Col Gallery Exhibition nof Antwoine Washington opens September 4, & runs through November 6, 2026

 Mr. Washingtons work is unique and powerful delivering texture and color forms to create his vision. 

Upcoming exhibition Antwoine Washington: Life Be Lifing Opening september 4

We are excited to present Antwoine Washington: Life Be Lifing on view September 4th through November 6th.

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About the artist Before committing to painting full-time, Antwoine Washington worked as a mail carrier for the United States Postal Service. The rhythm of walking routes, moving through neighborhoods, and witnessing the intimate routines of daily life sharpened his sensitivity to family, place, and the quiet gestures that shape a sense of belonging. In 2018, Washington survived a stroke that compelled him to pause and reconsider the course of his life. The experience deepened his understanding of care, vulnerability, and the fragility of the everyday—themes that now resonate throughout both his portraits of family life and his more abstract paintings.

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"Growing up, I was fascinated by the Harlem Renaissance artists and how they connected to West African cultures. Artists like Jacob Lawrence and Elizabeth Catlett weren’t just creating art — they were exploring identity, pan-Africanism, and what it means to be Black. I’m telling stories about our community — stories of struggle, resilience, joy."

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BIO Washington was born in Pontiac, Michigan in 1980 and earned his BA in Studio Art from Southern University and A&M College in Baton Rouge, Louisiana. His work has been presented at the Cleveland Museum of Art, moCa Cleveland, the Cincinnati Art Museum, the Cleveland Hopkins International Airport, among others. Washington currently lives and works in Cleveland, Ohio and is represented by Shaheen Gallery.

​"Creating art became my rehabilitation, my way of reconstructing myself. Each piece is a testament to survival, to transformation."

COL Gallery 887 Beach Street San francisco, ca www.colgallery.com

Guangdong Museum of Art Presents Forst MajorMuseum Retrospective of Oswaldo Vigas in Asia August 15- November 22, 2026.

 Link to more information about the artists and his works below. 

Guangdong Museum of Art Presents First Major Museum Retrospective of Oswaldo Vigas in Asia

Spanning seven decades, Oswaldo Vigas: Reality Is What I Imagine brings the Venezuelan modernist’s practice to China  The exhibition explores Vigas’s “amphibian modernity” through a transpacific dialogue between Latin America and China

Oswaldo Vigas, El Alacran, 1952. Image courtesy of Oswaldo Vigas Foundation Archives. Photo: Renato Donzelli.

GUANGZHOU, CHINA — August 13, 2026 — The Guangdong Museum of Art presents Oswaldo Vigas: Reality Is What I Imagine, the first major museum retrospective of the Venezuelan artist in Asia, on view August 15 through November 22, 2026. Spanning seven decades of Vigas’s practice, the exhibition brings together a focused selection of paintings alongside rarely seen archival materials, offering a new perspective on an artist whose work challenged the boundaries between abstraction and figuration, modernity and ancestry, and European artistic traditions and the cultural histories of Latin America.  Co-organized with Kwai Fung Hin Art Gallery and supported by the Oswaldo Vigas Foundation, the exhibition is co-curated by Venezuelan curator Gabriela Rangel and Chinese curator Jiang Jun. Their collaboration places Vigas within a broader reconsideration of modernism beyond a predominantly Eurocentric framework, bringing a Latin American artistic experience into dialogue with a Chinese perspective on the multiple and multidirectional histories of modern art.  Rather than positioning Vigas as a peripheral figure within an established history of Western modernism, the exhibition examines how he developed an autonomous visual language from the intersection of multiple cultural histories. His seven-decade career moved between Venezuela and Paris and across abstraction, figuration, Informalism, and neo-figuration, while remaining deeply connected to the ancestral imagery, myths, and material culture of Latin America.  Rangel describes this refusal to settle into a single artistic or cultural category as Vigas’s “amphibian modernity”—a practice capable of moving between different cultural and aesthetic ecosystems without belonging exclusively to any one of them. Vigas, she argues, did not simply adopt European modernism; he transformed it through a sustained engagement with the histories, symbols, and cultural memory of Latin America.

