Eazel | Frank Wimberley: Collage
April 15, 2021 - Eazel
April 9, 2021 - Berry Campbell
April 3, 2021 - Artnet Gallery Network
Frank Wimberley at Berry Campbell, New York
Frank Wimberley, Untitled (Collage) (1977). Courtesy of Berry Campbell.
At 94 years old, Frank Wimberley has been working, mostly under the radar, since the 1960s, creating dynamic, layered, abstract paintings. Over the decades, the artist has attracted a devoted set of followers on the East End of Long Island, where he has a home, while his importance as a Black artist working in the tradition of Abstract Expressionism has increasingly been recognized (his art was included in Hunter College’s important 2018 exhibition revisiting the 1971 exhibition “Rebuttal to the Whitney Museum Exhibition: Black Artists in Rebuttal”). Wimberly likens his process to a controlled accident, and creates his paintings with equal parts intention and improvisation, citing the traditions of jazz.
March 30, 2021 - Victoria L.Valentine for Culture Type
STILL PUSHING HER PRACTICE to new heights, Lilian Thomas Burwell will have her first New York solo exhibition at age 93. “Lilian Thomas Burwell: Soaring” opens April 22 at Berry Campbell Gallery.
An abstract artist, Burwell makes nature-inspired paintings and sculpture. She was featured in “Magnetic Fields: Expanding American Abstraction, 1960s to Today,” a groundbreaking exhibition presenting works by 21 Black female artists that originated at the Kemper Museum of Contemporary Art in Kansas City and traveled to the National Museum of Women in the Arts in Washington, D.C., and the Museum of Fine Arts, St. Petersburg, Fla., from 2017 to 2018. Burwell is also the subject of a recent documentary, “Kindred Spirits: Artists Hilda Wilkinson Brown and Lilian Thomas Burwell.”
Guest curated by Melissa Messina, “Soaring” explores a pivotal period in Burwell’s creative development. The exhibition “highlights the dynamic transition in Burwell’s abstract visual language from two-dimensional painterly planes to three-dimensional sculptural forms. Burwell’s paintings from the late 1970s and early 1980s employ a distinctly bold palette and reference organic forms found in natural floral and earthly phenomena,” according to the gallery.
“The exhibition centers on the painting Skybound (1984), which marks the first time that the artist cut into her canvas, creating positive and negative space. This pivotal act gave way to Burwell’s examination of form, bringing forth Burwell’s signature style of three-dimensional, painted wall sculpture. These wall sculptures would become the artist’s signature focus for more than two decades.”
“Burwell’s paintings from the late 1970s and early 1980s employ a distinctly bold palette and reference organic forms found in natural floral and earthly phenomena.” — Berry Campbell Gallery
BORN IN WASHINGTON, D.C., Burwell grew up in Harlem and attended New York’s High School of Music and Art. Still struggling to recover from the Depression, her family returned to the nation’s capital and she graduated from segregated Dunbar High School.
Burwell attended Pratt in New York City and later earned an MFA from Catholic University in Washington (1975). After working as a publications and exhibits specialist at the Department of Commerce, she became a master teacher of art in the D.C. public schools. She taught from 1967-1980, the last five years at Duke Ellington School of the Arts.
The documentary “Kindred Spirits” focuses on Burwell and her aunt, her mother’s oldest sister, Hilda Wilkinson Brown. Based in Washington, Brown was a teacher and an artist who made modernist paintings with local scenes as her subject. Burwell said Brown was like a mother to her. She supported her desire to become an artist and convinced her parents to let her pursue it.
March 3, 2021 - Troy McMullen for ABC News
New York -- In 2005, on the eve of a solo show of his work in Southampton, N.Y., the abstract artist Frank Wimberley explained that he often viewed his artwork as living things. Giving a painting “time to breathe,” was an important part of the creative process, he said, adding that it wasn’t uncommon for him to step away from a work in progress. “Then you can return to it, just like with any living, breathing thing, and find a few surprises.”
At 94 years old, Wimberley is still uncovering surprises in an expanding body of work infused with bold colors and dramatic, gestural strokes. In a career that has spanned more than 50 years, and that includes paintings, sculptures, and ceramics, he’s managed to embrace the creative process as a continuous adventure.
This month Berry Campbell Gallery in New York’s Chelsea district is hosting a survey exhibition of collage works by Wimberley that will feature both paintings with collage elements as well as traditional collage works on paper.
(Take a gallery tour of the artwork with Frank Wimberley here.)
The show, to be held March 18 to April 17, will also highlight some of the artist’s most important collages to date, including several examples going back to the early 1970s, says gallery co-owner, Christine Berry. She opened the 2,000 square-foot ground floor gallery and exhibition space with Martha Campbell in 2013 with a focus on Postwar Modern and Contemporary Art.
