in Britain and commissioned icons like the Lobster Telephone and the Mae West Lips sofa. It’s hard not to hear Dalí’s own deadpan line as you look at the receivers coiled on the plate: “I do not understand why, when I ask for grilled lobster in a restaurant, I’m never served a cooked telephone.”

At the DIA, Landscape with Telephones on a Plate joins a growing Surrealist constellation that has recently included Dalí “guest of honor” displays alongside Frida Kahlo near Diego Rivera’s Detroit Industry murals, and new acquisitions by artists such as Remedios Varo and Alice Rahon. We’re honored to see this painting find a permanent home in one of America’s great museum collections.

#1939

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