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News: Berry Campbell Announces Representation of the Estate of Janice Biala
Biala at Galerie Denise René, Paris 1967. Photo: Yoshi Takata. Courtesy Estate of Janice Biala
Berry Campbell is pleased to announce the exclusive representation of Janice Biala (1903-2000). In April of this year, in collaboration with the Estate of Janice Biala, Berry Campbell organized the critically acclaimed solo exhibition Biala: Paintings 1946-1986. This survey featured 30 paintings and works on paper from the Estate of Janice Biala, highlighting several works that have not been on view since they were created. This exhibition was accompanied by a fully illustrated, 100-page catalogue featuring an introduction by Mary Gabriel and an in-depth essay by Jason Andrew, Director of the Estate of Janice Biala. As part of this announcement, the Estate released this statement:
“This collaboration marks an exciting new chapter in honoring Biala’s unique talent and extraordinary legacy. Berry Campbell’s deep appreciation for artists of Biala’s generation and beyond makes them an ideal partner, and we trust their expertise will elevate her profile and connect her with new audiences. We look forward to seeing Biala’s legacy thrive under their care.”
Berry Campbell recently sold a Biala painting as part of their presentation at The Armory Show and will include a rare early painting at The Art Show (ADAA). Additionally, Biala’s La Seine: Paris la Nuit, 1954, is on view at the Addison Gallery of American Art, Andover, Massachusetts, as part of the Americans in Paris: Artists Working in Postwar France curated by Debra Balken and Lynn Gumpert, co-organized with NYU Grey Art Gallery, New York. Biala is also featured in Seeing Red: Renoir to Warhol at the Nassau County Museum of Art, Roslyn, New York. Berry Campbell looks forward to a long and fruitful partnership with the Estate of Janice Biala.
Art, Money & Law: Notes on the Clyfford Still Estate
Ten years after Still’s death, the disposition of his estate remains unresolved. Herewith some speculations on the future of this huge cache of important work.
View of the exhibition "Clyfford Still: Paintings," 1979, at the Metropolitan Museum of Art.
By Ben Heller
Ten years after Still’s death, the disposition of his estate remains unresolved. Herewith some speculations on the future of this huge cache of important work.
When I expose a painting I would have it say, “Here am I; this is my presence, my feeling, myself. Here I stand implacable, proud, alive, naked, unafraid…“
—Clyfford Still, May 1951
A great joy surges through me when I work. … With tense slashes and few thrusts the beautiful white fields receive their color and the work is finished in a few minutes. … And as the blues or reds or blacks leap and quiver in their tenuous ambience or rise in austere thrusts to carry their power infinitely beyond the bounds of the limitating field, I move with them. … Only they are complete too soon, and I must quickly move on to another to keep the spirit alive and unburdened by the labor my Puritan reflexes tell me must be the cost of any joy.
—Clyfford Still, February 1956
Clyfford Still, one of the great painters of the Abstract Expressionist period, died in 1980 at the age of 75. He left an art estate whose size and character are unique in our time. The estate and the way it is being handled raise important issues which have troubled us in the past and will continue to trouble us in the future. We wonder: What are the different rights of the deceased, the heirs, and the public in that estate? What is the best way to dispose of so major an art estate?
Tworkov Now Represented by Van Doren Waxter
Portrait of Jack Tworkov in front of his painting P73 #3 (in progress), Provincetown, 1973.
Photo: Arnold Newman / © 2020 Arnold Newman Properties / Getty Images
New York, NY — Van Doren Waxter is pleased to announce exclusive representation of the Estate of Jack Tworkov. An artist at the forefront of American painting for seven decades, Jack Tworkov (1900-1982) forged a disciplined aesthetic through techniques, transitions, and variations on compositions that score an artistic career which continues today to be avidly discussed and celebrated—the one constant being Tworkov’s gestural “mark.”
Van Doren Waxter will debut the gallery’s new online viewing space with a signature painting in Tworkov’s oeuvre, Ending (1967-72). This painting has not been exhibited or offered publicly since 1991. The gallery aims to cultivate broader national and international audiences for Tworkov’s art and ideas, while advancing scholarship focused on the artist’s life and work. The announcement follows the artist’s inclusion in Epic Abstraction (2019-2020) at The Metropolitan Museum of Art, Artistic License (2019) at the Solomon R. Guggenheim Museum, and Pollock e la Scuola di New York (2018) at the Complesso del Vittoriano, Rome, Italy.
An émigré to America from Russian occupied Poland in 1913, Jack Tworkov found refuge in Greenwich Village. His intellect and commitment to abstraction established him as a member of the post-war avant-garde and charter member of the intellectual Eighth Street Club. His was a long search for an abstract, painterly “mark’’ motived by his own conflict with self-portrayal in painting. This reflection fueled a full vigorous embrace and thrust that began in the 1940s, 1950s and 1960s, and grew into a more reductive, meditative, analytic mark by the 1970s and 1980s.
As a painter, Tworkov not only respected traditions of the art historical past, but he knew and was influenced by contemporary music, dance, and poetry. He made lasting friendships with composers John Cage, Morton Feldman, and Stefan Wolpe. Tworkov was close to choreographer Merce Cunningham, poets Robert Creeley, Charles Olson, and Stanley Kunitz. Painters Willem de Kooning and Franz Kline were well known to him among others from the Eighth Street Club. As a respected teacher, he accepted invitations at institutions across America including American University (1948-51), the legendary Black Mountain College (1952), and most notably the position of Chair at the Yale School of Art and Architecture (1963-69) where his students included painters Jennifer Bartlett, Chuck Close, Rackstraw Downes, Brice Marden, William T. Williams, and the sculptor Richard Serra.