March 3, 2021 - Eazel
Mary Dill Henry (1913 - 2009)
Mary Dill Henry’s most notable works are in large oil paintings, alongside acrylics and prints; they are characterized by geometric abstraction. Henry built a signature style, synthesizing past and present art movements into bold and striking compositions.
A rare exhibition of paintings from 1965 to 1970 is on show at Berry Campbell Gallery, New York, titled Mary Dill Henry: Love Jazz (Feb 11 - Mar 13, 2021). Works from this period include oscillating shapes form kinetic patterns and Op Art illusions. This qulity can be seen in works such as Love Jazz (1965), same title as the exhibition, which represents two abstract hearts that seem to beat together in rhythmic unison with the variously striped patterns that both unite and divide them; that daringly juxtaposed colors arrest the eye with the immediacy of Pop Art.
The most significant influence on her practice occurred in the mid-1940s, while studying at the Institute of Design in Chicago with the Bauhaus teacher and visionary, László Moholy-Nagy (1895–1946). Studying under Moholy-Nagy exposed Henry to the illustrious history of the Bauhaus and its many manifestations. At the Institute, she pursued the full Bauhaus curriculum, receiving training in photography, architecture, and design.
After receiving an MA at the Institute of Design in Chicago, Henry was offered technical positions from several schools. However, the cultural atmosphere at the time normalized women to follow men’s career over their own; so Henry moved whenever her husband’s work required them to relocate. Although Henry was a serious artist and had regular exhibitions, she kept a low profile. In 1966, liberation from the marriage enabled Henry to focus on her art, although it meant she had to deal with financial struggles to a certain extent.
“It was as if, after 20 years of fulfilling conventional expectations as a wife, worker, and mother, she was released into a constant stream of creative production, capturing the exuberant hedonism of Northern California, while reined in by the consummate formal control she had assimilated as an American Constructivist in Chicago.”
- from Matthew Kangas’ review of Mary Dill Henry’s first solo exhibition at Arleigh Gallery, San Francisco (Artforum, 1969)
Through her artworks, Henry showed the utopian ideals associated with Constructivism, as well the principle behind de Stijl movement; that art and life are inseparable. Although influenced by these movements, Henry expressed more idiosyncratic and humorous constructive patterns in her works. She achieved a beauty of form that transcends the ordinary and gave joy and surprise to the eye. Henry’s consideration of contemplative spaces speaks to the viewer with energy and insight, while her sense of humor is also evident.
“Art sustains us when the chaos of the world with its wars and depressions engulf us. And the bright hope of humanity to know that even in the midst of such hopelessness, we can and do create art that can lift and inspire.”
- Mary Dill Henry
Mary Dill Henry: Love Jazz at Berry Campbell Gallery, New York (Feb 11 - Mar 13, 2021)
Starting from her first solo exhibition in 1967, Henry participated in hundreds of shows. Since 1980, seven retrospective exhibitions have been held in California, including several museum shows. Among many honors, she received a Flintridge Award for Visual Artists in 2001 and the Twining Humber Award for Lifetime Achievement, from the Artist Trust, in Seattle, in 2006.
Henry’s paintings belong to many public collections, including the Seattle Art Museum; the Frye Art Museum, Seattle; the Whatcom Museum, Bellingham, Washington; the Tacoma Art Museum; the University of Puget Sound, Tacoma; the Portland Art Museum, Oregon; the Sheldon Art Museum, University of Nebraska, Lincoln; and the Institute of Design, Chicago, as well as corporate art collections, including Microsoft, Safeco, Ampex, Varian Associates, and Hewlett-Packard.
February 13, 2021 - Fairfield University Art Museum
The Fairfield University Art Museum has received a major gift of more than 130 paintings, watercolors, drawings, prints, and sketchbooks from the Stephen and Palmina Pace Foundation.
The Fairfield University Art Museum is pleased to announce that the Stephen and Palmina Pace Foundation has gifted more than 132 works by Stephen Pace (American, 1918-2010) to the museum, with outstanding examples from across the artist’s oeuvre.
Stephen Pace was born in Missouri in 1918 to a farming family. He began his formal art training at the age of 17, studying drawing and watercolor with WPA artist and illustrator Robert Lahr. He continued to hone his skills while serving abroad during World War II, painting views of European landscapes. Pace’s early works are represented in this gift by a very early and accomplished watercolor of a farm scene from his childhood in Missouri. After WWII, Pace studied art on the GI Bill at the Instituto Allende in San Miguel Allende, Mexico before he made his way to New York City. This period is represented by a lovely oil painting of the Mexican desert landscape looking towards San Miguel Allende.
