News

"Gagosian is pleased to present 'Sprayed', organised by Jona Lueddeckens and Greg Bergner.

This extensive exhibition spanning four generations explores the myriad ways in which artists have employed the impulsive yet de-personalized and non-gestural forces of spray...

From the late sixties, spray assumed a new scale and level of exposure, from Dan Christensen's vast “post-painterly” abstractions—where he used a spray gun to create intersecting coloured loops of paint alive with cool-tempered energies..."

Reports of the death of painting have been greatly exaggerated. Not least, its survival is due to artists like Jill Nathanson, whose current show at Berry Campbell combines traditional approaches with new technologies to create paintings that could only have been made in the 21st century.

Jill Nathanson exhibition at Berry Campbell featured on Gallery Travels: Seen Around Town, an art blog by Annie Russinof

You can get lost in the mind of Jill Nathanson. In her captivating paintings, overlapping planes of translucent color generate expansive surfaces rich with free-form shapes.  Her ethereal compositions seem weightless in the way they evoke slow, sliding movement.  Although her abstraction is assuredly non-objective, she paints “the world of things” according to the artist herself.   Just when we’re immersed in the deep layers of polymer resin, patches of acrylic bring us back to reality. MARY NEGRO (2012)

A dozen or so canvases from 1958 to 1965 that were on view recently at Berry Campbell made it clear why Bannard, who is now eighty, was selected for these shows. Even back in the day, the emergent artist’s Minimalist compositions must have seemed timeless. These are, to be sure, smart paintings. And while it’s tempting to raise the specter of formalism today, it’s perhaps more apt to suggest that the nearly five-foot-square canvases call to mind a foreign language that’s almost been forgotten.

For me, the best paintings in “Jill Nathanson: Fluid Measure,” are, on the whole, the larger and simpler ones, those which incorporate only a limited number of colors. The most complex and ambitious of these larger ones is “In Fluence” (2014). Situated in the front space of the gallery, it has cloudy sky blues in the upper left part of the canvas, deep red sweeping on the lower left, tans in various shapes in the upper right, and greens on the lower right with touches of cream.

Berry Campbell features Post-War Modern and Contemporary art with a focus on established as well as emerging and mid-career contemporary artists.

El Gran Otro an Argentine based International Contemporary Art magazine features Berry Campbell Artist, Jill Nathanson

Charles A. Riley II reviews Syd Solomon: Swingscape, Paintings from the 1970s at Berry Campbell Gallery (through May 23) and Larry Poons: New Paintings at Danese/Corey, New York (through May 29).

Are you ready for some strong color? Go west, young paintaholic, to Chelsea for the two most ecstatically chromatic shows in New York. Both feature artists using acrylic (nothing gives the bounce of hue, value and chroma like it) who were bold-faced names by the 1970s: Larry Poons at Danese/Corey, and Syd Solomon at Berry Campbell. Syd Solomon was a fixture on the Hamptons scene beginning in the glory days when giants roamed the beaches, including his friends Jackson Pollock, Willem de Kooning and Alfonso Ossorio. It was Syd Solomon who hosted the first artists vs. writers softball game in 1966.