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The other show at Berry Campbell is very different (even if coloristically it harmonizes nicely with Vecsey’s work). This show is paintings by James Walsh.

Walsh belongs to a generation born nearly 20 years before Vecsey (in 1954), but he is still a generation younger than some of those artists who established reputations in the 1960s (such as Poons, born 1937, and Bannard, born 1934. Walsh is still more removed from Noland, Olitski and Frankenthaler, all born in the 1920s).

There remains a circle of modernists working in New York who trace their roots back to postwar abstraction on Tenth Street and consider themselves to be working with its fundamental concerns. Modernism, it turns out, may be inherently revivalist, and thus a form of permaculture. The problem from the beginning was to look back in order to find a way forward. As Walter Darby Bannard noted, “Any art that is truly radical must also be in some way conservative.” [1]

The newly arrived Berry Campbell Gallery has taken an interest in such work, and is currently showing James Walsh and Susan Vecsey. It’s too soon to call Walsh a senior member of the circle with lions like Bannard and Larry Poons still making beautiful paintings, but he’s been involved and productive within it since the 1980s. Vecsey is younger, but no less invested in Color Field abstraction, though she comes to it by way of the Tonalist landscape.

NEW YORK, NY.- Berry Campbell announces an exhibition of paintings by Susan Vecsey and James Walsh. The opening reception will be held on Thursday, June 5 from 6 to 8 pm. Susan Vecsey, who works in the traditions of Color Field and Tonalist painting, has moved in the direction of Minimalism in her current work. While her compositions are seemingly simple, there is a well-thought-out process for each painting, including preparatory charcoal drawings with calculated geometries and numerous color studies in search of precise color combinations. The size and shape of each canvas are long considered. The materials, the quality of the pigment, and the texture of the linen are just as important as the composition. Paint is applied through pouring or staining. Vecsey states, "With poured paint, timing is everything, and it is important to be decisive with it and also ready to accept or reject the unexpected." Her abstract paintings convey certain emotions and references to nature through their shapes and colors, becoming vehicles for us to access our own memories and experiences. 

More Information: http://artdaily.com/news/70566/Berry-Campbell-Gallery-features-Susan-Vecsey-and-James-Walsh#.U5CWEV7oa5w[/url]
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Susan Vecsey featured in the June 2014 issue of Architectural Digest on page 169.  Designs by Carrier and Company (Jesse Carrier and Mara Miller).

Susan Vecsey show opens at Berry Campbell Gallery on June 5, 2014.

Link to photographs and article:

http://www.architecturaldigest.com/decor/2014-06/carrier-and-co-southampton-new-york-retreat-slideshow_slideshow_Guest-Room_5

Ordinarily, as she will tell you, Janet Goleas, the curator of the exhibition “Redacted” at the Islip Art Museum, is not much of a political animal.

But around the time WikiLeaks and its founder, Julian Assange, burst into the news a few years ago, “I started thinking of government documents, and eventually of redacted documents,” Ms. Goleas said recently. “It seemed I started seeing them everywhere,” as stories about classified material kept cropping up.

An artist and blogger as well as a curator, she began pondering the many meanings and functions of concealment and redaction, which by one perhaps antiquated definition simply means adapting or editing for publication....

Another artist, Eric Dever, of Water Mill, is showing a series of eight paintings whose color he has limited to variations on red, white and black — in effect, editing out all other colors in his exercise in artistic redaction.

NEW YORK, NY.- Berry Campbell announces Masters of Expressionism in Postwar America, an exhibition featuring paintings by sixteen artists, working in the modes of Abstract Expressionism and Color Field Painting, whose careers developed in the dynamic and freeing milieu of American art after World War II. The exhibition gives recognition to the heightened interest today in this art for its strength and transcendence. 

More Information: http://artdaily.com/news/69904/Berry-Campbell-Gallery-features-masters-of-expressionism-in-Postwar-America#.U2kC-V531g1[/url]
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Berry Campbell is pleased to announce Masters of Expressionism in Postwar America, an exhibition featuring painting by thirteen artists, working in the modes of Abstract Expressionism and Color Field Painting, whose careers developed in the dynamic and freeing milieu of American art after World War II. The exhibition gives recognition to the heightened interest today in this art for its strength and transcendence. 

Islip Art Museum is pleased to present REDACTED, a group exhibition curated by Janet Goleas, featuring selected paintings, drawings, sculpture, collage and assemblage by artists Josh Blackwell, Sharon Butler, Jonathan Callan, Eric Dever, Stacy Fisher, Brian Gaman, Jim Lee, Lauren Luloff, Stefana McClure, Linda Miller, Bonnie Rychlak, Mathias Schmeid, Tim Spelios, Ryan Steadman, Ryan Wallace, Ross Watts and Letha Wilson.

BERRY CAMPBELL is pleased to announce the representation of New York-based painter, SUSAN VECSEY.  Vecsey is widely held in both public and private collections and most recently, Guild Hall Museum, East Hampton, acquired White Main Beach for their permanent collection.  

We’re starting downtown in Chelsea at Berry Campbell, whose latest show, Raymond Hendler: Swinging Heart, is set to open this Thursday. The show will display the abstract expressionist works ofRaymond Hedler (American, 1923-1998) created between 1957 and 1964.The artist began his career in Paris as early as 1949, playing a key role in the Abstract Expressionist movement that took hold in both Paris and across the ocean in the avant-garde artistic circles of New York.