In 1947, Pace moved to New York City where he continued his art studies on the GI Bill at the Art Students League and developed important friendships with members of the New York School of Abstract Expressionist. Still lifes, nudes, and early abstractions are among the works included in the gift from this period. Pace used the last of his GI bill funds to study with the renowned abstract expressionist artist and teacher Hans Hofmann, in New York and then in Provincetown, Mass. Hofmann had an immediately visible influence on Pace’s work in the 1950s, particularly in Pace’s use of color planes to describe volume.
During the 1950s, Stephen was singled out by Hofmann as one of the finest painters to emerge from the second generation of abstract expressionists. During his long career, Pace made important contributions to the tradition of Abstract Expressionism. This period of abstract expressionism is represented by several important paintings, as well as numerous watercolors, prints, and drawings.
In 1960, Pace returned to painting more figural subjects in a style characterized by simplified forms and imaginative colors, and this remained the focus of his artistic practice for the remainder of his career. Returning to his rural roots, Pace’s work begins to depict subjects ranging from gardening and nudes, to horses and lobstermen. The gift to Fairfield includes all of these subjects, and is particularly strong in paintings of horses — one of Pace’s favorite subjects.
The donated works collectively are very important because they demonstrate Pace’s process in moving from studies to finished works. Pace's artwork will be well-used in teaching across disciplines, especially in Studio Art and Art History classes.
Three of the gifted works by Pace are among those in the current Fairfield University Art Museum (FUAM) exhibition in Bellarmine Hall Galleries, The Birds of the Northeast: Gulls to Great Auks: an ink drawing of a Great Blue Heron, and a watercolor and a lithograph of Herring Gulls. A full exhibition of Pace’s work is in the planning stages.
February 13, 2021 - J.V. for Air Mail
The 20th-century artist Mary Dill Henry (1913–2009) flouted expectation with great seriousness. She left her role as a housewife to focus on her art, even if that meant being short on cash. She lived in Mendocino, a sleepy northern-California town with little culture but plenty of visual inspiration. She was influenced by the work of the Bauhaus visionary Laszlo Moholy-Nagy, as well as by Piet Mondrian. She was touched by Constructivism and Op art. But she painted in a style of exuberant precision that was completely her own. “Love Jazz” brings Henry’s bright, joyous pieces into focus after many decades spent out of the public eye. —J.V.Read More >>
February 13, 2021 - Maggie Duffy for Tampa Bay Times
ST. PETERSBURG — The Museum of Fine Arts, St. Petersburg’s major renovation of their permanent collection galleries last fall made the museum feel like a new place.
Now, through a yearlong sharing collaboration, four paintings from the Art Bridges Collection by celebrated 20th century American artists are on display in the museum’s Modern and Post War galleries.
Works by Jacob Lawrence, Hughie Lee-Smith, Norman Wilfred Lewis and Lee Krasner will remain on display through February 2022. A fifth painting by Marsden Hartley will arrive in June and remain on view through August 2022.
The loans expand the museum’s inclusivity with works by Black, female and LGBTQ artists.
February 11, 2021 - Kat Leahey for Blowing Rock Art & History Museum
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I love, love, love this Ida Kohlmeyer painting! The colors, the brush strokes and most of all the meditative, serene feeling I experience while looking at it.
Ida Kohlmeyer was an American painter and sculptor who lived and worked in Louisiana. She took up painting in her 30’s and achieved wide recognition for her art in museums and galleries throughout the United States.
After receiving her MFA from Tulane University in 1956, she taught for seven years and was a portrait painter of children. Wanting more inspiration and a deeper meaning in life, she became a student during a summer at Hans Hofmann’s Abstract Expressive Arts School in Provincetown, Massachusetts. She was also a student and friend of Mark Rothko. In her words, she came to realize “Painting need not be a painting of something, not an imitation, but should be a revelation to the viewer and artist. It need not be instructional or socially critical. The support, (in this case, masonite) is flat, so a little bit of depth may be needed, misty/atmospheric usually - not perspective wise. Work progresses by unconscious impulses, one color calling for another, one shape after another.”
Why are we attracted to non-representational or object free art? Expressive Abstract art frees our brain from the dominance of reality, enabling the brain to flow within its inner states, create new emotional and cognitive associations and activate brain-states that are otherwise harder to access. This process is rewarding as it enables the exploration of yet undiscovered inner territories of the viewer’s brain.
Kohlmeyer’s painting is part of Brahm’s permanent collection and is currently on the upper level. Come relax, restore and rejuvenate!
