Susan Vecsey

PARRISH ART MUSEUM
March 8, 2024
6 pm

As the Parrish celebrates International Women’s Day, join us for a conversation with artists Renate Aller, April Gornik, and Susan Vecsey, each on view in Beyond the Horizon: Interpretations of the Landscape from Women in the Permanent Collection, moderated by Assistant Curator Brianna L. Hernández. The exhibition includes mural-sized representational oil paintings, expressionistic watercolors and pastel drawings, and intimate mixed-media abstractions, from the unique visual language of women artists from the Parrish’s permanent collection. In a conversation centered around the exhibition, visual styles experiences of the landscape, the program celebrates and recognizes the accomplishments of women artists within the Parrish collection and across the East End.

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$10 Members | $20 Adults | $18 Seniors | $15 Member’s Guest | Free for Students & Children

BEYOND THE HORIZON:
INTERPRETATIONS OF THE LANDSCAPE FROM WOMEN IN THE PERMANENT COLLECTION

Spanning mural-sized representational oil paintings, expressionistic watercolors and pastel drawings, and intimate mixed-media abstractions, Beyond the Horizon will take viewers on a journey through visual styles and thematic experiences of the landscape. Featured women artists from the permanent collection capture the essence and tone of the environment through their own unique visual language.

Large-scale works by Renate Aller, April Gornik, and Jane Wilson will demonstrate how these women artists masterfully composed mural-sized works, countering the common association of large-scale with the masculine. A selection of paintings by Jennifer Bartlett, Nell Blaine, Edith Prellwitz, Susan Vecsey, and Jane Wilson expand techniques to include expressionistic mark-making and atmospheric washes of color across meadows, forests, and mountain ranges. Collages, relief works, and textured surfaces by Darlene Charneco, Sandi Haber Fifield, Laurie Lambrecht, and Michelle Stuart will celebrate abstraction and conceptual interpretations of the land and nature. Throughout the galleries, visitors will be immersed in the landscape and experience how each artist transforms their view of the natural world.

(From the left: Stanley Boxer, Sosoughtbloomnaught, 1976; Frederick J. Brown, Jacques Lipchitz, 1992-1993; John Opper, Untitled (#16), 1969; Stanley Boxer, Softlashtendercombs, 1976)

"Throughout the room, anniversary collection fabric, carpet and furniture frames came together in signature Young Huh style. The designer and her team debuted the iconic Tree of Life pattern as a wallcovering. Artwork from Berry Campbell, fireplace accessories from Chesneys and florals from Diane James Home completed the luxe ambiance." - continue reading

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

Berry Campbell is opening Day and Night, its fifth solo show with Susan Vecsey. In 15 new oil paintings, luminous nocturnes set where the sea meets the sky, Vecsey continues her exploration of the optical sublime.

Like all her works, Vecsey’s recent series of poured paintings is inspired by the topography of eastern Long Island, and the ever-changing effects of light, air, and water on human perception. Stained in soft-edge shades of blue, orange, gray, and white, Vecsey’s soft-edge abstractions hover at the edge of pure form and illusion.

Take a look inside Susan Vecsey's studio and artistic process as she prepares for her fifth solo show with the gallery, 'Susan Vecsey: Day and Night'

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

This Upper East Side Apartment Shows How To Decorate A Bedroom Of Dreams

Eric Winnick of E. Lawrence Design has curated a tailored yet comfortable space for a downsizing fifty-something couple


Photo: Reid Rolls

Tell us about a standout artwork.
There’s a piece in the bedroom by Long-Island-based artist Susan Vecsey which adds to the tranquility of the space. She’s known for paintings that evoke a sunrise type of setting, but in a very abstract way.

