Band of Vices presents the artist Tania Benegas~Where Fiber Becomes Landscape~See details below to view Banegas's work.

 

THE ARTIST'S HAND Tania Banegas Where Fiber Becomes Landscape

For the second edition of The Artist’s Hand—a Band of Vices series bringing collectors closer to the vision, discipline, and singular process behind the work—we turn our attention to Tania Banegas.

Tania Banegas EL SOL NO DEJA DE SALIR, 2026 Acrylic paint, cotton fibers on canvas 12 x 12 x 1.5 in (30.48 x 30.48 x 3.81 cm)

Tania Banegas - her process in 45 secs.

In De La Tierra, Still Waiting, Inez, and El Sol No Deja De Salir, Banegas transforms fiber into something that feels simultaneously botanical, geological, bodily, and abstract. Cotton, linen, cashmere, acrylic fibers, and paint are built into dense, tactile surfaces that seem to grow beyond the canvas rather than simply rest upon it. De La Tierra moves through earthen browns, blush, and cream like strata or terrain; Still Waiting compresses the language into an almost monochromatic black field; Inez becomes an exuberant study in saturated pink; and the pale blue of El Sol No Deja De Salir gives the same material vocabulary an unexpected sense of air, light, and quiet.

Tania Banegas STILL WAITING, 2026 Acrylic paint, cotton and acrylic fibers on canvas, wood frame 13.75 x 13.75 in (34.92 x 34.92 cm)

What connects these four works is Banegas’s ability to make softness carry weight. Her surfaces are lush and inviting, but they are also meticulously constructed; repetition, density, color, and touch become the architecture of each composition. Viewed together, the works reveal how dramatically a single artistic language can shift in mood—from earth to darkness, from sensuality to serenity—without losing its identity. Banegas asks us not simply to look at the work, but to become aware of our desire to touch it, to trace its forms, and to experience material as something emotional. That tension between restraint and abundance is where the work becomes especially compelling.

Tania Banegas INEZ, 2026 Acrylic paint, cotton and acrylic fibers on canvas, wood frame 21.5 x 17.5 in (54.61 x 44.45 cm)

Tania Banegas DE LA TIERRA, 2025 Acrylic paint, cotton, linen and cashmere fibers on canvas 24 x 12 in (60.96 x 30.48 cm)

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Please Note Our Location

Band of Vices is located in the Historic Downtown Los Angeles Arts District. Located at 1700 S. Santa Fe Avenue, Suite 371, south of the 10 freeway, ample free parking is available in the south parking lot (1800 S. Santa Fe Avenue), adjacent to the building. Our neighbors in the building include Vielmetter, Nicodim and Patricia Sweetow galleries.

For all sales & media inquiries, please contact HELLO@BandofVices.com   Band of Vices - DTLA 1700 S. Santa Fe Avenue, Suite 371, Los Angeles, CA 90021 #bandofvices#fineartmagazineblog.blogspot.com #sunstormfineartmagazine.com#artfunlandscapes#arfunfiber#artfunnow#fineartfiber

Zilberman Istanbul exhibits of Fatos irwen's solos show~Ru Bi Ru through November 11 2026. Details belwo

 

Fatoş İrwen
Ru Bi Ru

15.09 - 21.11.2026
Zilberman | Istanbul

Zilberman Istanbul

Istiklal Cad. No.163 Mısır Apartmanı K.3 D.10
Beyoğlu / Istanbul

Zilberman Istanbul is pleased to announce Fatoş İrwen's solo exhibition entitled Rû Bi Rû .

Rû Bi Rû examines Fatoş İrwen's practice, shaped around the individual's struggle for freedom against representations of power, state policies, traditions, and belief systems, through the lens of confrontation.

The confrontation proposed by Rû Bi Rû goes beyond merely remembering; it requires not only confronting but also standing against and exposing oneself to the gaze of a denied geography. Fatoş İrwen's relationship with realities that have been suppressed, rendered invisible, left unrecorded, and passed down orally to the present day, forms the basis of the confrontation in the exhibition, inviting the viewer into a space she constructs in her own language.

Irwen does not reduce the narratives she has heard since childhood to mere testimonial images or documents; she creates new signs by moving from the forms that experiences, transmissions, and the things carried from the past to the present take in her imagination. Thus, stories that are left outside of official narratives, censored, or silenced, appear not as evidence confirming the past, but as images that continue to exist within the present and confront the viewer with their own perspective.

Extending towards the geography where the artist was born and raised, Rû Bi Rû positions the viewer within a boundless land where different times, bodies, and ways of life intertwine. Irwen's relationship with objects points to a form of resistance, transforming them from passive remnants of the past. A yearning for justice stretching from earth to sky; a lock of hair torn from the body, connecting reality with imagination and resisting forms of domination. A stream bed surrounded by dried thorns, concealing the traces of bodies and violence; a city silhouette interwoven with plants that flourish despite the past, and beams of light filtering through—these elements come together in the exhibition's geography.