This Docent’s Corner is brought to you by Kat Leahey
February 9, 2021 - Parrish Art Museum
Contact Information:Cara Conklin-Wingfield
Parrish Art Museum
February 9, 2021 - Cori Hutchinson for Whitehot Magazine
Jill Nathanson, a lifelong advocate of Color Field abstraction, wields a bright turn of phrase in her third Berry Campbell exhibition, expressing important feelings about color, proximity, and concord. Noticing the disruption of my fingers, an additional element, through Nathanson’s painting thumbnails on a checklist printed on thin paper was enough to convince me of the sheer power of the work exhibited here in which all layers on flat wooden panels sum to a fully multi-dimensional space. The acoustic quality of the paintings, hinted at by select titles (Harp, Chordzephyr, Woodwind), is heard as a result of this spatial illusion. The painter’s biographical information, and particularly her upbringing in a musical household, furthers this reading of her work.
The paintings reach deep rhythms and rich harmonies with their expansive palettes and chiffon likeness. In Only a Friend, Nathanson mixes a platonic ideal of bleached apricot and buttery daffodil shades in the center with flanks of bubbly gray-blue and still sea-glass. If briefly considered a landscape, the viewer is unable to differentiate between window and curtains, resulting in pleasing surface tension, each edge becoming a true crevice rather than a point of delineation. An oily olive ribbon to the right, likely applied post-pour, suggests a moment of organic activity, such as the drag of a wave onto coast.
Nathanson’s implemented notion of “color desire” similarly tugs on the viewer as one’s gaze travels across each work; the painter is uniquely aware of the somatic effects of art and its relationship to pulse. Flexing works such as Light Wrestle provoke a push-and-pull response. This active relationship with the panels is determined by the immaterial energy itself of each field, as well as the muscle required by the artist to physically handle and manipulate the materials.
The depth created is also, in part, due to the predetermined clarity of color. Hardly ever in these paintings is there muddying despite the elaborate entanglement and overlap. Nathanson’s distinct style of color mixing yields results such as in Sparkshift, where an overlay of Baldwin apple red and powder blue does not produce purple, but instead each color remains true to itself, fulfilling the tall order of being two things at once. This technique recalls Walter Benjamin’s fragment “A Child’s View of Color,” translated by Rodney Livingstone, wherein he writes, “Color is single, not as a lifeless thing and a rigid individuality but as a winged creature that flits from one form to the next.” What is the putty pink on the right side of the panel if not a pure mood? Color in Nathanson’s work, animate, playful, pure, is described well by this Benjamin text.
One of several paintings whose phrase-titles fall within the realm of magic is Elixir, which blends something like a magnetic binary composition with one blue tail crossing the center near the bottom. A potion of improbability and convergence, symmetry despite asymmetry, the planes in this painting stretch beyond the viewer’s belief. rising to an exercise in spirit.
As a series, these works play with doubling. Trickster color combinations improbably defy form similarity among like-forms. Elixir and Sway Chorus, Light Wrestle and Sparkshift, & Going Goya and Harp are among these form-doubles. Unexpectedly, the expert color manipulation by the artist increases visible relationality between palettes rather than forms, forcing kinship between, for example, the cool palettes of Only a Friend and Getting Light.
Getting Light is more reminiscent of earlier Nathanson works such as those shown at MOCA Jacksonville in 2016: kaleidoscopic, radial, and gathered in a single, sometimes centered, origin point. The language of graphs is handily applied to this work as each panel undulates and crests according to its respective lightwaves. Tan Transpose, citrusy and dappled, mathematical in title and form, shades in the gaps between two plotted lines on a Y-axis. The “sine” curves here, and in many of the compositions shown, distinguish this series, mapping a rate of color and, ultimately, gaining momentum.
In one interview, Nathanson refers to her practice as “pseudo-spontaneous,” as she realizes and tapes off the shape of each color before it is poured, then waits a full day for each color to dry. The gradual and rewarding viewing experience of the paintings is owed to this process, sloping and seeping at its own willful, radiant pace. WM
February 6, 2021 - Kelly McDonell for The DC Line
When documentary filmmaker Cintia Cabib was showcasing two films at the Historical Society of Washington, D.C.’s 2014 conference on local history, she spotted an intriguing painting of the corner of Rhode Island Avenue and 3rd Street NW while perusing a small brochure. The modernist, geometric red hues of homes lining the LeDroit Park street and a gleaming, leafless tree bisecting the frame compelled Cabib to explore the work of the artist, Hilda Wilkinson Brown.
Years of research culminated in a new documentary produced and directed by Cabib called Kindred Spirits: Artists Hilda Wilkinson Brown and Lilian Thomas Burwell. The short film is being broadcast locally by PBS stations WHUT and MPT on Feb. 4 and by WETA’s World Channel on Feb. 10. PBS stations around the country have scheduled airings of the film for Black History Month programming
February 6, 2021 - Piri Halasz for Artcritical
A veteran of more than 20 solo exhibitions in New York since her 1982 debut, and nearly 30 group shows since 1980 from Massachusetts to Florida, Jill Nathanson is entitled to be counted as a heavyweight in the art scene. Ironic, therefore, that her latest show is so striking for its light, airy, almost translucent qualities, its diaphanous veils of color rooted in both science and imagination.