What’s your approach to using colour and pattern?
I like to use colour with restraint.  My palettes tend to be very neutral with pops of colour. I’m drawn to cooler neutrals; I always feel the palette should be warm with touches of vibrancy. The walls throughout this space are a taupe that gives off a cloud like texture, which allows for statement artworks and a rug that grounds the living room and also serves as its own work of art. Continue Reading

Continuum
ERIC DEVER | MIKE SOLOMON | SUSAN VECSEY | FRANK WIMBERLEY
October 9 - 12, 2020

Artists and Scholars on "blue." A Virtual Talk with Artist Susan Vecsey 
This is a virtual program through ZOOM
Thursday, September 10
4 pm
$10 members, $20 non-members

Now a rising star in the Hamptons art community, Susan Vecsey was a student of Graham Nickson at the New York Studio School and a visiting artist at the American Academy in Rome in 2012. With solo museum and gallery shows, she has garnered such critical raves in the arts press for her “virtuoso painting.” Grab a favorite cocktail and join us for this lively and informative session in the comfort of your home.

“In Between,” the title of Susan Vecsey’s show, refers both to the strange period of quarantine we currently find ourselves living in, as well as the double nature of the painter’s work, in which she floats an acquaintance with artists such as Mark Rothko and Helen Frankenthaler and their landscape-influenced abstractions with her own experience of non-objective art in response to the natural world (Vecsey lives part of the time in East Hampton). The work is subtle, deliberately beautiful, and historically cognizant of the New York School and its history during the past half-century, in particular the ongoing perceptions of a Color Field predilection. If one felt compelled to make a choice, it can be said that the works tend to lean in the direction of landscape; their simplicity makes them strong in an abstract sense, but we never lose the implication that we are close to land, to water, and to the sky. Individually, the paintings are attractive, but there is also a cumulative effect, in which the paintings work a sympathetic magic by creating a pastel-like mood and atmosphere, in which both the beauty of nature and also of art are handled with a notable measure and restraint.

The condition of being in between needs to be remarked upon; much of good painting today plays with the idea that an imagery can share aspects of stylistic genres that play off of difference in their essence. Yet it can be noted that nothing is purely abstract nor entirely figurative. Elements or parts of the painting can flow in and out of meanings that take on both styles. It is hard to see both approaches occurring in the same moment; we remember those visual paradoxes where, looked at one way, the image represents one kind of object; and then, when the mental intelligence shifts, another image comes into being--but both images cannot be processed at the same time. Perhaps Vecsey’s general achievement is to render a visual system that jumps from a particular manner of looking into another. While this process is not new--we have the extraordinary achievement of Rothko, mentioned above--its innate complexity and willingness to occupy different ways of seeing within the same composition make it wonderfully current, not to mention extraordinarily interesting as art.

Artist's Choice: Interconnected
May 7 - June 7, 2020
View Exhibition

Berry Campbell is pleased to announce Artist’s Choice: Interconnected, an exclusive online exhibition of works from gallery’s inventory chosen by Berry Campbell’s represented contemporary artists. Eric Dever, Judith Godwin, Ken Greenleaf, Jill Nathanson, Ann Purcell, Mike Solomon, Susan Vecsey, James Walsh, Joyce Weinstein, and Frank Wimberley have thoughtfully selected one work from our gallery inventory that they associate with their own creative process and artistic journey. This artist-curated exhibition is an inquiry into the lines of influence and connections within our Berry Campbell artist community. Artist’s Choice: Interconnected launches digitally May 7, 2020.

