Nanette Carter

PRESS RELEASE
FOR IMMEDIATE RELEASE

BERRY CAMPBELL TO PARTICIPATE IN THE ARMORY SHOW 2024 

NEW YORK, NEW YORK, August 13, 2024–Berry Campbell is pleased to announce its participation in The Armory Show 2024. Located at booth 119 at the Javits Center, Berry Campbell Gallery will present a modern take on Women Choose Women (1973), the first large-scale museum exhibition devoted solely to women artists and curated by a committee of women artists at the New York Cultural Center, for The Armory Show 2024.

MASTER IMPRESSIONS: Artists and Printers on the South Fork (1965 - 2010)

January 14th - February 25th

Opening Reception:
Saturday, January 13th
6 PM - 7:30 PM

We are delighted to announce our first exhibition of 2024: Master Impressions: Artists and Printers on the South Fork. Featuring approximately 20 works dating from 1965-2010 by artists who have made art on the South Fork of Long Island, the exhibition highlights ways in which artists of the region have masterfully explored varied techniques of the medium. Prints are a testament to the collaborative potential of the creative process and demonstrate how artists, printers, and the press working together can achieve results that surpass individual expertise.

For press information and more details, please contact info@thechurchsagharbor.org.

Proving that no force is stronger than girl power, Frampton Co and Berry Campbell present Women Choose Women at Exhibition The Barn.

Women are on full display at Intersect Aspen, at least figuratively speaking. The 2023 edition of the fair features female powerhouse artists, all with dynamic works on view, and exciting projects in progress in their studios and around the world.

If you’re invited to spend the weekend in Sag Harbor, you’ve just won summer’s golden ticket. This Hamptons hamlet is what getaway dreams are made of. A two-square-mile village on the outstretched fringe of New York City, it was once an international whaling port, a remote place where writers like John Steinbeck could rent solitary bungalows on the cheap to pound out legendary novels on portable typewriters.

"Artists Choose Parrish: Part 1", featuring Nanette Carter and Frank Wimberley, is listed as one of 29 must-see museum exhibitions to see this Spring and Summer. 

"Artists Choose Parrish: Part 1" at the Parrish Art Museum in Water Mill, NY, April 16-August 6, 2023 & April 30-July 23, 2023.

The Parrish Art Museum is commemorating its 125th anniversary this year with a three-part series called “Artists Choose Parrish” in which contemporary artists with ties to the East End have chosen works from the museum’s permanent collection to be shown alongside their own recent artwork.

The history of Black artists on Long Island is rich, deep and still being written. Sometimes, with help, history repeats itself. This month offers chances to revisit pivotal exhibitions of previous decades and witness the cultural significance of Black artists in the area.

Parrish Celebrates 125 Years

The Parrish Art Museum will celebrate its anniversary with a program that includes artists, such as Nanette Carter, choosing works from the permanent collection to show alongside their own art, in this case, "Cantilevered #53 (Teetering)," an oil on Mylar piece from 2020.

The Church in Sag Harbor is celebrating the village’s legacy of Black artists with a new exhibition, Return to a Place by the Sea featuring Frank Wimberley, Nanette Carter, Gregory Coates and the late Al Loving — four abstract artists with local roots and a shared past.

The history of Black artists on Long Island is rich, deep and still being written. Sometimes, with help, history repeats itself. This month offers chances to revisit pivotal exhibitions of previous decades and witness the cultural significance of Black artists in the area.

WHAT "Return to A Place by the Sea"

WHEN | WHERE Through May 27, 12-5 p.m. Wednesday-Sunday, The Church, 48 Madison St., Sag Harbor