“I have never been rigorously abstract, nor rigorously figurative. What I have always tried to be, is rigorously Oswaldo Vigas.” — Oswaldo Vigas

Born in Valencia, Venezuela, in 1923, Vigas initially studied medicine before dedicating himself fully to painting. From the 1940s onward, he developed a distinctive body of work rooted simultaneously in international modernism and the cultural heritage of Latin America. His early Brujas (Witches) emerged from his exploration of pre-Columbian imagery, including the Venus of Tacarigua and Venezuela’s ancient petroglyphs, transforming ancestral forms into hybrid figures that occupy the space between the human, animal, and mineral worlds. His visual language also drew on African art and the ancestral traditions of the Americas. During his years in Paris, from 1952 to 1964, Vigas encountered the international exchanges surrounding postwar modernism, yet rather than adopting a single European model, he developed an increasingly independent language that moved between organic geometric abstraction, Informalism, and neo-figuration, while retaining a connection to the symbolic forms of his earlier work.  Curator Jiang Jun approaches Vigas’s work from a perspective that questions the traditional, Western-centered account of modernism. He places the artist within a broader, polycentric and multidirectional history of modern art, in which different cultural traditions are understood as active sites of modernity rather than secondary responses to European models.

“Vigas’s art transformed cultural friction, identity crises, and cultural consciousness into a powerful creative force, achieving a localized reconstruction of modernism.”  — Jiang Jun, co-curator

Jun places Vigas’s work in dialogue with ancient Chinese and Indigenous American civilizations. Through this comparative approach, the exhibition considers how modernism might be understood when viewed through multiple cultural and geographic centers rather than as a single universal model. He offers a different reading of Vigas’s trajectory, one in which Vigas’s engagement with modernism is shaped by the complex cultural history of Latin America.  The exhibition unfolds across four periods of Vigas’s career: his early engagement with ancestral figuration and the Brujas series; his transformative years in Paris; his return to Venezuela and development of a syncretic neo-figuration; and the increasingly liberated biomorphic language of his later decades. Together, these works reveal a practice characterized not by stylistic consistency, but by continual movement, reinvention, and return.  The presentation at the Guangdong Museum of Art marks a significant new chapter in the international recognition of Oswaldo Vigas, bringing his seven-decade practice to Chinese audiences and placing his work within a broader conversation about the multiple histories and geographies of modern art.

Oswaldo Vigas: Reality Is What I Imagine  August 15 – November 22, 2026  Guangdong Museum of Art (Bai'etan), Halls 7 & 8, 2/F  Guangzhou, China  ABOUT THE CURATORS  Gabriela Rangel is Executive Director of the Museum of Contemporary Art Tucson (MOCA). From 2019 to 2021, she served as Artistic Director of MALBA, Buenos Aires, and from 2004 to 2019 was Director of Visual Arts and Chief Curator at Americas Society in New York. She has curated numerous exhibitions of modern and contemporary art and has contributed to publications including Art in America, Hyperallergic, Parkett, The Brooklyn Rail, and Art Nexus.  Jiang Jun is an independent curator and art critic, curator-at-large of the Shenzhen Museum of Contemporary Art & Urban Planning, and Chairman of the Art and Economy Professional Committee of the Zhejiang Creative Design Association. He studied at the Kunstakademie Münster and received a doctorate in Art Studies from the China Academy of Art. He co-curated the Chinese National Pavilion at the 60th Venice International Art Biennale, as well as the 7th Guangzhou Triennial and the 2023 Chengdu Biennale.  ABOUT OSWALDO VIGAS  Oswaldo Vigas (1923–2014) was one of the most distinctive figures of Latin American modern art. Over a career spanning more than seven decades, he developed a singular visual language informed by European modernism, Indigenous and pre-Columbian imagery, Venezuelan cultural traditions, and an ongoing exploration of the relationship between abstraction and figuration. His work was exhibited internationally throughout his lifetime and remains the subject of continued scholarly and institutional research. For more information, please visit oswaldovigas.com. ABOUT THE OSWALDO VIGAS FOUNDATION  The Oswaldo Vigas Foundation is a nonprofit institution dedicated to preserving, researching, and promoting the legacy of Oswaldo Vigas. In 2022, the Foundation launched the artist’s online catalogue raisonné, documenting more than seven decades of his artistic production. The Foundation also supports publications, exhibitions, archival research, and scholarly projects related to Vigas’s life and work.  ABOUT KWAI FUNG HIN ART GALLERY   Established in Hong Kong in 1991, Kwai Fung Hin is a leading art gallery with locations in Hong Kong and Singapore that specializes in 20th century modern and contemporary art. Kwai Fung Hin's mission is built on long-term relationships with a focused roster of talented artists, each recognized for their devoted vision, global perspective, and deep respect for their cultural roots. Through a multi-platform program of gallery and museum exhibitions, publications, education and archival works, the gallery's research driven approach provides dedicated support for their creative development and the preservation of their artistic legacies.  #guangdongmuseumart#fineartmagazineblog.blogspot.com#sunstormfineartmagazine.com#artfunnow#artfunchinese#artfuncreative#artfunforall

