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BlackBook Media BlackBook is an award winning arts & culture brand, founded in 1996.

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.

Tonight at BlackBook Art Gallery — we’re thrilled to welcome guests of the Hamptons International Film Festival for an e...
09/10/2025

Tonight at BlackBook Art Gallery — we’re thrilled to welcome guests of the Hamptons International Film Festival for an evening celebrating art, film, and shared stories.

Join us as we honor filmmaker Paige Bethmann and her documentary Remaining Native, presented alongside our exhibition Mother Nature in the Bardo, featuring works by Nicholas Galanin, Joan Mitchell, Ed Ruscha, Alexander Calder, Ai Weiwei, Yosh*tomo Nara, and others

An evening of creativity, conversation, and connection — where art and film meet in the spirit of change and transformation.

In collaboration with the Hamptons International Film Festival, BlackBook Art Gallery presents an evening celebrating th...
07/10/2025

In collaboration with the Hamptons International Film Festival, BlackBook Art Gallery presents an evening celebrating the intersections of cinema, art, nature, and spirit.

Following the screening of Remaining Native, Paige Bethmann’s moving documentary on Ku Stevens, a 17-year-old Native American runner and artist, join us for a night of art, music, film, cocktails, and conversation.

Our exhibition speaks to nature, culture, and spirituality, and this special event will highlight how these topics are being addressed in the art and film worlds. We look forward to welcoming you!

BlackBook Art Gallery
245 County Rd 29, Southampton, NY, 11968

“I think of my art materials not as junk but as garbage. Manure, actually: it goes from being the waste material of one ...
08/09/2025

“I think of my art materials not as junk but as garbage. Manure, actually: it goes from being the waste material of one being to the life-source of another.” - John Chamberlain

For Chamberlain, sculpture evoked both the gestural brushwork of painting as seen in the work of one of his greatest influences, Willem de Kooning, and the spontaneity of poetry. He was a master of transforming industrial waste, automotive wreckage, and other scraps of twisted metal into colorful, lyrical displays. With Popsicletoes (2007), Chamberlain turns these scraps into something alive and blooming, standing tall and reaching toward the sky like a tree or blooming flower. In Mother Nature in the Bardo, this work resonates as both collision and renewal. The detritus of modern industry is reshaped into forms that ripple and sway like the forest canopy, evoking the liminal space between destruction and rebirth.

Wolf in sheep cloths? Not quite.Nicholas Galanin’s, Escape from inertia, 2020, is static between life and death in the B...
07/09/2025

Wolf in sheep cloths? Not quite.
Nicholas Galanin’s, Escape from inertia, 2020, is static between life and death in the Bardo as the wolf transcends, reclaiming its body and spirit leaping back toward existence-breaking gallery walls.
The artist rebukes institutional representations of indigenous art and cultures as frozen in time.
Of Tlingit/Unangax descent, an indigenous artist of Alaska, Nicholas says he has deep connections to the land, water, and more-than-human world...
In view now at BlackBook Art Gallery, Southampton, NY

BUTTERFLIES, BOMBS, BIRDS — DAMIEN HIRST, ROBERT LONGO, LUCIAN FREUD: Of Hirst’s Butterflies, critics say they’re visual...
06/09/2025

BUTTERFLIES, BOMBS, BIRDS — DAMIEN HIRST, ROBERT LONGO, LUCIAN FREUD:
Of Hirst’s Butterflies, critics say they’re visual metaphors for fleeting life and the romance of death; Hirst said, Butterflies are ephemeral in life and eternal in art. One of the few creatures that looks as beautiful in life as in death.

Unlike the flower like explosion of a nuclear bomb, in Robert Longo’s, Study of Grable, from Lust of the Eyes, 2003, immortalizing in charcoal humanities most final act. Longo dances with spiritual themes- Drawn from a biblical phrase (1 John 2:16), and celebrity worship as in Betty Grable.

Dead Bird on a Bamboo Table, 1944, Lucian Freud (grandson to Sigmond) is blunt if not matter of fact. He loved all things animal and particularly birds, keeping them as pets and creating art of them. His students pondered if Freud was more animal than man?

The Bardo is a concept from Tibetan philosophy—a space of transition, reflection, and transformation. Our exhibition explores the dialogue between the natural world, humanity, spirituality, and the creative world.

Mother Nature in the Bardo is on view now at our Hamptons gallery, 245 county road 39, Southampton, NY, open Thursday through Sunday 11am - 7pm, through the fall 2025

BUTTERFLIES, BOMBS, BIRDS — DAMIEN HIRST, ROBERT LONGO, LUCIEN FREUD: Of Hirst’s Butterflies, critics say they’re visual...
06/09/2025

BUTTERFLIES, BOMBS, BIRDS — DAMIEN HIRST, ROBERT LONGO, LUCIEN FREUD:
Of Hirst’s Butterflies, critics say they’re visual metaphors for fleeting life and the romance of death; Hirst said, Butterflies are ephemeral in life and eternal in art. One of the few creatures that looks as beautiful in life as in death. Unlike the flower like explosion of a nuclear bomb, in Robert Longo’s, Study of Grable, from Lust of the Eyes, 2003, immortalizing in charcoal humanities most final act. Longo dances with spiritual themes- Drawn from a biblical phrase (1 John 2:16), and celebrity worship as in Betty Grable.
Dead Bird on a Bamboo Table, 1944, Lucien Freud (grandson to Sigmond) is blunt if not matter of fact. He loved all things animal and particularly birds, keeping them as pets and creating art of them. His students pondered if Freud was more animal than man?

