Robert Curcio

Q&A with Curator Robert Curcio

How did you get started in the art world?

I went to Tyler School of Art where not only did I study art, but I worked in the school’s galleries learning about installing, curating, and the business of art.

What advice would you tell your younger self?

Many in the art world talk a big game, but only a few can actually make things happen. So don’t waste time with all the “talkers” and find the people who are actually doing something.

Do you have any advice for new dealers/artists?

If you don’t really love what you are doing and are willing to do the work, don’t bother.

What advice would you recommend to your clients?

For collector clients its about collecting what you love or have an interest in. Don’t just think about flipping and looking at the auctions, because if you’re chasing the auctions, running around to the “it” artist and all the hype, you’re not going to end up with much of a collection.

For artist clients it is the same, follow your own ideas, interests, and inner creativity. Don’t rely on gallerists, curators, and others for your career; make your own career happen first.

For art fair clients, it will get better, and make the virtual fair as best as possible.

What projects are you currently working on?

I have two articles I should have finished, but have barely begun. Curating two exhibits; one online and the other in real life, both for next year. And, redoing my website.

What are your influences and inspirations?

When I was a kid I read all the articles, books, and interviews I could on Leo Castelli and Jasper Johns. Even back then I knew I was going to be in art, … Click here to read more

Ned Martin “Spirits Through Time”

The Duality of Ned Martin

Ned Martin created a dual style presentation that features both sides of his personality in “Spirits Through Time,” his second solo exhibition with Robert Berry Gallery, and challenges the viewer to contemplate the notion of time, the balance of humanity, and to reflect on the state of the world in these 15 new works mostly painted in the past few months during his unexpected quarantine in South America.

There are two parts to the show: the abstracted landscapes that Martin has been working on over the last few years, and the new portrait paintings combining elements of abstraction and figuration. To anyone who has been following the artist over the last four decades, you’ll know that he was classically trained at the Schuler School of Fine Art, and to this day still mixes his own colors and always builds his own painting surfaces to ensure that he has full control over every element that goes into his work.

For the last few years, he has used reclaimed aluminum printing plates on which to create his landscape works. The metal plates were originally used to print tabloid stories and advertising, which tend to be disposed after a few uses since there are remnants of images and text. The artists states that, “All of that imagery, paired with the landscape work, creates a sense of beauty mixed with commercial messages.” It’s the juxtaposition of the natural beauty of the landscape imagery that is combined with consumerism which is the driving force behind a lot of Americans that creates such a powerful dynamic. Martin also discusses his background of living in rural Pennsylvania on a farm, and his recent passion for camping, which has changed how he relates to nature compared to … Click here to read more

John Opper “Harmonies”

The 1980s Color Fields of John Opper

With his first solo show “Harmonies” with Berry Campbell Gallery, John Opper’s (1908-1994) late-career work is presented in new light as one of the leading colorists of the New York School. Featuring 19 paintings predominately from the 1980s, the exhibition aims to elevate Opper to a new level of both scholarly and commercial acclaim.

Born in Chicago, Opper became interested in Modernism after a visit to the Pittsburgh International Exposition in 1928, where he first discovered the works of work of Picasso, Matisse, Braque, and other abstract painters. He studied at the Cleveland School of Art, and later took classes at the Art Institute of Chicago. He quickly befriended Hans Hofmann after moving to Gloucester, Massachusetts, and joined the WPA Easel Division in the 1930s. Opper stated that he credited the WPA experience with introducing him to a modern way of creating.

Installation view of John Opper “Harmonies”. Courtesy of Berry Campbell Gallery.

After his time with the WPA Opper fully left behind nature and the physical world, and pivoted to pure abstraction. Like many artists of his generation, leaving behind any sense of figure or narrative was initially derided by critics and collectors, but nevertheless, they moved forward with their work. As much as we understand the abstract in the 21^st century, it was a very radical departure for many at the time, and wasn’t fully appreciated until the 1950s. Later in New York, he painted at Milton Avery’s studio in New York, and became acquainted with Adolph Gottlieb and Mark Rothko. After leaving the city, he would frequently come back to spend time at the Cedar Bar associating with Franz Kline, Philip Guston, and Willem de Kooning.