Catch The Whitney Biennial to see the entire exhibition of artists, and works on display throughout the museum. Details nelow.

 

See the entire show on display now!

LAST CHANCE: WHITNEY BIENNIAL 2026 CLOSING SOON

Don’t miss the opportunity to see the art event of the season in its entirety!

New York, NY, August 5, 2026 — The Whitney Museum of American Art marks the final weeks of the 82nd edition of the Museum’s landmark exhibition series, Whitney Biennial 2026. A showcase of the evolving notions of American art, the 2026 Biennial features the work of 56 artists, duos, and collectives working across painting, sculpture, performance, digital art, and more. The exhibition, presented across most of the Museum’s gallery spaces, will be on view in its entirety through August 23. Select artworks displayed throughout the building and on the Museum’s 6th floor will remain on view through October 12. Whitney Biennial 2026 offers a vivid, atmospheric survey shaped by a moment of profound complexity. The work on view examines varied forms of relationality, from interspecies and familial kinships to geopolitical entanglements, technological affinities, shared mythologies, and the infrastructures that support and constrain contemporary life. Rather than offering a definitive answer to life today, the exhibition foregrounds mood and texture, inviting visitors into environments that evoke tension, tenderness, humor, and unease, while proposing imaginative, unruly, and unexpected forms of coexistence. To experience Whitney Biennial 2026 in its final weeks, visitors can reserve timed tickets at whitney.org/admission. The Whitney offers free admission to visitors of all ages during Free Friday Nights, every Friday from 5–10 pm, and during Free Second Sundays, from 10:30 am–6 pm each month. Visitors twenty-five years and under and Whitney Museum Members are free anytime. Whitney Biennial 2026 is organized by Marcela Guerrero, DeMartini Family Curator, and Drew Sawyer, Sondra Gilman Curator of Photography, with Beatriz Cifuentes, Biennial Curatorial Assistant, and Carina Martinez, Rubio Butterfield Family Fellow. For press materials and additional assets, please visit the Whitney Biennial 2026 press kit here: whitney.org/press/2026-biennial. #whitneyartmuseum#fineartmagazineblog.blogspot.com#sunstormfineartmagazine.com#artfunmodern #artfunnow#artfunnyc#artfuncreative#artfunvisit

Andrea Bergen exhibition ~The Big Buffet in the Sky~at Moth Belly Gallery, Opening August 1, 2026.

A fun whimsical imaginative view of "Pert After Life". 

Moth Belly Gallery, San Francisco 

Andrea Bergen: The Big Buffet In The Sky A solo exhibition at Moth Belly Gallery, San Francisco 

Opening reception: Saturday, August 1st, 2026 

SAN FRANCISCO - On Saturday, August 1st, 2026, Moth Belly Gallery presents The Big Buffet In The Sky, a solo exhibition of new collages and mixed media papier-mache sculptures by San Francisco based artist Andrea Bergen. The show presents the artist’s vision of a whimsical animal utopia in a world without humans.

