News

During this time of quarantine, we have witnessed an unprecedented amount of creative output online, ranging from internationally acclaimed artists performing on stage, to cozy living room concerts. As Guild Hall continues to release our own new and historic virtual programming, we want to make it easier for you to find arts and cultural resources from the artists and places we love in a single aggregate list. 

Below you will find creative resources for artists, families, children and adults. Please note: This is a living document, growing daily. Check back often, and feel free to suggest additions by emailing info@guildhall.org with the Subject: Monster List.

VIRTUAL ACCESS TO ARTS & CULTURE INSTITUTIONS

Berry Campbell | Ida Kohlmeyer: Cloistered

Gallery hop from Sydney to Miami at any time of day with these shows.

“Cloistered” at Berry Campbell, New York

Ida Kohlmeyer, Cloistered #5 (1968). Courtesy of Berry Campbell Gallery.

Philip Pavia (1911-2005), the pioneering first-generation son of an Italian stone carver, "turned rocks into art." The Times of London called Pavia "arguably more of an original than some of his better-known contemporaries." He was rare among his peers for sculpting abstract and figurative art, and he took full advantage of a lengthy 74-year career to develop his reach. Although he started his career as a draftsman and watercolorist, Pavia ultimately made his mark with a body of work that spanned all-abstract bronzes, black-and-white abstractions in Carrara marble and, just prior to his death in 2005, at aged 94, a dozen monumental terracotta heads.

In this video, Christine Berry speaks about Ida Kohlmeyer and Berry Campbell's current exhibition, Ida Kohlmeyer: Cloistered.

Here are eight of the most memorable works from the Dallas Art Fair's virtual edition.

Chelsea dealers Christine Berry and Martha Campbell did not spend quite so much time on the quiddities of the online format, instead relying on old-fashioned connoisseurship, curation, and an eye for sourcing work that looks better over time to put together an excellent display anchored by female artists from the 1950s, ’60s, and ’70s. Some, like Mary Abbott, Perle Fine, Judith Godwin, and Ninth Street Women star Grace Hartigan were undervalued during their lifetime. Others, like Charlotte Park, Sally Michel Avery, and Elaine de Kooning were overshadowed by their artist husbands. One, Betty Parsons, was overshadowed by herself—with her painting career long seen as secondary to her illustrious run as one of New York’s top dealers of Abstract Expressionist art.

This witty painting of a solitary red moth against a brushy blue background plays against the pieties of AbEx orthodoxy, being at once an abstract all-over composition that emphasizes the picture plane and a not-very-abstract-at-all (though Fauvist) portrait of a bug on a wall.

Read Full Article

Betty Parsons: The Moth, 1969, at Berry Campbell, New York – price on application

Although known primarily as a gallerist who championed Abstract Expressionism, Betty Parsons (1900-1982) has recently been gaining increased recognition for her own art, including a solo show at Alison Jacques in London. This is certainly a radical way of tackling figure / ground issues, and one which we can now see presents an unimpeachable degree of social distancing.

9. “Ida Kohlmeyer: Cloistered” at Berry Campbell Gallery

During her lifetime, the New Orleans painter Ida Kohlmeyer won acclaim in her native Louisiana for her abstract, often jubilantly colored canvases that hovered between gridded arrangements of Rothko-esque fields of color (in fact, she counted the AbEx giant as a friend and mentor) and the mark-making lyricism of Cy Twombly. 

A much different and little-known set of her early works can be glimpsed in “Cloistered,” a new online exhibition at Berry Campbell. Made in 1968–69, these paintings almost have the appearance of aerial maps of ancient citadels with concentric bands of geometric shapes surrounding a point of central focus. While showing the influences of Georgia O’Keeffe in places and contemporaries like Kenneth Noland in others, the works also speak to the artist’s fascination with interest in Mesoamerican art (which she voraciously collected) and in cultivating a vocabulary of hieroglyphs, emblems, and ritual meaning, which here collide into a feminine vision of Abstract Expressionism. 

—Katie White