She learned the ABC’s of color from Kenneth Noland and Larry Poons on an informal basis in the late 1970s and early 1980s when an undergraduate at Bennington College, Vermont. Neither of these painters was on the faculty, however, and Nathanson once told me that many and maybe most of her fellow Bennington art students were making paintings that looked more like Helen Frankenthaler – Bennington’s most famous alumna – with whom Nathanson wanted her paintings to have nothing to do. And although there may be some remote similarities, the glossier-looking finish of Nathanson’s paintings and the distinctive shapes in them have long stamped them with an artistic personality entirely her own.
Nathanson’s technique differs from those used by color-field painters in the 1960s, though it employs “modelli” (preparatory studies) and in this somewhat resembles the “modelli” that Friedel Dzubas employed in the later 1970s and ‘80s. But Dzubas didn’t invent modelli. Their use goes back to the Renaissance, if not earlier. And the materials that Nathanson employs are right up to the minute – as is her abstract idiom.
February 2, 2021 - James Panero for The New Criterion
“Jill Nathanson: Light Phrase,” at Berry Campbell Gallery, New York (through February 6): Anyone who has ever mixed colorful paints will notice that the results are not brighter colors but duller murkiness. That’s color theory 101. In her alchemical experiments with pigments and polymers, Jill Nathanson looks for ways to prove color theory wrong. Through abstractions created of translucent layers of acrylic, polymers, and oil, which she pours onto panels, Nathanson brings out the light of her color-filled combinations. In “Light Phrase,” her latest exhibition at Berry Campbell Gallery, in Chelsea, Nathanson looks to enlarge and refine her fluid forms. The artist Christina Kee provides an essay for the online catalogue that further explains Nathanson’s unusual process. —JPRead More >>
February 2, 2021 - Katie Bono for HASTA
Frederick J. Brown had an incredibly prolific career throughout which he moved fluently between abstraction, figurative painting (particularly portraiture), landscape painting, ceramics and collage. Particularly in his early career many of his vivid and evocative brushstrokes recall de Kooning: Brown’s longtime mentor. In fact, Brown famously painted de Kooning, depicting him in bold swaths of primary color that recall de Kooning’s own style and eclectic personality. Early on in Brown’s career he was particularly influenced by de Kooning and the German school of Abstract Expressionism. After his early abstract works in the 1970s, Brown began to introduce figuration into his work in the 1980s. While most of his career did have a largely figurative focus, the emotive influence of Abstract Expressionism carries through the body of his works.
Brown was born in Georgia on February 6th, 1945 and grew up on the South Side of Chicago. He credited his family for surrounding him with color; his uncle repainted cars (Brown would help him mix the paints) and his mother was a baker who specialized in cake decorating. His mother’s influence in particular caused Brown to have quite a tactile relationship with color and he claimed that painters were “people who love paint” particularly the feeling of paint. Another formative influence was the community of jazz musicians that Brown met through his father. Brown’s relationship with music cannot be overstated; his bold, vigorous works often produce synesthetic experiences and Brown listened to music while he painted, citing it as a creative catalyst for his painting process. He attended Southern Illinois University where he studied art and psychology.
In 1970, Brown moved to SoHo to pursue his painting career. At this point he was focused on musical and abstract influences. In 1977 he collaborated with the Adler Planetarium to produce his wonderful work Milky Way that exemplified the galaxy as it was understood in the late 70s. He hints at the spiral shapes of the galaxy while imploring the viewer to imagine other aspects of the Milky Way. This work and several of the studies leading up to it showcase his aforementioned tactile relationship with paint and color. Dabs of paint throughout Milky Way almost inspire a visual sense of touch. Another painting of his, Elephant Skin was actually painted so that the paint itself would feel like an elephant’s skin. Brown’s idea that anyone could even feel one of his paintings was indicative of his egalitarian approach to art. In 1985, Brown taught in China at the Central College of Fine Arts and Crafts - during his teaching he sought to embody what he considered to be an authentic American experience. He imported his entire studio and would work for 13 hours at a time to give his students an idea of the intensity of his process. His teaching experience was followed by an exhibition of his works in 1988 at the Museum of the Revolution in Beijing. He was one of the earliest Western artists to exhibit in China and at the time he was the largest exhibition of a Western artist to date. He was commended for the moving sense of his works and was an exemplar of cross-cultural relations at the time.