After a heart attack in 1966, he permanently switched from oil-based paint to acrylic, … Click here to read more

Eva Petrič

Artist Q&A with Eva Petrič

“Collective Heart”, found handmade lace assemblage, (St. Stephans Cathedral, Vienna, Austria), 2016

Why did you become an artist?

I do not think it was really a choice, but more like a calling. It was something that chose me. As far back as I can remember, I have always been creating or taking part in something artistic, having to do with music, dance, or performance. Mostly, I am drawn to the quality of art as a means of translating something negative into positive, as a means of healing. And art as a language of uniting people through the language of metaphors activated by the fusion of our various senses.

How is your work different than everything out there?

I think to say that my work is different than anything else out there would be quite ignorant and too confident. Perhaps the only way I could say it is different than anything else out there is that every human, every life is a unique being and irreplicable in the sum of thier experiences, and so also my artwork when, attempted to be transcribed by someone to its last detail is impossible. We, each and every one of us has a unique life, with unique experiences that interrelate in a yet even more unique way and besides this, when we include also the perspective of the inner reality of each and every one of us then this becomes a whole new reality, non-transcribable in its entirety as we are dealing with other physical laws. One thing people have commented to me about my work is that it takes on a unique approach of combining materials and thoughts that one would not think could be combined, and that yet, the end result is luring and esthetic and thought provoking. … Click here to read more

Marcelle Murdock

Artist Q&A with Marcelle Murdock

“Sigil of Gemini”, oil on canvas, 30 x 40 in | 76 x 102 cm, 2010

Why did you become an artist?

I didn’t become an artist, I just never stopped creating. I was always drawing, painting and discovering new mediums as a kid, which continued through my teen years to this day. Whenever I can learn a new medium I continue to challenge myself and try new techniques. Painting for me was always my main medium and I would spend hours of my days and nights painting, which was not only enjoyable but also a form of therapy for myself and I simply never put the paintbrush down. Creating isn’t a hobby, it’s an absolute need whether it brings me somewhere in my life or if it’s just for myself personally.

How is your work different than everything else out there?

I feel there are two main aspects of how my work is different than a lot of work I see around. The first is that I have a background in photography and photoshop, so when I create a painting I’m also treating it the way I would a digital photograph with the type of lighting I paint and the way I view the full frame. The second is the main difference which is that I don’t base the work on myself nor do I base most of the aesthetic on my personal taste either, I try to completely match the painting techniques and imagery to the style of the person I am painting a portrait of.

Marcelle Murdock, portrait by Marie Nyquist

What’s different about your current body of work?

Each of my portraits are really to honor the style, aesthetic and energy of the subject I am painting. The ideas for each … Click here to read more

Lee Harvey Roswell

Artist Q&A with Lee Harvey Roswell

“Lil’ Piggy Goes to Market”, oil on wood, 14 x 11 in | 36 x 28 cm, 2020

Why did you become an artist?

Becoming an artist seems fated to me. I’d established an early propensity towards creative activities, most specifically drawing. By the time I was a young adult making a conscious decision to be an artist I had already developed my art into a habit. So, there was never a question of why am I doing this in this formative years. Since then I suppose I’ve asked myself the question, and given myself answers, but the answers never fully cover the matter. As therapy, as a skill set I can make a living off, and as a way of contributing to a better world are all fine reasons, but beyond all that, I feel that I create art because I was meant to create art.

How is your work different than everything out there?

Well, it’s certainly not an all-consuming matter being different. If an artist finds “their voice” they will inevitably be different from others. Sure, there’s a lot of living working artists in the world today, more than ever, but creative expression is so diverse really. I can say I have been working in my craft for a good many years and people have come to recognize each work as a Lee Harvey Roswell, speaking in terms of “the new Lee Harvey Roswell,” or “it was like something out of a Lee Harvey Roswell”. So, in that I am the only artist out there making authentic Lee Harvey Roswells.

What’s different about your current body of work?

