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News: Frank Wimberley | New York Academy Of Art’s 2020 Hamptons Exhibition To Reflect Upon The Past And Look Towards The Future, July 22, 2020 - Nicole Barylski for Hamptons.com

Frank Wimberley | New York Academy Of Art’s 2020 Hamptons Exhibition To Reflect Upon The Past And Look Towards The Future

July 22, 2020 - Nicole Barylski for Hamptons.com

The New York Academy of Art is taking up a five-month residency at the Southampton Arts Center, where it will present 2020 Vision, a spectacular exhibition featuring over 60 artists and writers. Co-curated by Academy President David Kratz and Stephanie Roach of the FLAG Art Foundation, and edited by Emma Gilbey Keller, 2020 Vision will be on display from Saturday, July 25 through Sunday, December 27.

"The pain, loss and uncertainty of the ongoing COVID-19 pandemic. The awakening cry for social justice following the murders of George Floyd, Breonna Taylor, and Ahmaud Arbery and many others. The unnerving possibility of global recession. 2020 has already experienced seismic events that are shifting values and shaping our choices as citizens and as creators," Kratz and Roach noted. "Artists and writers are always the antennae of our society, all the more so at a time as challenging as this one.  They have an opportunity—some might say, a duty—to interpret this moment and imagine the world not only as it is, but also as it could be."

2020 Vision will encompass visual artworks from art students and rising stars to contemporary icons, as well as a myriad of texts, such as poetry and essays, and video diaries.

"This is the guiding challenge of the group exhibition, 2020 Vision.  We asked artists, writers, and creative thinkers to consider three questions of critical importance: Our lives will never be the same, but what will change look like? What do we want to keep as we rebuild? And what must we guard against?" they said.

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News: Christine Berry Appointed as Awards Committee for the New York Studio School 2020 Alumni Exhibition: Mercedes Matter Awards Announcement & Discussion, July 22, 2020 - Berry Campbell

Christine Berry Appointed as Awards Committee for the New York Studio School 2020 Alumni Exhibition: Mercedes Matter Awards Announcement & Discussion

July 22, 2020 - Berry Campbell

Christine Berry appointed as part of the Awards Committee for the New York Studio School 2020 Alumni Exhibition: Mercedes Matter Awards Announcement & Discussion

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Whitehot Magazine | Susan Vecsey at Berry Campbell

July 20, 2020 - Jonathan Goodman for Whitehot Magazine of Contemporary Art

“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.

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News: Susan Vecsey, Frank Wimberley | Guild Hall, 82nd Artist Members Exhibition, June 11, 2020 - Guild Hall

Susan Vecsey, Frank Wimberley | Guild Hall, 82nd Artist Members Exhibition

June 11, 2020 - Guild Hall

Frank Wimberley
All About Ronnie
2020
Acrylic, collage on canvas
20 x 20 x 1 3/4 inches
Inquire

Susan Vecsey
Untitled (Yellow / Lavender)
2019
Oil on collaged linen
9 1/2 x 9 1/2 x 2 inches
Inquire

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News: Sam Gilliam Featured on Widewalls Newsletter, June 11, 2020 - Widewalls

Sam Gilliam Featured on Widewalls Newsletter

June 11, 2020 - Widewalls

Sam Gilliam, Ribboned II, featured on Widewalls newsletter

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News: JILL NATHANSON | Artist-Guided Studio Tour, June 10, 2020 - Berry Campbell

JILL NATHANSON | Artist-Guided Studio Tour

June 10, 2020 - Berry Campbell

In this video, Jill Nathanson gives a tour of her studio in Hoboken, New Jersey, featuring some of her paintings in progress.