In the face of the violence of genocidal policies that transform and restrict a geography, Irwen reminds us that land and water continue to function in their own time, drawing a line within this continuity that both conceals and reveals with the stream positioned in the center of the exhibition. The water, following this line, displaces the traces of violence, while also carrying the possibility of revealing what is hidden beneath the eroded soil.

Rû Bi Rû also extends to the space Irwen opened up through the concept of apocalypse in her solo exhibition titled Sûr , held at Zilberman Berlin in 2023. The apocalypse, which begins with the call of Israfil in Sûr, gives way in Rû Bi Rû to a gathering of all living beings outside of different times and hierarchies. In this plane where life does not end after destruction, past and present, dead and living, human and non-human exist simultaneously. Thus, the apocalypse ceases to be an end and transforms into a space where all these beings can confront each other.

Zilberman Istanbul is pleased to announce Rû Bi Rû , a solo exhibition by Fatoş İrwen.

Meaning “face to face” or “confronting one another” in Kurdish, Rû Bi Rû approaches Fatoş İrwen's long-standing engagement with the individual's struggle for freedom in the face of representations of power, state policies, tradition, and systems of belief through the notion of confrontation.

The confrontation proposed by Rû Bi Rû is not limited to remembering the past; it requires not only facing what has been denied, but also standing before it and being exposed to its gaze. Fatoş İrwen's engagement with realities that have been suppressed and rendered invisible, left unrecorded, and carried into the present through oral transmission forms the ground for this confrontation, while inviting the viewer into a space she constructs in her own language.

Rather than reducing the stories she has listened to since childhood to images of testimony, İrwen creates new traces from the forms of lived experience, transmitted narratives, and histories carried into the present. Stories excluded from official narratives, censored, or silenced thus emerge not as evidence meant to verify the past, but as images that continue to exist in the present, confronting the viewer with their own position as witness.

Extending into the geography where the artist was born and raised, Rû Bi Rû places the viewer within a land without borders, where different times, bodies, and forms of life intertwine with one another. Irwen's relationship with objects points to a form of resistance, releasing them from the status of passive fragments left behind by the past. A desire for justice reaching from earth to sky; a strand of hair severed from the body, connecting reality with the imagined while resisting forms of domination. A dried riverbed surrounded by thorns, concealing traces of bodies and violence; a city silhouette overgrown with plants that continue to flourish despite all that has come before, pierced by shafts of light: these elements converge within the exhibition's geography.

Against the violence of genocidal policies that seek to transform and delimit a geography, İrwen reminds us that earth and water continue to move according to their own temporalities. İrwen traces a line along the riverbed running through the center of the exhibition space, one that both conceals and reveals. Following this course, water carries and displaces traces of violence, while holding within it the possibility of exposing what lies buried beneath the earth it erodes.

This trajectory also reaches back to the idea of ​​apocalypse in Sûr , her 2023 solo exhibition at Zilberman Berlin. The apocalypse set in motion by Israfil's call in Sûr gives way in Rû Bi Rû to the gathering of all living beings beyond distinct temporalities and hierarchies on the Day of Judgment. In this realm, where life persists in the aftermath of destruction, past and present, the dead and the living, the human and the non-human exist simultaneously. The Day of Judgment thus ceases to signify an end, becoming instead a space in which all these beings can come face to face.

Photo credit:
A view from Fatoş İrwen's solo exhibition , Rû Bi Rû .
Zilberman Istanbul, 2026.
Photo: Kayhan Kaygusuz.

Photo credit:
Installation view from the solo exhibition Rû Bi Rû by Fatoş İrwen.
Zilberman Istanbul, 2026.
Photo by Kayhan Kaygusuz.

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Fine Art Magazine Editions presents, Jamie Forbes ~The Galactic Dust SunSet Series & Animals

We are proud to announce our latest Fine Art Magazine Editions;  

Fine Art Magazine Editions 

Jamie Forbes Photographs: The Galactic Dust SunSets Series & Animals 

“The atoms of our bodies are traceable to stars that manufactured them in their cores and exploded these enriched ingredients across  our galaxy, billions of years ago. For this reason, we are biologically connected to every other living thing in the world. We are  chemically connected to all molecules on Earth. And we are atomically connected to all atoms in the universe. We are not figuratively,  but literally stardust.” ― Neil deGrasse Tyson 

I captured the intrinsic energies in each landscape or animal pictured seeking to initiate a dialogue between the  viewer about beauty in the environment and stewardship: “we live with others” all are participants in sharing  and shaping our environment. ©all rights reserved ~Galactic Dust Sunset/Animals/Jamie Forbes/SunStorm Art Pub. Co Inc. 2026 