INFO Free; 631-919-5342, thechurchsagharbor.org

A Return to a Place By the Sea

February 5 - May 27, 2023

Opening Reception February 4 | 6-7:30PM

Return to A Place By the Sea revisits and recontextualizes the 1999 exhibition A Place By the Sea that celebrated the work and friendship of four African American artists: Nanette Carter (b. 1954), Gregory Coates (b. 1961), Al Loving (1935-2005), and Frank Wimberley (b.1926). Initially organized in 1999 by Jim Richard Wilson at the Rathbone Gallery of the Russell Sage College in Albany, the show traveled to Christine Nienaber Contemporary Art in New York and the Arlene Bujese Gallery in East Hampton. This February, thanks to the combined curation of The Church's Co-Founder April Gornik and Chief Curator Sara Cochran, we will explore the type of art these artists were making in the 1990s and update this conversation by exploring their more recent work. Our goal is to deepen the understanding of these influential artists, who have only begun to receive international acclaim for their work. The show also delineates a more inclusive history of abstract painting in New York in the late 20th century and looks beyond the historical standard of race and gender. Uniting some works from the original show with recent paintings, works on paper, and sculpture, Return to A Place By the Sea highlights the relevancy of each artist of "The Eastville Four." Given that for a time, all four artists lived part of the year in the Eastville/ SANS neighborhood to the east of Sag Harbor, this exhibition further honors the tradition of Sag Harbor as a maker's place of diverse art, industry, and craft practices.

Carter, Coates, Loving, and Wimberley shared a deep kinship. They were committed to abstract painting and shared an appreciation of jazz music with its vitality and basis in spontaneity and experimentation. Their lives and work were intertwined by their associations with The Studio Museum in Harlem, the Cinque Gallery in New York where they showed their work, and the Eastville Community where they have summer homes and found space to work and relax. The exhibition will feature programming that spotlights each artist and new video interviews with Carter, Coates, and Wimberley.

Join us for the opening on Saturday, February 4th, from 6-7:30 PM.

Nanette Carter
Destabilizing #2, 2022
Oil on Mylar
26 1/2 x 28 inches
View Works by Nanette Carter

Cinque Artists Program

Named after the Cinque Gallery, a non profit established in 1969 by Romare Bearden, Norman Lewis and Ernest Crichlow, the Cinque Artists Program continues the gallery’s legacy in supporting artists through various stages of their careers, and by offering opportunities to engage in conversation and networking.Primarily geared to practicing artists and art students, the events are always open to the general public and enthusiasts.

The Cinque Artists Series welcomes multimedia artist Nanette Carter, for a conversation about her newest series and video work. Register for the link through Eventbrite: https://bit.ly/3rxo2FS Artist Talk Nanette Carter seeks

Wednesday, October 12, 2022
5 p.m.
More Information

Chelsea to Springs

Chelsea’s Berry Campbell Gallery takes over Ashawagh Hall in Springs from today through Sunday with a large group exhibition of artists, past and present, with strong East End connections.

The show includes works by Mary Abbott, Alice Baber, Nanette Carter, Dan Christensen, Eric Dever, Elaine de Kooning, Perle Fine, Grace Hartigan, Raymond Hendler, John Opper, Charlotte Park, Betty Parsons, Mike Solomon, Syd Solomon, Hedda Sterne, Susan Vecsey, Lucia Wilcox, Frank Wimberley, and Larry Zox.

Gallery hours are today through Saturday, 11 a.m. to 7 p.m., and noon to 6 on Sunday.

Berry Campbell: Community
August 11 - 14, 2022
Berry Campbell at Ashawagh hall
780 Springs Fireplace Road
 East Hampton, New York 11937

Preview Exhibiton

Nanette Carter: Destabilizing #3, 2022. Oil on Mylar, 61 x 71 1/2 in. (154.9 x 181.6 cm)


Excerpt from "At the Galleries by Karen Wilkin"

Also in Chelsea, Berry Campbell Gallery showed “Nanette Carter: Shape Shifting,” recent works that, like Loving’s mixed-media collages, ignore the traditional rectangle and traditional materials, while making their physicality and material presence crucial to their meaning. That similarity is not surprising. Loving was the much younger Carter’s close friend and a mentor. Yet despite her clear connection to the vibrant tradition of African American abstract art—she shares with Loving and Gilliam, for example, a faith in the expressive possibilities of process—Carter investigates terrain all her own. Her stubbornly abstract images are highly charged, like metaphors for things we can’t quite grasp. She exploits the way oil paint sits up on Mylar to invent seductive striations and scrapings, creating a distinctive palette of textures that modulates a range of blacks, greys, off-greens and blues, sparked with ochre and occasional hits of ultramarine. The most ambitious, largest works on view, Destabilizing #1 (2021) and Destabilizing #3 (2022), appeared to hover, unconstrained, against the wall, their overlapped shapes and bars seemingly coalescing only momentarily. We saw through parts of their configurations, so that the wall itself became part of the equation. In Destabilizing #1, a stack of emphatic black bars floated free of the piled image to claim new visual and spatial territory and pose interesting questions about illusion and object. Other recent wall-mounted works depended on openwork structures, like constructed sculptures or ritual objects, unhampered by concerns about support. Loving’s and Carter’s exhibitions briefly coincided, offering a fortuitous opportunity to explore the evidence of both resonance and independence in the work of these inventive colleagues and friends. Continue Reading

