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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.
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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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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ARTICLE | Artists Shepard Fairey, Carrie Mae Weems, and More Create Art to Mobilize Voting Against Trump
April 3, 2024 - Adam Schrader for ARTNET News
Beverly McIver, Black Beauty (2024). Photo courtesy of People For The American Way
A group of artists including Shepard Fairey and Carrie Mae Weems has been enlisted by the advocacy organization People For The American Way (PFAW) to create art encouraging U.S. citizens to vote against former President Donald Trump ahead of the 2024 presidential election.
“People For The American Way is giving talented artists a voice to express their political beliefs because there are not enough outlets to do so,” Fairey said in a phone interview. “Political commentary is frowned upon because art is portrayed as an escapist luxury for rich people who don’t want to think about injustice. It doesn’t need to be that way.”
The art created for the Artist For Democracy 2024 campaign will be released to the public through prints, merchandise, radio and digital ads, celebrity videos, and bus wraps. PFAW has launched a Kickstarter fundraiser for billboards in Pennsylvania, Michigan, Wisconsin, and Arizona with the hope of expansion to North Carolina and Georgia. And the group seeks to spur texting and boots-on-the-ground efforts.
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ARTICLE | How Galleries Are Leveraging Artsy to Grow Their Online Presence
March 27, 2024 - ARTSY
Installation View of Lynne Drexler, The First Decade, 2022. Courtesy of the artist and Berry Campbell Gallery.In New York, Berry Campbell Gallery also leverages Artsy’s Artist Pages to showcase its expertise and leadership within the Abstract Expressionism movement, where it showcases works by artists such as Lynne Drexler and Judith Godwin. “Having one-to-one contact with the collector to answer questions about an artist is always best, and Artsy allows the gallery to be the expert,” said Christine Berry, the gallery’s co-founder. “We represent many artists exclusively, so we upload as many works as possible to show our strength in particular areas.”
Being proactive and maintaining a high level of personal engagement on the Artsy platform is something that the three galleries share. Quick responses to inquiries and a personalized approach to online interactions are crucial in translating interest into sales and fostering lasting relationships.
“Working with Artsy is the easiest way to meet new clients because of their expansive network and unrivaled internet presence,” said Berry. By combining innovative engagement strategies with Artsy’s extensive tools and reach, these galleries are harnessing Artsy to foster growth, platform their programs, and engage with a global audience along the way.
REVIEW | Biala: Paintings 1946 - 1986 | The New Criterion Critic's Notebook
March 26, 2024 - James Panero for The New Criterion
Janice Biala, Homage to Piero della Francesca, 1984, Oil on canvas, Berry Campbell, New York.
“Janice Biala: Paintings 1946–1986,” at Berry Campbell, New York (through April 13): The paintings of Janice Biala occupy that open space between abstraction and figuration, much as this artist freely cross-registered between the School of Paris and the New York School. Born Schenehaia Tworkovska in 1903 in Biała Podlaska, a city in Russian Poland, Biala came to the United States in 1913 and, in order to distinguish her work from that of her artist brother, Jack Tworkov, eventually took the name of her birth town. An exhibition at Berry Campbell, New York, now brings together thirty of Biala’s paintings and works on paper, beginning with her return to France in 1946 and spanning the next forty years of portraits, landscapes, and still lifes. Living until the age of ninety-seven, crossing paths with artists on both sides of the Atlantic, Biala straddled most of the twentieth century with work that absorbed and reflected the wide influences of her remarkable bohemian milieu. —JP
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