About the Exhibition 

The work in The Big Buffet In The Sky is set in the imagined transition from human society to the peaceful and abundant reign of the animals. The exhibition's title is a take on the expression used when a pet passes away and it is said they go to “the big farm in the sky.” In the fantastical reality of the exhibit, the animals exist on a harmonious plane somewhere between the future, the afterlife, and an alternate dimension. Critters of all kinds including cats, dogs, monkeys, and pigeons chug soda, feast on junk food, and lounge under candy colored sunsets. As climate change and environmental destruction accelerate, the collages and sculptures offer a refuge in which nature has regained equilibrium and thrives once again. 

Bergen has been developing her irreverent and intricately detailed world of animals for over a decade through collage and sculpture. In the collages, the artist aims to accurately replicate as many textures and objects as possible through the single medium of cut paper. The pieces are representational but have a hyper-colorful and dreamlike quality that pushes them into the realm of the surreal. 

Artist Statement 

My work is generally focused on domesticated and urban animals like raccoons, rats, pigeons, and possums that live in close contact with people. These animals’ habitats have been most heavily impacted by human activity. As a result of this impact they have become dependent on humans for survival, they eat our trash and dwell in basements, attics, and sewers. In urban environments we are surrounded by animals but they often go unseen as they must hide to stay safe. The Big Buffet In The Sky is my vision of an idealized playground for these animals to experience the urban landscape without human presence. The pieces are an invitation for them to come out of the shadows and enjoy the bounty of modern convenience without threat. The work depicts the ensuing junk-food-fueled celebration of the wildlife as they freely cavort through the city and beyond reclaiming the landscape. 

Andrea Bergen

About The Artist 

Andrea Bergen is a San Francisco based artist creating animal-centric cut paper collages and papier-mache sculptures. Bergen’s work expresses her anxiety about the impact of climate change and humanity’s footprint on the environment and wildlife. Bergen has exhibited around the Bay Area as well as Los Angeles and New York City. Her collages have been included in exhibits at the deYoung Museum in San Francisco, the Marin Museum of Contemporary Art, and the Morris Graves Museum in Eureka. 

About Moth Belly Gallery 

Moth Belly is an artist owned and operated gallery, community event space, and arts media platform based in the Tenderloin neighborhood of San Francisco. Started by local artists John Vochatzer and KT Seibert, it was founded in the fall of 2020 and has been open to the public with monthly exhibits and more since October of 2021. 

Exhibition: The Big Buffet In The Sky 

Artist: Andrea Bergen 

Opening Reception: Saturday, August 1st, 2026, 6pm-9pm 

On View: August 1st - September 26th 2026 

Gallery: Moth Belly Gallery 

Address: 912 Larkin Street, San Francisco, CA 94109 

Hours: Fridays and Saturdays 1-6pm and by appointment Friday & Saturday: 1pm – 6pm Admission: Free and open to the public 

Gallery Website: mothbelly.org 

Gallery Instagram: @mothbellygallery 

Artist Website: andreabergen.com 

Artist Instagram: @andreajanebergen

Press Inquiries 

Email: andreajbergen@gmail.com 

Title: Whiskers Deep In The Chow Chow 

Year: 2026 

Medium: Mixed media papier-mache sculpture 

Dimensions: 48” x 70” x 32”

Title: Same View From Up Here (with HotDog Frame) 

Year: 2026 

Medium: hand cut paper and gel medium on wood panel with mixed media papier-mache frame Dimensions: 34” x 41” x 5”

Title: And They Lived On The Poodle Forever 

Year: 2026 

Medium: hand cut paper and gel medium on wood panel Dimensions: 4’ x 3’

Title: Petals and Pricks (with Burger Frame) 

Year: 2026 

Medium: hand cut paper and gel medium on wood panel with mixed media papier-mache frame Dimensions: 19” x 2

#mothbellygallery#ineartmagazineblog.blogspot.com#sunstormfineartmagazine.com#artfuncreative #artfunpet#arfunhappy,#artfunandrea