Available through SunStorm Fine Art: edition size 15/ 2AP/ 2HC 

$600 Image size 13”x19” 

$300image size 8.5x 11”  

Printed with archival ink on 300-320-gram paper fine art papers. 

https://sunstormfineartmagazine.com/jamie-forbes-photography/

Henry Wessel's black and white Photographic exhibition at the Grolier Club September 8, - November 14, 2026

Glimpse the photographer Henry well acclaimed photographs of American life, and landscape of the America West at the Grolier Club!! Worth seeing how his eye capture the essence of the 1070's 

Henry Wessel – Photographs and Books On View September 8 – November 14, 2026

NEW YORK CITY — The Grolier Club presents a spotlight exhibition on photographs and books by Henry Wessel (1942–2018), curated by Grolier Club member Jack Gray from his collection. On view from September 8 through November 14, 2026, in the Club’s Second Floor Gallery, Henry Wessel – Photographs and Books features more than 65 photographs, including Wessel’s “Incidents” and “Traffic” portfolios in their entirety, and highlights from Wessel’s full body of work from more than four decades. A catalogue, published by The Grolier Club, will be available this autumn.   Wessel first came to prominence in 1972 with a solo exhibition at The Museum of Modern Art, New York, and his practice initially centered on exhibitions with related catalogues. He later moved emphatically to making sequences of photographs intended as one work. These were issued as portfolios and published as books with minimal context.   Curator Jack Gray met the artist in 1976, when he was one of Wessel’s undergraduate students at the San Francisco Art Institute. Gray began to collect Wessel’s work while still a student, and a chance meeting 20 years later led to a close friendship. Wessel’s work now forms the core of Gray’s personal collection. “Hank and I often looked at photographs together. We loved talking about them. A core dialogue centered on a question: What made an interesting photograph?,” writes Gray. “His commitment to making what he called ‘still photographs that function as visual haikus’ was consistent throughout his career.” Exhibition Highlights One of Wessel’s earliest works on view is Untitled (1968), a photograph of a deserted road with mountains in the distance, bisected by a telephone pole. This work was featured in MoMA curator John Szarkowski’s influential 1973 book Looking at Photographs: 100 Pictures from the Collection of The Museum of Modern Art as the last of the 100 images, and Wessel was the youngest photographer included in the book. Another enigmatic early work on view, San Francisco (1973), features an older man in a dark suit, seen from behind as he stands on a beach and looks out at the ocean.

Wessel’s “Traffic” and “Incidents” portfolios are shown in full in the exhibition. “Traffic,” 28 black and white photographs made in the 1980s and issued as a portfolio in 2017, is limited to images of people in cars, taken from a car. Wessel commuted from his East Bay home to his teaching job in San Francisco and discovered that he could take advantage of the morning and evening light to photograph on the road. He prepared the camera for one-handed use—because “a glance was enough”—and soon he was looking forward to the daily drive. The “Incidents” portfolio was assembled in 2012 from 27 black and white photographs that Wessel had taken over decades; none had been published or exhibited before. The images are fleeting moments in everyday California life, often bathed in Wessel’s signature bright sunshine, such as Incidents No 5 (undated), in which passengers in a car seem to emerge from the shadows with each closer look.

In the 1990s, Wessel created the “Real Estate” and “Night Walk” projects. “Real Estate” was his first sustained project in color, as he returned to a subject and approach that attracted him from the first roll of film he shot—photographs of houses taken from a car window. In 1995, walking his dog at night in the Sunset Park neighborhood of Los Angeles, Wessel became fascinated with how the world is reconfigured by the lights at night, finding inspiration for his “Night Walk” series: “The spot lighting of particular areas, the lack of ambient light, the unnatural way that shadows are cast, all take us to an unfamiliar place, a world that is stage-like with its implied drama.” The exhibition also features select work by photographers who inspired Wessel, such as Walker Evans, Weegee, and Helen Leavitt, as well as friends and peers like Tod Papageorge, Garry Winogrand, and Lee Friedlander. Publications by German publisher Steidl, which closely collaborated with Wessel to reproduce his work with great attention to detail and minimal text, are also on view, including books of Incidents and Traffic/Sunset Park/Continental Divide.  Wessel said, “I don't have an attitude of going out to take pictures. I simply take pictures. If there’s light out and my eyes are open, it’s usually reason enough to be able to work. It’s the facility that the camera provides that makes photography to me a very vital medium, a very challenging medium and in a sense, a very indulgent medium. The preparation to work is almost nonexistent.”