The choices are sometimes expected, and at other times, surprising.  Some artists were inspired by a painting from an artist they had never met, and others paid tribute to old friends or mentors.  Judith Godwin recalls good times with her old friend and art dealer, Betty Parsons.  James Walsh remembers a painting by Walter Darby Bannard from a 1981 show at Knoedler Gallery.  Mike Solomon pays homage to the perseverance of abstract painter and dear friend, Frank Wimberley saying: “The quiet intermingling of his experience, with the purity of painting, gives his abstractions an authenticity and delicacy that is profound to witness.”  Ken Greenleaf favorite is Cloistered #5 (1968) by Ida Kohlmeyer, delighting in the pure abstraction.  Jill Nathanson picked a color-field forerunner, Dan Christensen.  Ann Purcell admitted to being picky but found true inspiration after visiting our Yvonne Thomas show repeatedly.  Eric Dever ruminates about Charlotte Park: “Like a favorite poem, novel or even film, a painting can be a touchstone, something one returns to with certain regularity; perhaps a gauge of some kind, beginning with personal happiness on the occasion of discovery and new revelation as our lives unfold.”  Joyce Weinstein finds parallels with John Opper.  Susan Vecsey loves the “stillness and movement” of Elaine de Kooning’s Six Horses, Blue Wall (1987).  No coincidence that Vecsey lives down the road from the Elaine de Kooning house in the Hamptons. Frank Wimberley recalls of Herman Cherry: “He was one of the East End artists who wished to me to succeed.”

ABOUT BERRY CAMPBELL
Christine Berry and Martha Campbell have many parallels in their backgrounds and interests. Both studied art history in college, began their careers in the museum world, and later worked together at a major gallery in midtown Manhattan. Most importantly, however, Berry and Campbell share a curatorial vision.

Both art dealers developed a strong emphasis on research and networking with artists and scholars during their art world years. They decided to work together, opening Berry Campbell Gallery in 2013 in the heart of New York's Chelsea art district, at 530 West 24th Street on the ground floor. In 2015, the gallery expanded, doubling its size with an additional 2,000 square feet of exhibition space.

Highlighting a selection of postwar and contemporary artists, the gallery fulfills an important gap in the art world, revealing a depth within American modernism that is just beginning to be understood, encompassing the many artists who were left behind due to race, gender, or geography-beyond such legendary figures as Pollock and de Kooning. Since its inception, the gallery has been especially instrumental in giving women artists long overdue consideration, an effort that museums have only just begun to take up, such as in the 2016 traveling exhibition, Women of Abstract Expressionism, curated by University of Denver professor Gwen F. Chanzit. This show featured work by Perle Fine and Judith Godwin, both represented by Berry Campbell, along with that of Helen Frankenthaler, Lee Krasner, and Joan Mitchell. In 2019, Berry Campbell's exhibition, Yvonne Thomas: Windows and Variations (Paintings 1963 - 1965) was reviewed by Roberta Smith for the New York Times, in which Smith wrote that Thomas, "... kept her hand in, adding a fresh directness of touch, and the results give her a place in the still-emerging saga of postwar American abstraction.”

In addition to Perle Fine and Judith Godwin, artists whose work is represented by the gallery include Edward Avedisian, Walter Darby Bannard, Stanley Boxer, Dan Christensen, Eric Dever, John Goodyear, Ken Greenleaf, Raymond Hendler, Ida Kohlmeyer, Jill Nathanson, John Opper, Stephen Pace, Charlotte Park, William Perehudoff, Ann Purcell, Mike Solomon, Syd Solomon, Albert Stadler, Yvonne Thomas, Susan Vecsey, James Walsh, Joyce Weinstein, Frank Wimberley, Larry Zox, and Edward Zutrau. The gallery has helped promote many of these artists' careers in museum shows including that of Bannard at the Institute of Contemporary Art, Miami (2018-19); Syd Solomon, in a traveling museum show which culminates at the John and Mable Ringling Museum in Sarasota and has been extended through 2021; Stephen Pace at The McCutchan Art Center/Pace Galleries at the University of Southern Indiana (2018) and at the Provincetown Art Association and Museum (2019); and Vecsey and Mike Solomon at the Greenville County Museum of Art, South Carolina (2017 and 2019, respectively); and Eric Dever at the Suffolk Community College, Riverhead, New York (2020). In an April 3, 2020 New York Times review of Berry Campbell's exhibition of Ida Kohlmeyer's Cloistered paintings, Roberta Smith stated: “These paintings stunningly sum up a moment when Minimalism was giving way to or being complicated by something more emotionally challenging and implicitly feminine and feminist. They could hang in any museum.”

