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News: UPCOMING EXHIBITION | Montagne at Gazelli Art House, London, May 1, 2024

UPCOMING EXHIBITION | Montagne at Gazelli Art House, London

May 1, 2024

Montagne
Gazelli Art House gathers innovative collage work from venerated artists Helen Frankenthaler, Nancy Grossman, Grace Hartigan, Lilly Fenichel, Perle Fine, Betty Parsons, Sonja Sekula, Yvonne Thomas, and Michael (Corinne) West in an exceptional survey of Abstract Expressionism.
 
Preview: May 16th, 6-8 pm
Exhibition: May 17 - July 13, 2024
Gazelli Art House, London 
 
Montage delivers a shrewd exploration of prominent Abstract Expressionist artists via a curatorial focus on assemblage, collage, and non-canvas artworks. Spotlighting Post-War artists long overlooked until recent decades, we invite audiences to experience an amalgamation of diverse artistic voices that defined an era. Amidst a notable surge of interest in twentieth-century female abstract artists, ignited by Mary Gabriel’s pivotal book Ninth Street Women, Montage offers a fresh perspective, delving into the diverse practices of women in abstraction, while also recognising Europe’s profound impact on the American Abstract Expressionist movement.
 
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News: REVIEW | Alice Baber: Reverse Infinity on Captured Howls, April 30, 2024 - Caleb R. Newton for Captured Howls

REVIEW | Alice Baber: Reverse Infinity on Captured Howls

April 30, 2024 - Caleb R. Newton for Captured Howls

 
ALICE BABER: REVERSE INFINITY AT NEW YORK CITY’S BERRY CAMPBELL: EXHIBITION REVIEW
By Caleb R. Newton 
April 26, 2024

 

Before my recent visit to “Alice Baber: Reverse Infinity” at the art gallery Berry Campbell, I saw work by the late artist on display at the auction house Sotheby’s. The always intriguing Berry Campbell, who show art in New York City’s Chelsea neighborhood, call this new show the first exhibition at this scale showcasing Baber’s work in several decades, making “Reverse Infinity” an event and lending the exhibition an air of gravitas.

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News: ON VIEW | Lynne Drexler at Vero Beach Museum of Art, Florida, April 27, 2024

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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News: Artforum Must See | Alice Baber: Reverse Infinity, April 19, 2024

Artforum Must See | Alice Baber: Reverse Infinity

April 19, 2024

Alice Baber: Reverse Infinity
Art Forum Must See

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News: ARTICLE | 6 Standout Artists Discovered at the Dallas Art Fair, April 10, 2024 - PAUL LASTER for GALERIE

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

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.

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News: REVIEW | Janice Biala’s Epochal Studio , April 10, 2024 - Jonathan Stevenson for Two Coats of Paint

REVIEW | Janice Biala’s Epochal Studio

April 10, 2024 - Jonathan Stevenson for Two Coats of Paint

Janice Biala, The Studio, 1946, oil on canvas, 39 1/2 x 22 1/2 inches

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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