Order/Reorder: Experiments with Collections
Hudson River Museum, New York
June 17, 2022–September 3, 2023
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Frederick J. Brown, The First Time Around, 1985, oil and pencil on paper, 42 x 29 3/4 inches.

Art as both creative output and curated object is in constant dialogue with the past and the present. It is this never-ending conversation that pushes art into its future, forcing us to continually reimagine the ways in which we project a vision of ourselves and the world around us. Order / Reorder: Experiments with Collections explores approaches to looking at American art that consider expressions of American identity from new perspectives.

The works on view range across genres: portraiture, figural studies, still life, landscape, and abstraction. Recent additions to the Museum’s collection and other artworks on view for the first time are joined by visitor favorites, paired with special loans from the Joslyn Art Museum and contributions from regional artists. Rather than structured chronologically, the installation is designed to spark discussion through juxtapositions of styles, outlooks, and eras. Works by renowned artists are in conversation with those now emerging.

Listen to Episode 108

Your Concise New York Art Guide for May 2022

Your list of must-see, fun, insightful, and very New York art events this month, including Willie Cole, Hélio Oiticica, Nanette Carter, and more.

When: through May 27
Where: Berry Campbell (530 West 24th Street, Chelsea, Manhattan)

Nanette Carter first encountered Mylar in architectural drawings in the mid-1980s. Since then, frosted Mylar sheets have become the artist’s medium of choice, as she constructs cantilevered collages by painting and printing directly onto irregular shapes cut from the material. This show of recent collages, including sweeping examples from the artist’s Destabilizing and Shifting Perspectives series, hammers home that Carter is not only a painter concerned with color, texture, and dynamism but also a builder with an interest in balance, weight, and gravity.

Center for the Arts Gallery
Towson University
7700 Osler Drive, Towson, Maryland
6:30 - 7:15 pm

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Forms Follow Function: The Art of Nanette Carter
The Hunterdon Art Musuem, Clinton, New Jersey
January 23 - April 24, 2022

Anonymous Was a Woman (AWAW), a New York–based organization that for two decades has sought to support women-identifying artists over forty, has announced the winners of its 2021 grants. Owing to a dramatic increase in funding provided by two anonymous donors, AWAW is able to provide a dozen more of the unrestricted $25,000 grants than originally expected; the $300,000 windfall will be divided among four artists annually for the next three years, meaning that the group is able to award grants to fourteen winners annually through 2023, rather than the typical ten. Artnews reports that one of the s donations was made through the newly established Meraki Artist Award, founded by an anonymous Boston-based philanthropist.

“I am delighted to congratulate this year’s award recipients—a group of extraordinary artists who represent a multitude of viewpoints, backgrounds, and formal practices,” said founder Susan Unterberg said. “When I started Anonymous Was A Woman, I did so to address a need that I felt personally as a woman artist in the middle of her career. I never dreamed that it could inspire other individuals to join us in advancing our mission.”

Artists were chosen from applicants anonymously recommended by a group of art historians curators, writers, and artists. Among the recipients this year are interdisciplinary artist and activist Coco Fusco, sculptor Anna Sew Hoy, Lakota painter Dyani White Hawk, and light artist Marian Zazeela, a cofounder with LaMonte Young of New York’s Dream House.

Anonymous Was a Woman was established in 1996 by Unterberg, an artist, who initially served as its sole funder; it  gained widespread attention in 2018 when she revealed herself as its founder. The organization’s grants are unique in that they are awarded to midcareer artists, many of whom are underrecognized. Though the sum awarded is modest, an AWAW grant can provide a career boost at a critical juncture. Many recipients of the award have gone on to gain greater recognition.