* The Bardo is a concept from Tibetan philosophy—a space of transition, reflection, and transformation. Our exhibition explores the dialogue between the natural world, humanity, and creativity.

Mother Nature in the Bardo is on view now at our Hamptons gallery, 245 county road 39, Southampton, NY, open Thursday through Sunday 11am - 7pm, through the fall 2025

On view now at BlackBook’s Southampton Gallery through the fall: Frank Gehry’s Untitled (London I), 2013. As a boy, Fran...
01/09/2025

On view now at BlackBook’s Southampton Gallery through the fall: Frank Gehry’s Untitled (London I), 2013. As a boy, Frank’s grandmother brought home a live carp weekly, letting it swim in the bathtub before preparing it for gefilte fish. It became a symbolic and emotional form throughout his life and work: “the perfect form” and “a complete vocabulary,”—form, fluidity, and motion. Their curves and reflective surfaces inspired his use of flowing, dynamic architecture, as in his Guggenheim Bilbao’s shimmering titanium skin resembling fish scales, and his Walt Disney Concert Hall (2003); its undulating stainless steel forms recall both sails and fish fins.

A recurring motif for Gehry that embodies his experimental approach to structure and movement. His iconic fish lamps, first created in 1983, trace the evolution of this fascination, culminating in works like Untitled (London I), 2013, where fluidity and form converge in light. At night, or with the lights off, an iridescent glow illuminates surroundings, from beneath the scales and gills of the swimming fish.

On view until Wednesday: Jean Dubuffet in Mother Nature in the Bardo at through April 30. “L’homme à la toque” (1956) ...
25/04/2025

On view until Wednesday: Jean Dubuffet in Mother Nature in the Bardo at through April 30.

“L’homme à la toque” (1956) is one of many works from the exhibition in which artists breathe new life into waste, debris, or recycled material, transforming them into art objects. Dubuffet used an impasto thickened by natural materials such as sand, tar and straw, and used elements of collage by recycling different discarded papers and other ephemera.

Mother Nature in the Bardo is an art exhibition and book created by in collaboration with ’s that explores the convergence of art, culture, the environment, and spirituality. The exhibition is a viewing and selling show, with a portion of the proceeds donated to environmental organizations. With over 70 works spanning the last 250 years, the exhibition examines how artists address nature through their practice, and the ways in which art, social themes, and culture impact and influence each other.

📸: Jean Dubuffet, L’homme à la toque, 1956, Oil and collage on canvas, 51 ½ x 33 ½ in.

Wishing everyone a very happy Earth Day with Doug Aitken’s “Earth Plane” (2015), on view in Mother Nature in the Bardo, ...
22/04/2025

Wishing everyone a very happy Earth Day with Doug Aitken’s “Earth Plane” (2015), on view in Mother Nature in the Bardo, an exhibition honoring and exploring the environment. This work is on view at through April 30. Aitken is a contemporary multimedia artist known for his bold sculptures and works that explore the relationship between evolution and ecology. Aitken often creates “living artworks,” that combine nature and technology, building installations that evolve through both environmental and artistic intervention. “Earth Plane” is a sprawling sculpture layered with a luminous image of a quarry. The deep, ancient beauty of exposed stone — shaped by millions of years of geological activity — is juxtaposed with the small-scale machinery poised to extract it. The piece offers a powerful meditation on the complex relationships between humanity and the planet’s resources.

Mother Nature in the Bardo is an art exhibition and book created by in collaboration with ’s that explores the convergence of art, culture, the environment, and spirituality. The exhibition is a viewing and selling show, with a portion of the proceeds donated to environmental organizations. With over 70 works spanning the last 250 years, the exhibition examines how artists address nature through their practice, and the ways in which art, social themes, and culture impact and influence each other.

📸: Doug Aitken, Earth Plane, 2015, Aluminum lightbox, LED lights, UV-cured pigment ink on acrylic, 94 x 88 1/4 x 7 in., Edition 4 of 4. Courtesy of the artist and 303 Gallery, New York.

In honor of earth day tomorrow, Mother Nature in the Bardo, an exhibition celebrating the environment, looks to the impr...
21/04/2025

In honor of earth day tomorrow, Mother Nature in the Bardo, an exhibition celebrating the environment, looks to the impressionists - Paul Signac, Claude Monet, and Alfred Sisley - who in response to the Industrial Revolution went outside to paint en plain air. All three are featured in our show at through April 30.

Mother Nature in the Bardo is an art exhibition and book created by in collaboration with ’s that explores the convergence of art, culture, the environment, and spirituality. The exhibition is a viewing and selling show, with a portion of the proceeds donated to environmental organizations. With over 70 works spanning the last 250 years, the exhibition examines how artists address nature through their practice, and the ways in which art, social themes, and culture impact and influence each other.

📸: Paul Signac, Pilote de la Meuse, 1924, Oil on canvas, 19 ¾ x 25 ⅝ in.
📸: Claude Monet,Hiver à Giverny, 1886, Oil on canvas, 23 ⅝ x 32 ¹⁄₁₆ in.
📸: Alfred Sisley, Le Lavoir de Billancourt, 1879, Oil on canvas, 19 ¹³⁄₁₆ x 25 ¹³⁄₁₆ in.

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