In the late 1980s, Brown began a series of portraits of jazz musicians. This series was significant in the sense that it exemplified the excellence of Black musicians and demonstrated Brown’s own excellence as a Black painter. It was on Brown’s part, an effort to make sure these artists were appropriately memorialized. Brown would listen to the artist’s music as he painted their portrait and this influenced the visuals of the painting. In his work Duke Ellington, Duke’s large and soulful eyes are the immediate striking characteristic. But if one takes into account the surprising pockets of color (the blue tones at the base of his eye, the red across one cheek, and the dash of yellow on his bottom lip) and the erratic curves that constitute his face, both these elements are reflective of the erratic and surprising nature of Ellington’s compositions. Another portrait Brown painted, Sarah Vaughan is a contrast to Ellington’s portrait. Vaughan’s face is all vibrant color and smooth elegant lines that recall the cadence of her voice. In her rendition of “Somewhere Over the Rainbow” it is quite clear how her voice translates to her portrait.
Beyond these projects, Brown worked on a number of spiritual and religious works and reworked common themes like the Last Judgement and the Virgin and Child. He painted a number of bright folklore-like works that were simply meant to inspire joy after his experience in a drab hospital - it showed his propensity to use art as a vehicle for an emotional experience in the viewer. Another notable work of his, History of Art is a series of over 100 canvases representing important paintings in Art History. The series effectively recasts the monochrome canon of Art History into a vibrant and diverse set of new subjects. Many of the works are either infused with new vigor or feature people of color in portraiture. Brown said once in an interview to the Smithsonian: “I think my heritage has a great significance to the images I produce, but you can limit people with a name or a title to only serve one group. When you see my work, you can tell it is done by someone who is Black. But, I want to provide as many beautiful things to the world as I possibly can.” Indeed, Brown’s wide artistic achievements left a legacy of accessibility and facilitated a democratization of art. Frederick J. Brown died of cancer in 2012 and is survived by his wife Megan and his two children.
January 23, 2021 - John Hooper for The Wall Street Journal
Collector Christian Levett has filled his Italian palazzo with a world-class assembly of works by female Abstract Expressionists.
Spread over two floors of a palazzo beside the River Arno in Florence, amid the treasures of the Italian Renaissance, is perhaps the world’s largest private collection of art by modern female abstractionists.
Walking down the street you would never know it was there. Even if you knew the name of the collector, former hedge-fund manager Christian Levett, you would have to squint long and hard to find it in the cluster of little brass name plates alongside the palazzo’s massive door. But once across the threshold you are surrounded by paintings by Lee Krasner, Elaine de Kooning, Helen Frankenthaler, Grace Hartigan, Joan Mitchell and other Abstract Expressionists who helped revolutionize art after World War II, turning New York City into the capital of Western culture for the first time.
January 23, 2021 - Berry Campbell
Yvonne Thomas (1913–2009) is among several important artists from the abstract expressionist era, many of them women, who have been rediscovered in recent years. Portrait (1956), a pivotal work in Thomas’s career, is the first of her paintings to enter the Gallery’s collection and joins an untitled screenprint from 1967.
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In 1938 Thomas studied fine art at the Art Students League of New York as well as with Amédée Ozenfant in his atelier. She began to associate with the abstract expressionists, joining discussions at The Club (where she was one of the few members who were women) and at the short-lived school called The Subjects of the Artist. She also studied in Provincetown with Hans Hofmann and exhibited at the renowned Ninth Street Exhibition in 1951. Throughout her work, she combined the gestural language of the New York School painters with sensitive brushstrokes and a lyrical sense of color. In Portrait, the ghostly figurative suggestions and tinted grays evoke an image coming into focus. The painting resonates with works by Judith Godwin, Jack Tworkov, and Frank Lobdell in the Gallery’s collection.
January 9, 2021 - NYC-ARTS
January 9, 2021 - Marty Fugate, Correspondent
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The art game has many unwritten rules. It’s a good thing that nobody wrote them down.
COVID-19 trashed the artistic rulebook as it has nearly everything else in contemporary life. Artists and visual arts institutions have been flying by the seat of their pants since the pandemic hit last year. While strange changes are far from over in the art game, here are some of the new ad hoc rules area artists and arts leaders have invented to keep playing. We’ll start with a few individual artists.
Mike Solomon: Honor the Heroes
The bulk of Mike Solomon’s work is nonrepresentational. But his latest series of colored pencil drawings holds a mirror to the real world.
“Scenes from the Pandemic” has a journalistic feel to it. The title tells you exactly what to expect. There are a few scenes of wounded journalists and protestors of all ethnic origins. But most of Solomon’s drawings celebrate Black doctors, nurses and front-line caregivers dealing with the collateral damage of the battle against COVID-19.
These heroes include Dr. James A Mahoney – a Brooklyn pulmonologist who pulled all-nighters fighting the virus, and then became a victim himself; Dr. Armen Henderson, a Miami internist who was handcuffed and detained by police outside his home; and Dr. Lisa Merritt, the founder and director of the Multicultural Health Institute in Sarasota.