The full list of 2021 recipients is below.
Nanette Carter
Oletha DeVane
Adama Delphine Fawundu
Anita Fields
Coco Fusco
Renée Green
Judithe Hernández
Suzanne Jackson
Autumn Knight
Adia Millett
Anna Sew Hoy
Julie Tolentino
Dyani White Hawk
Marian Zazeela

The award will give out an additional $300,000 over the next three years thanks to an anonymous donation.

The Anonymous Was a Woman awards are back and better than ever, thanks to new donations—made anonymously, naturally—that will expand the number of annual honorees from 10 to 14 for the next three years. That increases the total amount of grant money to $350,000 each year, with each recipient receiving $25,000 in unrestricted funds.

Since 1996, the organization has presented grants to women-identifying artists over the age of 40, a segment that is frequently overlooked by both the market and museums. Founder Susan Unterberg, an artist herself, only revealed her identity in 2018. The additional funding comes from two donors, one of which is a Boston-based philanthropist who made the gift through a new initiative called the Meraki Artist Award, according to ARTnews.

The 2021 winners, who are between the ages of 41 and 81, are: Nanette Carter, Oletha DeVane, Adama Delphine Fawundu, Anita Fields, Coco Fusco, Renée Green, Judithe Hernández, Suzanne Jackson, Autumn Knight, Adia Millett, Anna Sew Hoy, Julie Tolentino, Dyani White Hawk, and Marian Zazeela.

“I am delighted to congratulate this year’s award recipients—a group of extraordinary artists who represent a multitude of viewpoints, backgrounds, and formal practices,” Unterberg said in a statement. “When I started Anonymous Was A Woman, I did so to address a need that I felt personally as a woman artist in the middle of her career. I never dreamed that it could inspire other individuals to join us in advancing our mission.” Continue Reading

The New York–based organization Anonymous Was a Woman has revealed the winners of its 2021 awards, each of which carries a $25,000 purse. For two decades, the awards have been given annually to women-identifying artists over the age of 40.

Now, for the first time, Anonymous Was a Woman is dramatically growing its program. Thanks to two anonymous donors, the organization will give out an additional $300,000 in funding to 12 artists. Through the donors’ gifts—one of which was made through the Meraki Artist Award, a new initiative from an anonymous Boston-based philanthropist—the awards program will be able to recognize four more artists annually for the next three years, bringing the total amount of people recognized to 14 instead of the typical 10.

The 2021 awardees range in age from 41 to 81, and include Nanette Carter, a New York–based educator and mixed media artist known for her abstract paintings on sheaths of frosted Mylar; Anita Fields, a ceramic and textile artist of Osage heritage; and Suzanne Jackson, a visual artist and poet, and director of the now-defunct Gallery 32, one of the first commercial spaces to promote emerging African American artists in Los Angeles in the late 1960s. Also awarded is performance artist, dancer, and activist Julie Tolentino, who last year received Queer|Art’s annual $10,000 award for Sustained Achievement.

“It is an unexpected honor to finally receive recognition for my work as a painter and sculptor,” Jackson told ARTnews. “I have known about the Anonymous Was A Woman award for years, though I never thought that I would be a recipient. I plan to use the award funds to continue my work exploring new aspects of integrating drawing, painting, and sculptured forms as related to various American relationships to our natural and urban environments.” Continue Reading

Exuberance: Dialogues in African-American Abstract Painting
Curated by Susan Zurbrigg and Beth Hinderlitter
Duke Hall Gallery of Fine Art, James Madison University, Harrisonburg, Virginia
October 26 - December 10, 2021

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The upcoming exhibition at Duke Hall Gallery of Fine Art, Exuberance: Dialogues in African American Abstract Painting, celebrates African American painters and challenges received narratives about abstract art and who makes it. Abstract paintings by African American artists have often been overlooked and omitted from the history of art presented by white scholars and white dominated art institutions, yet their works have contributed powerfully to the field of painting. This focused presentation of paintings will feature works from the 1950s to present day, forging cross-generational dialogues about racial identity, dynamics of color and pattern, as well as rhythm, movement, and breath.