Collaboration is an important aspect of the gallery. With the widened inquiries and understandings that have resulted from their ongoing discussions about the art world canon, the dealers feel a continual sense of excitement in the discoveries of artists and research still to be made.

Berry Campbell is located in the heart of the Chelsea Arts District at 530 West 24th Street, Ground Floor, New York, NY 10011.  For further information, contact us at 212.924.2178, info@berrycampbell.com or www.berrycampbell.com.

Berry Campbell Celebrates Women's History Month

Ida Kohlmeyer
VIDEO: Virtual Exhibition Walkthrough

Women of Abstract Expressionism 
Inventory Highlights
View Exhibition

Ann Purcell
Upcoming Exhibition: Kali Poems
View Works by Ann Purcell

Judith Godwin
Forbes Magazine: Add to Your list of '5 Women Artists' at These Museums Around The United States
by Chadd Scott

Charlotte Park
Client Testimonial: 
"Extremely gratifying to see Paul Kasmin Gallery's eye-opening summer show, Painters of the East End reviewed by Erin Kimmel in this month's Art in America . And smiled extra wide that AbEx talent Charlotte Park is written up in the same paragraph as — and holds her own with— Joan Mitchell. 'Park's virtuosic oil and crayon compositions (ca. 1965 and 1967) feature dendrite-like configurations in a palette of bright pinks, yellows and blues that appear frozen mid twist.' Ten years ago Christine Berry, owner of one of the most engaging and provocative galleries in Chelsea, Berry Campbell, thankfully introduced me to the work of Charlotte Park, who died in 2010 at age 92 in Montauk, where she lived and painted. She was the wife of artist James Brooks, supporting his career at the expense of her own, and dear friends and neighbors of Jackson Pollock and Lee Krasner." 
-Adam Beckerman
View Works by Charlotte Park 

Yvonne Thomas
Eazel Interactive Exhibition | Yvonne Thomas: Windows and Variations (1963-1965) 

Susan Vecsey
blue. 
Nassau County Museum of Art, Roslyn Harbor, New York
View Works by Susan Vecsey

Jill Nathanson
LINEA: Studio Notes from the Art Students League of New York
Artist Snapshot: Jill Nathanson 

Perle Fine
What We See, How We See
Through April 2021
Parrish Art Museum, Southampton, New York
View Works by Perle Fine

Joyce Weinstein
Postwar Women
Curated by William Corwin
The Art Students League, New York
View Works by Joyce Weinstein

March 14 - July 5, 2020
Nassau County Museum of Art
Roslyn Harbor, New York

What color means more to us than blue? Even among the primaries, the color of the sky and sea commands a privileged place, by far the most popular hue in the spectrum according to surveys on every continent. Blue casts its spell, pushing beyond symbolism to a deeper emotional level, drawing us into its pure and distant mysteries. Every artist goes through a “blue period,” from the Mediterranean blues of Matisse and Yves Klein to the haunting auras of Redon. Blue has been holy to Egyptian, Hindu, Chinese and Western traditions. Its physical sources (cobalt, ultramarine, cerulean, indigo, lapis lazuli, cyan) are a catalogue of valued materials that rival gold itself. As this exhibition exuberantly proves, the power of blue transcends art history. Poets, filmmakers, musicians and designers have tapped its resonant appeal. The most original music in America (home of bluejeans, “democracy in fashion”) is the blues. We are turning the entire museum over to the multi-media exploration of blue in many incarnations. It spans history and geography, from the precious lapis lazuli of antiquity to paintings, photographs, sculpture, ceramics, cyanotypes, and fashion. As Miró said, “This is the color of my dreams.”

Designer Laura Santos transformed a light-filled, full-floor apartment in a former parking garage into a cozy backdrop for her impressive collection.

The appearance of effortless beauty is not easy to produce. But this is the aspiration of Susan Vecsey's current show at Berry Campbell, an exhibition of twenty recent paintings, including her largest to date.