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News: Syd Solomon: Concealed and Revealed at the John and Mable Ringling Museum of Art, , May 28, 2020 - Berry Campbell

Syd Solomon: Concealed and Revealed at the John and Mable Ringling Museum of Art,

May 28, 2020 - Berry Campbell

PRESS RELEASE
FOR IMMEDIATE RELEASE
EXTENDED: SYD SOLOMON: CONCEALED AND REVEALED AT THE JOHN AND MABLE RINGLING MUSEUM OF ART

NEW YORK, NEW YORK, MAY 28, 2020—Berry Campbell is pleased to announce the extension of the Syd Solomon traveling museum exhibition, Syd Solomon: Concealed and Revealed. After opening at the Deland Museum, Florida in 2016, the retrospective traveled to the Greenville County Museum, South Carolina (2017), and then to Guild Hall Museum, East Hampton, New York (2018). The exhibition opened at its final venue, The John and Mable Ringling Museum of Art, Sarasota, Florida, in December of 2019. Shortly after a full-day symposium on Syd Solomon in February 2020, the museum temporarily closed due to COVID-19. The John and Mable Ringling Museum of Art reopened to the public on May 27, 2020 and will extend Syd Solomon: Concealed and Revealed and all associated programing through January 2021.

Syd Solomon: Concealed and Revealed consists of 45 paintings and works on paper sourced from public and private collections, including hundreds of original and never seen before archival photographs and documents from the Solomon Archive. These newly discovered materials detail how Syd Solomon's World War II camouflage designs and other early graphic arts skills were foundational to his unique approach to Abstract Expressionism. This new information makes this exhibition and accompanying catalogue a revelation by furthering the understanding of Syd Solomon’s life and work.

Syd Solomon served as camouflage expert in the United States Army during World War II (1941- 1945), which prevented him from taking part in the formative years of the Abstract Expressionist movement in New York. His camouflage designs were used during the Normandy invasion and in the African campaign and his camouflage instruction manuals where distributed throughout the US Army. Solomon's designs were shared with the English camouflage experts, many of whom were artists, including Barbara Hepworth, Roland Penrose, and Henry Moore. Syd Solomon was awarded five Bronze Stars for his service.

Solomon suffered frostbite in the Battle of the Bulge and was not able to live in cold climates, thus settling in Sarasota, Florida. Although he arrived to the Abstract Expressionist scene late because of the War, by 1959 his work had gained the admiration of Museum of Modern Art curators, Peter Selz and Dorothy C. Miller, the Whitney Museum of American Art's director, John Baur, and many others, including artists Philip Guston and James Brooks, who became life-long friends. At this time, Syd Solomon's paintings entered the collections of the Solomon R. Guggenheim Museum, the Whitney Museum of American Art, and over 100 additional museum collections.

This exhibition was co-curated by Mike Solomon, the artist’s son, and Ola Wlusek, the Keith D. and Linda L. Monda Curator of Modern Art and Contemporary Art, at the John and Mable Ringling Museum of Art, Sarasota, Florida.

Syd Solomon: Concealed and Revealed is accompanied by a 96-page hardcover catalogue with essays by Michael Auping (former Chief Curator at the Modern Art Museum of Fort Worth and curator of recent exhibitions of Frank Stella and Mark Bradford), Dr. Gail Levin (expert on Lee Krasner and Edward Hopper), George Bolge (Director of the Deland Museum of Art, Florida), and Mike Solomon, (artist and the artist’s son). This exhibition was organized by the Estate of Syd Solomon in conjunction with Berry Campbell, New York.

For museum hours of operation, please visit: www.Ringling.org. To visit the exhibition virtually, please visit: https://www.youtube.com/watch?v=0f1b8wRQhsw. To purchase the exhibition catalogue, please email: info@berrycampbell.com.