“I made a connection with Lisa at the beginning of this year,” Solomon says. “She enlightened me a lot about what was going on in the African American community. Thanks to her, I became fascinated with the Black doctors and first responders serving on the front lines during the pandemic. Like all doctors, they risk their own lives to save the lives of others. But if these doctors take off their scrubs and walk outside the hospital – they’re taking a risk just because of the color of their skin. It takes an amazing amount of courage to do what they do. I wanted to find a way to honor it.”
December 9, 2020 - Berry Campbell
December 2, 2020 - Artsy
100 Standout Works from Miami Art Fairs
From Kehinde Wiley’s newest portrait to a playful sculpture by Austin Lee, browse a curated selection of 100 new-to-market works from your favorite artists, on view now during Miami Fair Week. For more from the Miami fairs, browse the online catalogues of Art Miami and CONTEXT Art Miami—hosted exclusively on Artsy—as well as Art Basel Miami Beach, PRIZM, and UNTITLED, ART.
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November 17, 2020 - Berry Campbell
November 11, 2020 - Merle English for Newsday
THE TRANSPORT BUSINESS
Frank Wimberley’s military engagement began as a private assigned to the 3384th Quartermaster Truck Company. Said Wimberly, "I never did any fighting. I did a lot of transporting troops and shipping supplies to areas where there was fighting." Because Black men could only serve in segregated units of the military, many were assigned to labor and service units.
Wimberley was happy with his assignment, however. "I liked that job; I liked being in a foreign country," he said. "We were very much liked by the Germans because we were Black; they liked the fact that they were meeting a different kind of American."
He said he suffered some of the hostility directed at Blacks by some whites, "even in the U.S. military," Wimberley remarked.
"The Black soldiers in my unit were always segregated from the whites. White soldiers would show animosity to us."
"You’re always going to find some problem makers, especially in the service," he said, "but I enjoyed my stay over there."
Encounters between Blacks and Germans were mostly social, Wimberley said. "A lot of the guys had German girlfriends," he said. "Everybody was poor because of the war; they would fix dinners for us. They had to go on the farms and steal food."
He described how a shared love of music fostered camaraderie among the Black soldiers. "We would form little groups," said Wimberley, who played the trumpet. "There were others who played other instruments; we would get together and play; it was always jazz."
Learning that Wimberley had an interest in art, German soldiers who were artists themselves "made portraits of us," Wimberley said. "We gave them cigarettes; they’d rather have that than money. We didn’t like the Germans because of Hitler, but some of them became my very good friends," he said.
After 18 months in the service, Wimberley was discharged. "I was so glad to get back home," he said. "I wanted to come home and see my mother in the kitchen."
His latent bent toward art spurred Wimberley to pursue studies in painting, sculpture and pottery at Howard University. From a family of musicians and artists, "I’ve always been some kind of an artist, but I got better," said Wimberley, who is represented by the prestigious Berry Campbell Gallery in Manhattan. Christine Berry, a co-owner of the gallery with Martha Campbell, said his abstract paintings are highly sought-after around the nation.
Some of Wimberley’s works are included in "Color and Absence," a show at the Southampton Arts Center through Dec. 27. He is usually busy, dividing his time between his home in Sag Harbor, his studio in Corona, Queens, and Berry Campbell. Wimberley is married. He and his wife, Juanita, have a son, Walden, a musician.
October 29, 2020
October 20, 2020
Spinning Figure, 1949
Oil on canvas
42 3/4 × 13 7/8 inches
Sheldon Museum of Art, University of Nebraska–Lincoln, Anna R. and Frank M. Hall Charitable Trust
October 17, 2020 - Phil Lederer for SRQ Magazine
"I just hope people see what's there," says Mike Solomon of the portraits comprising his latest exhibition, Scenes from the Pandemic, showing online this November through the Sarasota Art Museum. Drawn in colored pencil, the series captures, in part, the long terrible arc of that period in 2020, beginning as a tribute to black doctors and essential workers but ultimately spiraling into an emotional account of protesters and journalists under assault in a world caught on fire and an artist coming to terms with what he sees. Though isolated from his studio while caring for his mother during the pandemic, he couldn’t ignore the images on TV, the photographs arriving daily on the doorstep or his artist’s instinct gnawing at his inactivity.
“A dissatisfaction with being more remote than I wanted to be in terms of activism,” Solomon says. “I didn’t want to be outside of it looking in.” And in those photographs, he found himself struck by a particular aspect of the social unrest unfolding before him. “There are black doctors helping anyone who walks through the door,” he says. “Yet they take their scrubs off and walk outside and they might get shot. Can you imagine that?” So the renowned abstract artist picked up a colored pencil and tried something he hadn’t done in near 50 years: draw from a photograph. And as he did, he embarked on both an artistic and emotional journey.