The artist has been working on this series of abstractions from nature for over a decade. She pours one layer at a time over a textured Belgian linen, creating subtle variations on the surface. Every next pour is a new layer of calculated risk.

Untitled (Blue/Gold) (all are 2018) is a six-foot square, most of which is a light gray. Across the lower edge, bands of vibrant gold, blue, and blue-black create a wide expanse that envelops the viewer.

The dark blues and deep reds in Untitled (Nocturne) are a new experiment. That composition and Untitled (Nocturne II) extend her range as a colorist, with wide spaces that shimmer with iridescence. 

Vecsey's paintings are entirely concerned with color, light, and surface. They require looking at up close, in person.

More Information

Susan Vecsey in Chelsea

A solo show of paintings by Susan Vecsey, who lives and works in New York City and East Hampton, will open Thursday at the Berry Campbell Gallery in Chelsea with a reception from 6 to 8 p.m. and continue through Nov. 10. 

Ms. Vescey’s recent abstractions call to mind both Color Field painting and landscapes. The woods, beaches, farms, and big skies of the East End inspire her, but her work strips those images of their specificity, resulting in “abstract art that looks familiar,” according to a release.

Susan Vecsey's Untitled (Blue/Grey), 2017 is highlighted in Art Wynwood's preview email. Join us Thursday night for the VIP preview/reception, 6-10pm. 

With postcard vistas of Central Park, a Manhattan apartment blends classic architecture with cosmopolitan style. Chair in a Fox Linton linen, Quintus; lamp, Visual Comfort; painting, Susan Vecsey. | Photo: Simon Upton; Interior Design: Tammy Connor

The John Jermain Memorial Library will present an exhibition of paintings and works on paper by East Hampton artist Susan Vecsey. This exhibition runs through September 4 with an opening reception July 29 from 2:30 to 4:30 p.m.

Featuring speaker Susan Vecsey

In an entirely different palette, Susan Vecsey’s “White Main Beach,” East Hampton, 2012, is a scene familiar to anyone who braves the ocean beach on an overcast winter’s day. Bathed in whites, with violet tints in the sky and greenish tints in the sand, Vecsey creates a composition that both goes in toward a vanishing point and comes back at you, through the movement in the clouds. The whole inward/outward motion then takes a vertical and horizontal direction from the crosshatching of the linen, on which White Beach, East Hampton is painted.

In 1931, when Mrs. Lorenzo E. Woodhouse dedicated Guild Hall as a cultural center for the community, The New York Times noted that Howard Russell Butler’s portrait of Thomas Moran on exhibit was not a loan but an acquisition. “It marks the beginning of a permanent collection which is proposed to build up in Guild Hall,” the newspaper explained.

Berry Campbell is playing host to two solo exhibitions, companionably sharing the same space as the paintings in them alternate along the walls (through July 3).

Both artists are recent graduates (if that’s the word I want) of Spanierman Modern. They have chosen to move to the Chelsea gallery opened just last year by two (likewise) Spanierman grads, Christine Berry and Martha Campbell.

Of the two artists on view at Berry Campbell, Susan Vecsey may be more familiar to the art world at the moment, having been included in Spanierman group shows since 2009, and having had a solo exhibition there in 2010.

Susan Vecsey featured in the June 2014 issue of Architectural Digest on page 169.  Designs by Carrier and Company (Jesse Carrier and Mara Miller).

Susan Vecsey show opens at Berry Campbell Gallery on June 5, 2014.

Link to photographs and article:

http://www.architecturaldigest.com/decor/2014-06/carrier-and-co-southampton-new-york-retreat-slideshow_slideshow_Guest-Room_5

BERRY CAMPBELL is pleased to announce the representation of New York-based painter, SUSAN VECSEY.  Vecsey is widely held in both public and private collections and most recently, Guild Hall Museum, East Hampton, acquired White Main Beach for their permanent collection.