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News: Tussle Magazine: Ida Kohlmeyer: Cloistered  at Berry Campbell, New York, May 20, 2020 - Jonathan Goodman for Tussle Magazine

Tussle Magazine: Ida Kohlmeyer: Cloistered at Berry Campbell, New York

May 20, 2020 - Jonathan Goodman for Tussle Magazine

This exhibition titled "Cloistered" by Ida Kohlmeyer at the Berry Campbell Gallery consists of paintings and sculptures from the late 1960s, before she turned to the hieratic abstractions of her later career. In some ways the paintings on show relate to abstract elements found in the art of Georgia O’Keeffe and Hilma af Klint (the early 20th century Swedish abstractionist); they consist of mostly diamond-shaped patterns, with a couple of circular compositions. Kohlmeyer was educated and taught at Tulane University in New Orleans; she studied in Provincetown in the middle Fifties with the German-born teacher and abstract painter Hans Hofmann. In the paintings available to us, we see distinguished, soft-edged nonobjective imagery, in which geometric forms become vehicles for understated emotion. The colors are softly muted, communicating the artist’s ability to transmit feeling through simple designs and quite hues.

While not exactly a serial art, this kind of abstraction builds its effects through repetition of forms from one painting to the next. The diamond-shaped designs hold our interest by building a narrowing focus into the very center of the paintings, which can contain different shapes often circles, but also crosses and slits. They offer a kind of artist’s vernacular; the shapes repeat themselves and create links joining one painting to another. As a result, the body of work joins individual voices to a communal process that asks Kohlmeyer’s audience to appreciate their cumulative effect. Thus, a particularly successful variation within unity occurs, full in keeping with a lot of painting being done at the time these works were made. The larger question, Does such repetitiveness add or detract from the experience of the work? This can be considered as something more theoretical--in the case of Kohlmeyer, the accomplishments brought about by such an approach are genuine, in part because the differences from one painting to the next which are large enough to enable us to see the works as individual efforts rather than as nearly identical compositions.

In “Cloistered” (1969), Kohlmeyer has painted a thin, mostly brown diamond with a thinner dark purple stripe re-enforcing the overall shape, inside of which is another diamond, outlined in white and surrounded by a haze of the same dark-purple color. Inside the confines of the white diamond is a thin, yellow-brown, vertically aligned lozenge, flanked on either side by purple and then dark-brown stripes--the same colors used to define the outer diamond. The title might well refer to the oval deep in the center of the painting; it might even convey something of the spiritual mood that exists in the work. Whatever the motivation for the painting is, the experience of Kohlmeyer’s effort is fully satisfying. It suggests, in abstract fashion, a place of refuge and solace. An untitled work, circa 1969, consists of a five-pointed star shape, within which is a white diamond with a circle in the middle. Outside this puzzle of shapes are found a pentangle of red paint, along with a pink area, following the form of the pentangle in a rough manner, linearly contained by a dark-brown line. Certainly, the star is abstract enough, but the image conveys a primal feeling not unaligned with the spirit.

Kohlmeyer’s shapes can hardly be seen as devotional, yet they are so basic as to be archetypal reworking of forms that may have had spiritual meaning in other, earlier cultures. In “Black Insert” (1968), we see a black diamond shape, in the middle of which is the vertical lozenge; this amalgam of forms is supported by quadrants of off white, defined by green stripes of middling width that outline the diamond. The green lines create a cross behind the diamond that does not in any way evoke a Christian aura. 

The possibility of external reference, beyond the abstract form, cannot be entirely dismissed. It would be a major mistake to see the works of art as intimating an atmosphere of piety. It is just that the forms in these completely abstract paintings are so archaic as to raise questions about their origins beyond the intentions of the artist. This happens inevitably. In “Suspended” (1968), we meet more rounded forms: a curving hourglass shape dominates the painting, with rows of undulating, differently colored lines embellishing the upper and lower register of the form. Outside this hourglass is a background of whitish, slate blue curved like a circle. Beyond that, there exists a green diamond, with four pinkish mauve triangles, one in each of the cardinal directions. Finally, a smudged light-yellow band follows the edge of the green diamond.

