News: Eric Dever and Susan Vecsey included in Drive-By-Art (Public Art in This Moment of Social Distancing, May  4, 2020 - Drive-By-Art

Eric Dever and Susan Vecsey included in Drive-By-Art (Public Art in This Moment of Social Distancing

May 4, 2020 - Drive-By-Art

Organized by Warren Neidich

DATES: May 9th and 10th, 2020 (Rain dates May 16th and 17th)
TIMES: 12 noon until 5 pm
LOCATION: South Fork, Long Island including East Hampton, Bridgehampton, Wainscott, Sagaponack, Sag Harbor, North Haven and South Hampton

Drive-by baby showers and birthdays have become the norm for celebrating special events during this time of social distancing and the COVID-19 pandemic. Like many others, artists and cultural producers are sequestered in their homes and studios dealing with depressed income, isolation and the fears that precarious futures produce. Enter Drive-By-Art, an outdoor public art exhibition that is experienced from the safety and intimacy of one’s own automobile.  

Not only does Drive-By-Art create a sense of needed solidarity within the artistic and cultural communities now entrenched in the South Fork of Long Island, but it also offers an experience that is otherwise severely limited by our current social distancing practices: interacting with tangible objects in the real world. 

Here is how it works!

Taking advantage of the rich, artistic heritage of the South Fork of Long Island, artists currently living and working there will install and display artworks related to this moment of social distancing on their properties, near roads or on highways. For instance, classic and experimental sculptures made inside may be installed in driveways or as lawn objects, tree trunks can be sites of interventions as paintings, rooftops as sites for light sculptures seen from the road but also the sky. Sides of houses might become surfaces for video projections and picture windows as stages for shadow puppet performances while musicians and sound poets might give live performances at the edge of properties. 

Around 50 painters, sculptors, photographers, performance artists, film and video makers, poets, and musicians of varying age, cultural background and gender are involved. All artists, their addresses, and maps of hamlets where their works can be viewed are available here:

We will also be conducting real time interviews with some of the artists on Instagram and Facebook. Specifics will be posted to our website. 

Special thanks to Guild Hall and Parrish Art Museum for their support.

For more information or to request a zoom interview with one of our artists, please email
or reach out to Warren Neidich at +1-917-664-4526 or Jocelyn Anker at +1-917-291-4406

News: Guild Hall Museum: The MONSTER LIST of FREE Arts & Cultural Resources, May  1, 2020 - Guild Hall

Guild Hall Museum: The MONSTER LIST of FREE Arts & Cultural Resources

May 1, 2020 - Guild Hall

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 with the Subject: Monster List.


Berry Campbell | Ida Kohlmeyer: Cloistered


News: 10 of Our Favorite Exhibitions From Around the World That You Can Visit Virtually, May  1, 2020 - artnet Gallery Network

10 of Our Favorite Exhibitions From Around the World That You Can Visit Virtually

May 1, 2020 - artnet Gallery Network

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.

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

News: International Sculpture Day: Philip Pavia, April 27, 2020 - Berry Campbell

International Sculpture Day: Philip Pavia

April 27, 2020 - Berry Campbell

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.

News: VIDEO: Christine Berry on Ida Kohlmeyer: Cloistered, April 24, 2020 - Berry campbell

VIDEO: Christine Berry on Ida Kohlmeyer: Cloistered

April 24, 2020 - Berry campbell

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


Can a Virtual Art Fair Deliver? We Went in Search of Great Art in the Dallas Art Fair’s Online Viewing Rooms to Find Out

April 20, 2020 - Andrew Goldstein for Artnet News

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

News: Dallas Art Fair from the Sofa, April 17, 2020 - FAD Magazine

Dallas Art Fair from the Sofa

April 17, 2020 - FAD Magazine

Betty ParsonsThe 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.

News: Editors’ Picks: 11 Things Not to Miss in the Virtual Art World This Week | Ida Kohlmeyer: Cloistered, April  7, 2020 - Katie White for Artnet News

Editors’ Picks: 11 Things Not to Miss in the Virtual Art World This Week | Ida Kohlmeyer: Cloistered

April 7, 2020 - Katie White for Artnet News

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

News: Parrish Art Museum: LIVE FROM THE STUDIO WITH ERIC DEVER, April  3, 2020 - Parrish Art Museum Events


April 3, 2020 - Parrish Art Museum Events

Tune in to a series of live streamed workshops with Parrish teaching artists Wednesdays at 11 am!
On April 15, join painter Eric Dever in his studio. Follow along and interact through a live Q&A.
Open to all!

April 15, 2020
11 am
 - 11:45 am

News: Ida Kohlmeyer Exhibition Reviewed in The New York Times by Roberta Smith, April  2, 2020 - Roberta Smith for the New York Times

Ida Kohlmeyer Exhibition Reviewed in The New York Times by Roberta Smith

April 2, 2020 - Roberta Smith for the New York Times

I learned of the artist Ida Kohlmeyer (1912-97) primarily as a teacher at Newcomb College, the women’s college at Tulane University in New Orleans, from one of her former students, the Post-Minimalist shape-shifter Lynda Benglis. In the 1970s Kohlmeyer developed a style of multihued pictographs, usually organized on a grid. Pleasantly derivative, they suggested well-behaved Joan Snyder paintings. Kohlmeyer seemed to be a journeyman artist who kept up with the latest trends; had a good color sense and a solid touch; but who never put the pedal to the metal to find out what she could do that no other artist could.
Then the announcement for “Cloistered,” the first Kohlmeyer exhibition at Berry Campbell, arrived by email and I stood corrected. Pedal and metal had made contact. Kohlmeyer had done something that was way above her usual average, something simple and intense. In 1968 and ’69, she produced a group of symmetrical geometric abstract paintings in a rich, winy palette. Hand drawn, their harsh shapes begin at the center of the painting’s edges, widening into diamond or chevron shapes at the center. They suggest the plans for ancient forts, and appropriately so. Cocooned at the center of this symmetry was softer symbol of vulnerability: a simple circle, or occasionally an ellipse, as in the yolk yellow one that, like the air bubble in a carpenter’s level, forms the living heart of the remarkable “Cloistered,” protected by concentric bands of deep red.

Almost never exhibited, these works may be derivative but they are gloriously so. They’re so full of the work of disparate artists that they become overarching, laying waste to the term. The gallery’s press material invites comparison with the work of Georgia O’Keeffe and Agnes Pelton. That’s fine, but more contemporary references come to mind, like Jasper Johns’s and Kenneth Noland’s targets, Billy Al Bengston’s centered irises and sundry Frank Stella paintings. Then Kohlmeyer’s efforts turn away from the men to evoke the early work of Eva Hesse and Agnes Martin, Judy Chicago’s built-up dinner plates, the dark reliefs of Lee Bontecou. The list could go on.
One of my favorites is an untitled work that features a plushy five-point star in shades of light brown enclosed in a red pentagon that fades to pink. 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. There is much more to know about Kohlmeyer, a late-blooming artist who had a successful career even without her best work — the “Cloistered” paintings — whose possibilities she unfortunately chose not to explore. ROBERTA SMITH