Solomon admits to a certain “philosophical prejudice” against drawing from photo references, saying that he never quite understood why an artist would spend their time on such a pursuit when the photograph already exists. “Now I do,” he says. Not only did Solomon find the exercise an artistic challenge, more engaging and difficult than he had previously supposed, but he also found that, in forcing himself to absorb each image in minute detail and re-create it from his own hand, it awakened greater compassion for his subjects.
“I go down into this little world and the empathy emerges,” he says. “It’s a way of digesting it in an empathetic way you wouldn’t normally.” It’s an empathy that Solomon hopes his audience can partake in, if they just take a moment to stop and really see what has happened on their and his collective watch. And if the images in the papers didn’t get the point across, maybe seeing them in a different context will. “As soon as it becomes a ‘work of art,’ people stop a lot longer,” Solomon says. “That’s just the magic of art—it slows the moment down.” SRQRead More >>
October 9, 2020 - Roberta Smith for The New York Times
A Gallery Resurgence in Chelsea
In the face of economic unknowns, the message from the city’s galleries is: we’re not taking this lying down. Roberta Smith on 16 of the neighborhood’s most riveting painting shows.
By Roberta Smith
After several months of forced inactivity because of the pandemic, New York’s art galleries are back, with a vengeance. Since Labor Day, they have collectively mustered one of the better fall seasons of the last several years, with more to come in the weeks ahead. Yes, there have been changes. Unfortunately, some galleries have closed, while others are being worryingly slow to reopen. Yet fewer have gone missing than seemed likely in March or April. Others have sought new leases on life by relocating from Chelsea to TriBeCa, or from SoHo to the Upper East Side, and so forth.
In the face of the economic unknowns, the collective message from galleries sounds something like: we’re not taking this lying down.
The sense of resurgence is especially tangible in Chelsea, where my running list of shows to see has reached 74. A good number form a fractious conversation about painting.
The differing viewpoints about the medium can be dizzying, ricocheting off each other. They range from Pieter Schoolwerth’s demonically choreographed “Shifted Sims” series at Petzel Gallery — where figures and interiors from the Sims video games, printed on canvas, intersect with mannered applications of paint, forming a disturbing netherworld of social and art-making rituals — to Julian Schnabel’s latest forays into Romantic abstraction at Pace. In them, great flourishes of white and blue unfurl across slightly shaped stretchers with a dusty pink tarp serving as canvas. And they are bookended by shows of crisp new Minimalist paintings from Robert Mangold, and Yoshitomo Nara’s unendingly cute, wide-eyed innocents, brought forth with consummate ease in paint and colored pencil.
Mr. Schoolwerth’s fastidious craft finds some echo in Kyle Dunn’s work at P.P.O.W., where the paintings build on the homoerotic realism of Paul Cadmus and the stylized figuration of Tamara de Lempicka — once-overlooked talents of the 1930s. His beautifully carved wood frames ripple around and sometimes interrupt the images.
At Berry Campbell you can see the all-but-forgotten fusion of Minimalist boldness and Color Field staining that Edward Avesidian achieved in the mid-1960s. And Michael Rosenfeld Gallery has brought together a large, stunning group of Benny Andrews’s portraits primarily from the 1970s and ’80s which have not been seen together before. The psychological realness of Mr. Andrews’s Black subjects contrasts strikingly with the more polemical go-for-the jugular approach of a younger generation exemplified by the strong new paintings in Titus Kaphar’s first show at Gagosian, two blocks away.
October 3, 2020 - Franklin Einspruch for Delicious Line
Edward Avedisian: Reverberations
Reviewed by Franklin Einspruch
Too sloppy to be hard-edge but too crisp to be painterly - could we call them medium-edge? - the 1965 paintings of Edward Avedisian infuse Pop irreverence into a mode of painting that Darby Bannard called presentational abstraction, as if the art object "was staring right back at you like it was another person."
The compositional motif throughout the series is a striped ball or two sailing through the eighty-inch-plus color field. I was once an avid juggler and I am all but helpless with glee in front of these paintings. Nevertheless a few examples stand out. The orange and blue ball on the green background (all are untitled) hits an especially good color balance, with both the orange and the green reading as light. The orange and yellow ball on the burgundy background gets great mileage out of the staining effect of the acrylic. The "medium" of "medium-edge" would work as a double entendre, as the spill of paint past the drawn lines creates transparencies of color that turn these simple arrangements into pictures. Are they staring back, or am I?
October 1, 2020 - Sandra E. Garcia for The New York Times Magazine
In the 1930s, a group of trailblazing African-Americans bought plots for themselves in Sag Harbor, establishing a close-knit community that’s spanned multiple generations.
By: Sandra E. Garcia
WHILE VACATIONING ONE summer in the late 1930s, