EVENT | Alice Baber Pannel Discussion May 9th at Berry Campbell
April 30, 2024
CATALOGUE | Jean Cohen (1927 - 2013)
April 28, 2024
News
ON VIEW | Lynne Drexler at Vero Beach Museum of Art, Florida
April 27, 2024
On view in the Titelman Gallery, Vero Beach Museum of Art:
Lynne Drexler, Untitled, ca. 1967. Crayon on paper, 13 ¾ x 7 in. and Lynne Drexler, A Blossom, 1967. Oil on linen, 68 x 49 ¾ in. Private Collection, USA.
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Artforum Must See | Alice Baber: Reverse Infinity
April 19, 2024
ARTICLE | Item of the Week: Perle Fine Stretches a Canvas
April 11, 2024 - Julia Tyson for East Hampton Star
When you hear about the midcentury art scene in Springs, the first names that come to mind are likely Jackson Pollock and Lee Krasner. While they were two of the most recognizable figures to emerge from that milieu, they were not the only ones. Counted among their friends was Perle Fine (1908-1988), a well-respected Abstract Expressionist painter in her own right.
Here Fine split her time between painting and teaching. Between 1954 and 1988, she exhibited her paintings often, both in the city and in local galleries. One such show was at the Upstairs Gallery on Newtown Lane, and a photographer from The East Hampton Star captured Fine at work in her studio as she prepared for it. The photo seen here, part of The Star’s archive, shows the artist stretching a canvas that would appear at the gallery.
REVIEW | Janice Biala's Epochal Studio
April 10, 2024 - Jonathan Stevenson for Two Coats of Paint
Contributed by Jonathan Stevenson / A striking feature of the paintings and works on paper of Janice Biala (1903–2000), now on view at Berry Campbell in a show craftily curated by Jason Andrew, is their seamless reconciliation of civilizational clutter and spatial order. Fixing that notion is the earliest painting, The Studio (1946), arraying the artist’s active workspace and establishing her intent to embrace the world through it. (Coincidentally, Vera Iliatova’s “The Drawing Room” at Nathalie Karg gamely recaptures and updates kindred impulses.) Biala’s work here, spanning the immediate postwar period almost to the end of the Cold War and blending the New York School and the School of Paris – she lived in both cities – also bears the considerable weight of twentieth-century history, art and otherwise, with extraordinary grace and weightless cohesion, free of the strain of obvious contrivance.
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ARTICLE | 6 Standout Artists Discovered at the Dallas Art Fair
April 10, 2024 - PAUL LASTER for GALERIE
Kikuo Saito, Blue Train, (2010).
PHOTO: COURTESY BERRY CAMPBELL, NEW YORK
PHOTO: COURTESY BERRY CAMPBELL, NEW YORK
Kikuo Saito at Berry Campbell
A Japanese-born abstract painter, Kikuo Saito—active in America from 1966, when he moved from Tokyo to New York at age 27—is getting a lot of art market attention again. Working in the avant-garde dance and theater worlds while assisting such established painters as Helen Frankenthaler, Kenneth Noland, and Larry Poons, he had his first solo show of Color Field paintings in New York in 1976. Exhibiting around the world over the next 40 years, he moved on to painting Lyrical Abstractions in the last two decades of his life, before passing away in 2016. His large-scale 2010 canvas Blue Train, painted with bright colors and overlapping brushstrokes, is a prime example of the experimental artist’s mastery of the Lyrical Abstract style, as well as the painting medium.
NEWS | Eleven new member dealers from across the United States join the Art Dealers Association of America
April 3, 2024
(New York, NY – April 2, 2024) – The Art Dealers Association of America (ADAA) today announced the addition of 11 new member galleries: Berry Campbell (New York), Cavin-Morris Gallery (New York), Hales Gallery (New York), Nina Johnson (Miami), Klaus von Nichtssagend Gallery (New York), Magenta Plains (New York), Charles Moffett (New York), Sargent's Daughters (New York and Los Angeles), William Shearburn Gallery (St. Louis), Louis Stern Fine Arts (West Hollywood), and Timothy Taylor (New York). These eleven galleries join the ADAA’s contingent of over 200 members, each of which is admitted after an evaluation of their exhibition and programming history, established expertise, and intellectual rigor, ensuring that each member is emblematic of the very best that the American art market offers. The Association will support these exemplary institutions by providing information essential to navigating the current art market, as well as technical, legal, and business resources.
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