Featured artists include Charles Burwell, Nanette Carter, Lisa Corinne Davis, Lamerol Gatewood, Rico Gatson, Felrath Hines, Norman Lewis, Erika Ranee, Ronald Walton, Benjamin Wigfall and Susan Zurbrigg. Lenders to the exhibition include the Virginia Museum of Fine Art, the Ackland Museum of Art at the University of North Carolina, Chapel Hill, Berry Campbell Gallery, Bridgette Mayer Gallery, Jenkins Johnson Gallery New York and San Francisco, Miles McEnery Gallery and Walton Gallery.

Public programming will include a discussion on November 10, 5p of the history and politics of African American painting led by Dr. Jordana Saggese, Associate Professor at the University of Maryland and award-winning author of Reading Basquiat: Exploring Ambivalence in American Art. Contributing artist Lisa Corinne Davis will offer an online artist talk on Nov. 16 at 5pm. The exhibition will be accompanied by a fully-illustrated catalogue, with scholarly essays and selected bibliography.

Exuberance is co-curated by Susan Zurbrigg and Beth Hinderliter. Susan Zurbrigg is a nationally exhibited artist, educator and activist. She is Assistant Dean of the College of Visual and Performing Arts at JMU as well as a Professor of Art. Dr. Beth Hinderliter is Director of the Duke Hall Gallery of Fine Art and an Associate Professor of Art History.  Her book, More Than Our Pain: Affect and Emotion in the Era of Black Lives Matter, was published by SUNY Press in 2021.

Contact Beth Hinderliter, director of the Duke Hall Gallery of Fine Art, at (540) 568-6407 or by email at hindersb@jmu.edu for more information or to schedule a group visit.

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Representation
New York gallery Berry Campbell announced its representation of Nanette Carter on May 12. Active since the mid-1970s, Carter “creates abstract collages expressive of her sensitivity to injustice and humanity in the context of contemporary life and her responses to the drama of nature.” Her work is currently featured in two group exhibitions: “Affinities for Abstraction: Women Artists on Eastern Long Island, 1950-2020” at Parrish Art Museum in Water Mill, N.Y., and “Creating Community. Cinque Gallery Artists” at The Art Students League of New York. Cinque Gallery was founded by Romare Bearden, Norman Lewis, and Ernest Crichlow in 1969 and operated until 2004. Carter was the first artist-in-residence at Cinque and she co-organized “Creating Community” alongside guest curator Susan Stedman. Since 2001, Carter has been a professor of art at Pratt Institute in Brooklyn, N.Y. Her first solo exhibition with Berry Campbell is scheduled for spring 2022.

Now Representing Nanette Carter
Exhibition Forthcoming 2022

View Works by Nanette Carter

ABOUT THE ARTIST
An artist who has been exhibiting her work nationally and internationally in numerous solo and group exhibitions since the mid-1970s, Nanette Carter creates abstract collages expressive of her sensitivity to injustice and humanity in the context of contemporary life and her responses to the drama of nature. Her shaped works, produced in multimedia on Mylar since 1997, are evocative of concepts in the history of abstract art and reflect the African American abstract art tradition, exemplified in the works of Alma Thomas, Sam Gilliam, William T. Williams, Howardina Pindell, Romare Bearden, and Alvin Loving Jr. In fact, Loving (1935–2005) was Carter’s mentor. A close friend, he inspired her in his view of invention in art as the result of process, in a manner akin to how jazz musicians create something new by riffing off of a melody.

In her art, Carter combines rectilinear structures with animated gestures, forming constructions that recall the lineage of African American quilt-making, while drawing on jazz, Japanese prints, Russian Constructivism, Abstract Expressionism, and other sources. She describes herself as a “builder, fascinated by the act of bringing pieces together to create a work of art,” while noting that “building is one of civilizations’ oldest endeavors.” In 2013 she began her Cantilevered series, metaphorically using an architectural term referring to structures anchored by a plinth at one end that extend horizontally—almost defying gravity—as a paradigm for the balancing act in all our lives in the twenty-first century. Her series, The Weight, begun in 2015, speaks to the weight “compounded on us as we reflect on our history and aspire to move forward to better ourselves.” Continue Reading