The most obvious difference in my new work is thematic. I’d already been pushing a dark take on life, and now with the pandemic, unemployment, … Click here to read more

Patricia Abramovich

Artist Q&A with Patricia Abramovich

“Psifas 2”, oil on canvas, 31 x 39 in | 80 x 100 cm, 2009

Why did you become an artist?

I always have been creative. I loved to draw from just an early age, learned to play piano and guitar, and wrote poetry as a teenager. I began to paint again at the age of 40, and it was a became a sort of obsession where I painted every free minute I had. In 2009 I published some of my paintings on several art sites, and was invited to show at the Biennale in Florence soon after. I think that is the exact time I would say I became an artist.

How is your work different than everything out there?

“Patricia Abramovich presents colorful abstract paintings, with almost sculptural strokes of frenetic color forming the basis of the painting’s composition. The oil on canvas works are performed in spectacular colors that show great boldness, expressing the personal language developed by the artist over the years, a coloristic language with an identifying character and presence. In this completely abstract and well-constructed language, the paintings are made of strokes of color, placed in an intensive process using only a spatula on the canvas.”

–Daniella Talmor

I always search for different ways and new techniques, and always painting from my imagination. Sometimes I look at inspiring landscapes, whereas other times I just put color on the canvas or paper giving my hands total freedom. It almost feels as the painting appears by itself. The moment I look at the blank surface brings an exciting feeling, as my next creation is on its way. I need to be totally in the mood with nothing around me, only my painter knife or water moving the colors on the paper. It is only me and … Click here to read more

Jerry Kirk

Artist Q&A with Jerry Kirk

“A King, A Clown, and Businessman”, acrylic on wood, 36 x 60 in | 91 x 152 cm, 2019

Why did you become an artist?

It was never a question of why. I began making art the moment that I was old enough to hold a crayon in my hand and never had a thought to being anything but an artist. I’ve been making art and have been an artist my entire life.

How is your work different than everything out there?

My work is different because of the variety of styles and themes that I incorporate. Unlike most artists who find their niche or one style and stick to that I like to follow my muse wherever she leads. From neo-realistic landscapes to expressive figurative and narrative paintings my work is basically all over the place. To work in one style pursuing the same theme or genre over and over would bore me so I choose to do it all and by doing so, I believe, grow and evolve more as an artist. The media that I choose to work in is also a variety – from painting to drawing to digital. I also write poetry. My art is about expressing whatever my soul desires in any way that I can. I think that this sets me apart from other artists and makes my art different.

What’s different about your current body of work?

Lately I have been pursuing expressionistic land and streetscapes along with politically and socially themed narrative paintings. After 30 years of living in one place I recently moved to a different state and this new local is infusing my land and streetscape paintings with a different look and feel; more expressionism than realism. The current social … Click here to read more

Lily Qian

Artist Q&A with Lily Qian

Why did you become an artist?

I was fortunate to have had a bohemian childhood. At a young age, I was encouraged to draw, read, and take dance classes. I was born into an artist family: my father was the Dean of the oil painting department at Beijing University and my mother was a ballet dancer and an award-winning costume designer. My father told me he wanted me to be an artist because it’s something I will always have no matter what happens in life. I became interested in illustration, design, and children’s books because it’s about creating art for everyone.

What’s different about your current body of work?

I always begin a project with drawing by hand first. I have a diverse range and enjoy working with a variety of materials from ink, watercolor, charcoal, and digital. For a long time, I was interested in studying people through portraiture and figurative works. My current work is a departure from the figure and more about exploring ideas and storytelling.

What’s coming up for you?

When I’m not busy with an illustration assignment, I’m creating new work for my portfolio. My next goal is to write and illustrate children’s books. Currently, I’m working with Christian Dior Couture on special fashion illustration assignments. Since 2017, I’ve partnered with Others Trade for Hope to design and develop handmade textile goods to support a small group of female artisans and their families in Bangladesh. It’s important for me to give back, and find a place where my work would also inspire others to fuller and happier lives.

To learn more about Lily and her work, please visit www.lily-qian.com/illustration.… Click here to read more