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News: The Brooklyn Rail: Ida Kohlmeyer: Cloistered, May 18, 2020 - William Corwin for The Brooklyn Rail

The Brooklyn Rail: Ida Kohlmeyer: Cloistered

May 18, 2020 - William Corwin for The Brooklyn Rail

Think of all the meanings, nuances, and implications embedded in the word “cloistered,” and they reside here in Ida Kohlmeyer’s series of that title, executed in the late 1960s and now on virtual view at Berry Campbell Gallery through May 23. The earliest of these works were produced in 1968, the same year Stanley Kubrick’s 2001: A Space Odyssey came out, and many of them have the wary and watchful quality of the monotonic computer HAL, which loses faith in its human chaperones in Stanley Kubrick’s iconic film.

In Kohlmeyer’s paintings, there is a protected conceptual space lying just below the surface of the canvas, under a layer of sparingly applied oil paint and graphite. This is the imaginary volumetric structure for most of Kohlmeyer’s imagery in this series: a somber interior zone peeks out through a central oculus, or blossoms in an undulating vegetal sprout. The relationship of painting to the viewer is reversed as the spectator is surveilled by an alien eye. Kohlmeyer paints this cloistered presence into her works with varying degrees of directness. Black Insert” (1968) simply presents a black diamond with a lightly incised rectilinear form floating, shadowy, within it. By contrast, the final painting in the show, Cloistered (1969), stares out obsessively from the back of the gallery. A cross is carefully etched on the lozenge of the eye, a detail that makes the viewer feel as if the painting broodingly judges them. Kohlmeyer's reclusive entities carry with them all the accompanying angst, sadness, concealment, and, at times, anger, that arise from an unwilling sequestration.

There’s also a more immediate structural interpretation: most of the works are geometric, but with relaxed hand-drawn lines, and play on the symmetry and proportion of medieval walled gardens—the literal cloister. The picture plane is quartered or in some cases halved, and has a central element that serves as a point of arrival for the vectors of the painting and attracts the eye of the viewer. In this central position, Kohlmeyer typically substitutes something dark and glowering for the babbling fountains and cheerful plantings most of us know from the Cloisters museum in Fort Tryon Park. Of the paintings on view, the most Kubrickian watcher of all is the bisected black cornea and dilated pupil of Cloister #5 (1968). But there are exceptions, and Kohlmeyer does occasionally traffic in less emotionally fraught effects. Cloistered #12 (c. 1969) culminates in a colorful black/blue and pink/yellow floret, while Suspended (1968), with its palette of bright grass greens, iris, and greenish yellow, is very upbeat, and seemingly Easter-themed, including a central egg-shaped form decorated with arcs and bands. Kohlmeyer’s sculptures are variations on the theme of the paintings, but play with the idea of multiplicity. Canvas stretched over wood, they are paintings moved off the wall and placed in space, toying with a front and back in three dimensions. Stacked #1 (1969), is a tower of three cubes, with fecund buds centered on each surface: the painting now overlooks the entire room like a cyborg lighthouse.

There are obvious relationships that can be drawn between Kohlmeyer’s paintings and human anatomy—eyes and other organs are most obvious. But the repetitive crosses and ecclesiastically-specific architectural titles reiterate a spiritual and symbolic subtext that moves beyond mere floral or organic models. It is hard to say what the message is—the works themselves, juxtaposing bright colors with a forlorn presence, may not have decided for themselves. Before she created the works on view at Berry Campbell, Kohlmeyer’s style was Abstract Expressionist, influenced by Rothko and Gorky. The artist also studied under Hans Hofmann in Provincetown in the mid-fifties. Her later work would go on to explore ideas of pattern and multiplicity—Berry Campbell offers a striking example of this period in Color Stripes (1980). The Cloister series and its auxiliary works seem to represent an interlude of sorts, during which the artist explored a closer, but riskier, engagement with the viewer. These paintings have a pathos to them, but never veer into the outright horror or fury of Lee Bontecou’s dark blank lacunae from the late 1950s and early 1960s. As with all series carried out over just a few years, it’s impossible to tell if Kohlmeyer could have continued to walk the fine line between gripping emotional connectedness and over-the-top sentimentality, but for this short span, she certainly pulled it off.

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