Programming The Grolier Club will present free public programs related to the exhibition, including a panel on Wednesday, October 28, at 6:30pm. More information and updates can be found at http://grolierclub.eventbrite.com.   Upcoming Exhibitions Pioneers in Hand Papermaking: 50 Years of Innovation at Dieu Donné September 8 – November 28, 2026 Ground Floor Gallery   Black Brilliance: An American Chronicle December 3, 2026 – February 20, 2027 Second Floor Gallery   Uncertainty and the Quantum Revolution December 16, 2026 – March 13, 2027 Ground Floor Gallery   Crossing Boundaries: Women Travelers and Writers in South and Southeast Asia, 1715-1945 March 4 – May 15, 2027 Second Floor Gallery   About The Grolier Club Founded in 1884, The Grolier Club is America’s oldest and largest society for bibliophiles and enthusiasts in the graphic arts. Named for Jean Grolier (1489/90-1565), the Renaissance collector renowned for sharing his library with friends, the Club’s objective is to promote “the study, collecting, and appreciation of books and works on paper.” Through the concerted efforts of an international network of over eight hundred men and women—book and print collectors, antiquarian book dealers, librarians, designers, fine printers, binders, and other artisans—The Grolier Club pursues this mission through its library, its public exhibitions and lectures, and its long and distinguished series of publications.   Visiting The Grolier Club 47 East 60th Street, New York, NY 10022  212-838-6690, www.grolierclub.org Hours: Monday–Saturday, 10 am to 5 pm Admission: Exhibitions are open to the public free of charge  Image Captions/Credits (top to bottom): Henry Wessel, Incidents No 5, no date, gelatin silver print. © The Estate of Henry Wessel Henry Wessel, Untitled, 1968, gelatin silver print. © The Estate of Henry Wessel Henry Wessel, Traffic No 24, no date, gelatin silver print. © The Estate of Henry Wessel Henry Wessel, Real Estate No 90467, no date, C-print. © The Estate of Henry Wessel #thegrolierclub,henrywesselphotographs#fineartmagazineblog.blogspot.com #sunstormfineartmagazine.com#artfunphotography#artfunlandscapes#artfunnow

 

Chris Ballantyne exhibition at the Steven Zevitas Gallery, August 7, 5:30- 8 pm. See details below.

Chris Ballantyne, Pool Overgrown, 2026, acrylic on panel, 36 x 48 inches (91.4 x 121.9 cm) Please join us Tomorrow, August 7th, from 5:30 - 8pm for the opening reception of a solo exhibition with Chris Ballantyne Request a Preview CHRIS BALLANTYNE On view through August 29, 2026 Opening reception: Friday, August 7, 5:30 - 8 pm Steven Zevitas Gallery is pleased to present a solo exhibition of paintings and works on paper by Chris Ballantyne. The exhibition will be on view through August 29, 2026, with a reception on August 7, 2026 from 5:30 - 8 pm.    Chris Ballantyne’s practice exists at the intersection of the natural world and man-made interventions. Each work is painted directly onto wooden panels, allowing thinned acrylic paint to seep into the grain, while thicker applications rest on the surface. This interplay of materials mirrors the works' central tension: the convergence of natural and organic materials. Though the paintings evoke a palpable human presence, figures are never depicted. Instead, traces of erosion, synthetic structures, and spatial demarcations allude to human intervention and manufacturing. Yet even within these constructed environments, wildlife unrelentingly pushes back. Grass reclaims an empty concrete pool, reaching its roots toward the basin below; overgrown foliage engulfs a backyard fence, disregarding its attempted confinement; and a vibrant green weed emerges from the center of a meticulously-sectioned displacement of dirt. Across Ballantyne's work, the natural world resists containment, quietly but relentlessly reclaiming spaces shaped by human hands. Learn more --> CHRIS BALLANTYNE (b. 1972, Mobile, AL) lives and works in New York, NY. He was the recipient of several awards including the Tournesol Award and Residency at the Headlands Center for the Arts in 2004, a Joan Mitchell Foundation Grant in 2005, and a Tamarind Institute Invitational Residency in 2013. His work is included in public collections such as the Whitney Museum of American Art, New York, the Art Rotterdam Foundation, Rotterdam, The Netherlands, and the Judith Rothschild Foundation, New York, among others. Ballantyne received his BA from the University of South Florida, Tampa in 1997 and his MFA from San Francisco Art Institute in 2002. This is the artist’s fourth solo exhibition with the gallery. He has been the subject of over fifteen solo exhibitions in New York, Los Angeles, Berlin, Nashville and San Francisco.

Steven Zevitas Gallery // Z'M Projects | 450 Harrison Ave #47 | Boston, MA 02118 US #stevenzevitasgallery#fineartmagazineblog.blogspot.com#sunstormfineartmagazine.com #artfunnow#artfunpretty#artfunboston#artfunlandscapes#artfunnew