News: Ida Kohlmeyer on view at New Orleans Museum of Art, July 14, 2021 - New Orleans Museum of Art

Ida Kohlmeyer on view at New Orleans Museum of Art

July 14, 2021 - New Orleans Museum of Art

These symbols [in Ida Kohlmeyer’s work] exist as a kind of pictographic code, inviting us to try to decipher their meaning, but always evading any clear reference or easy interpretation...Her work feels like a code that we are never quite meant to crack.”⁠
—Katie A. Pfohl, Curator of Modern and Contemporary Art⁠

This month, Ida Kohlmeyer’s painted aluminum sculpture Rebus 3D-89-3 returns to the Sydney and Walda Besthoff Sculpture Garden, newly refreshed from structural repairs and brandishing a brand new coat of paint. The expert restoration—undertaken by Kohlmeyer’s longtime fabricator G. Paul Lucas of Lucas Limited in Louisburg, Kansas—brings the work back to its intended brilliancy and allows us to appreciate the work of one of Louisiana’s most influential and enigmatic abstract artists anew.

Kohlmeyer, a native New Orleanian, is nationally recognized for her vibrant abstract paintings and sculptures, which are among the most vanguard works of modern art made in New Orleans during the twentieth century. She is best known for her signature “cluster” compositions: large painted canvases divided into loose grids filled with vibrantly colored abstract shapes and forms that are at once abstract, linguistic, and deeply personal.

These symbols—either gridded on canvas or presented as freestanding sculptures—exist as a kind of pictographic code, inviting us to try to decipher their meaning, but always evading any clear reference or easy interpretation. Often titling her sculptures Rebus, a term that refers to a type of puzzle or “picture riddle” in which words are represented by combinations of pictures and letters, her work feels like a code that we are never quite meant to crack.

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News: Eric Dever featured in Widewalls Newsletter, June 24, 2021 - Berry Campbell

Eric Dever featured in Widewalls Newsletter

June 24, 2021 - Berry Campbell

Eric Dever
Trout Pond-Summer
Oil on canvas
36 x 48 inches
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News: Berry Campbell to participate in Intersect Aspen 2021, June 23, 2021 - Berry Campbell

Berry Campbell to participate in Intersect Aspen 2021

June 23, 2021 - Berry Campbell

New York, NY, June 9, 2020—Intersect Art and Design announces a pop-up edition of Intersect Aspen, an art and design fair taking place in person at the Aspen Ice Garden from August 1-5, 2021. The show will open with a VIP Preview Brunch on Sunday, August 1 from 10am to 11am, followed by a Public Opening Reception from 11am to 12pm, and will be open to the public daily from 11am to 5pm. The fair will also be presented online at from August 1-19, 2021.

Becca Hoffman, Managing Director of Intersect Art and Design says, “We are so pleased to be returning to Aspen this summer for what promises to be a dynamic and exciting time in the mountains. As our first in-person event since the pandemic, the curated selection of galleries highlights a thoughtful mix of established and younger galleries from around the country showcasing art, design, and photography.”

Tim von Gal, CEO of Intersect Art and Design adds, “As in-person events return, there is a palpable momentum and excitement to be in Aspen this summer, which is a sentiment that is shared by the local community, and so many galleries and collectors who are coming from out of town. This pop-up edition of Intersect Aspen will be a vibrant destination for people who can’t wait to get back to seeing art, and each other, in person.”

Paul Laster, Curatorial Advisor for Intersect Art and Design, comments, “An invitation-only, intimate art and design fair, Intersect Aspen has been selectively curated to stimulate an already 2 art-savvy audience in Aspen. Presenting a lively array of works newly made by artists in isolation and historical pieces from the postwar era, Intersect Aspen’s exhibitors are excited to engage the public, share their passions, and find new followers for the artists and designers they truly admire.” Regional cultural partners include Carbondale Arts, Red Brick Center for the Arts, and The Art Base, with others to be announced.

Exhibiting cultural partners include Aspen Film, presenting four acclaimed animated short films from its 2020 and 2021 Oscar®-qualifying Shortsfests; and STONELEAF RETREAT presenting a large-scale fiber work by Liz Collins, and a digital pigment print by Keisha Scarville who are both alumni residents of STONELEAF.

News: Artforum | Judith Godwin (1930-2021), June 11, 2021 - Anthony Korner for Artforum

Artforum | Judith Godwin (1930-2021)

June 11, 2021 - Anthony Korner for Artforum

Judith Godwin at her solo exhibition: "An Act of Freedom" at Berry Campbell, New York

 Judith Godwin died on May 29 in her ninety-second year, the art world lost the last living member of a generation of women Abstract Expressionists, a group of artists largely overlooked in favor of their male peers. I lost a dear friend. 

My connection with Judith came about through our mutual friend Julie Lawson, a London art-world personality and assistant to Sir Roland Penrose, one of the founders of the city’s Institute of Contemporary Arts. Years later, when I was living in New York, Julie introduced me to Judith, who struck me as a delightful and irreverent Southern lady. What I didn’t recognize at first was how strong a character she was under that lighthearted gentility. At the time, she was celebrating her victory in a court case against a restaurant that was encroaching on her Greenwich Village property. There, in her beautifully tended garden, resplendent with plants she had known and loved in Virginia—including fine camellias and an extraordinary Lady Banks climbing rose—Franz Kline and Ruth Kligman’s cat was a constant presence (they lived nearby). Judith said she was in the habit of giving Kligman a sandwich whenever she stopped by to fetch the animal. Judith also said she had learned a great deal from Kline, especially his late works in color.

Judith was born in 1930 in Suffolk, Virginia, into a distinguished family tracing ancestors back to the state’s first colonial settlers. This was a background she mostly rejected, leaving Virginia after graduating from Mary Baldwin College and what is now Virginia Commonwealth University to become an artist.

With the reluctant blessing of her parents, she moved to New York, where she studied at the Art Students League and later with Hans Hoffmann at his School of Fine Arts and struggled to establish herself. In addition to being a dedicated painter, Judith, to earn a living, had to learn carpentry, stonemasonry, plastering, interior decoration, and landscaping. She was always a welcome and helpful guest in my home, walking around, tools in hand, checking fittings and hinges. In her studio on West Thirteenth Street, she stretched her own canvases and made the frames for her paintings, which were stacked in partitions she constructed and installed. Independence, improvisation, and self-reliance were fundamental to her character.

Judith often spoke to me of the opportunities she had missed as a woman in New York’s 1950s and ’60s art world. She never felt welcome at the Cedar Tavern, that fabled AbEx stomping ground. Once, at a gallery opening early in her career, she was abruptly sidelined by Ellsworth Kelly while trying to speak to Betty Parsons. However, in 1957, she was in the inaugural Betty Parsons Section Eleven Gallery show, and a year later in a group show at Stable Gallery. She went on to be represented by Marisa del Re Gallery, Spanierman Gallery, and, most recently, Berry Campbell Gallery. Her powerful gestural abstractions are in many private collections and have been acquired by the nation’s leading contemporary-art museums.

Still, it always rankled her that her paintings weren’t more widely known or appreciated, especially in comparison to those of her male contemporaries. But she gained recognition for her place in the canon in 2016 with the Denver Art Museum’s groundbreaking “Women of Abstract Expressionism,” which highlighted twelve women artists, Judith among them. It pleased her to know that a major reassessment of her work and life had begun—and now it will be ongoing.

Anthony Korner is publisher of Artforum.

News: Artsy | Eric Dever: Warhol Montauk Project Artsy Viewing Room and Online Exhibition, June  8, 2021 - Artsy | Berry Campbell

Artsy | Eric Dever: Warhol Montauk Project Artsy Viewing Room and Online Exhibition

June 8, 2021 - Artsy | Berry Campbell

Eric Dever: The Warhol Montauk Project
June 8 - August 20, 2021

Online Exhibition

Online Viewing Room

In 2020, Eric Dever was considered to be a project artist at The Andy Warhol Preserve Visual Arts Program in Montauk, New York. The artist created a series of works related to the landscape and the natural world. This opportunity allowed Eric Dever to have a private place to escape the pandemic world. As a result, the artist created this important group of 18 paintings.

Midpoint through the project, Dever turned his attention from Amsterdam Beach to the greater Montauk area. Upon exploration, Dever found a brochure distributed at the Montauk Lighthouse appropriately titled, “The Explorer’s Club,” originally published in the 1950s. Dever learned about the Montauketts, the land, and the people of Eastern Long Island.

In the Warhol Montauk Project series, Eric Dever takes cues from Warhol’s Self-Portrait (1966) pairing primary and secondary colors, as well as employing the use of different shades of the same color on coarse linen and canvas. Dever applies paint on surfaces rubbed into the support, a process known as decalcomania. Decalcomania was explored by the surrealists and a hallmark of Dever’s painting process. Coupled with ample unpainted surface or negative space the paintings themselves at times resemble serigraphy.

Light sensitivity, shadow, temperature and sound are experiences the artist explores, palpable in these new paintings. The paintings can be viewed online at Artsy or at Berry Campbell Gallery, New York.

News: 16 Museum Directors Show Us the Art That Hangs in Their Offices, FromArtnet News | Richard Armstrong’s Al Held to Zoé Whitley’s Lynette Yiadom-Boakye, June  4, 2021 - Artnet News

16 Museum Directors Show Us the Art That Hangs in Their Offices, FromArtnet News | Richard Armstrong’s Al Held to Zoé Whitley’s Lynette Yiadom-Boakye

June 4, 2021 - Artnet News

James Steward 
Princeton University Art Museum
Walter Darby Bannard, <i>By the River</i> (1967). © 1967, Walter Darby Bannard. Walter Darby Bannard, By the River (1967). © 1967 Walter Darby Bannard.

One of the paintings I love living with in my office is Darby Bannard’s 1967 painting By the River. Bannard graduated from Princeton in 1957, one year ahead of Frank Stella, with whom he experimented with hard-edge abstraction while they were undergraduates. The painting fills the wall, enveloping us in its sunlit colors. —James Steward

News: Nanette Carter featured in Artsy: New and Noteworthy Artists, June  4, 2021 - Artsy

Nanette Carter featured in Artsy: New and Noteworthy Artists

June 4, 2021 - Artsy

New and Noteworthy Artists

Fresh off the heels of notable solo shows and fair booths, these bright young things are already making waves in the art world. From figurative painters to digital artists, browse a curated selection of works by the next generation of contemporary masters.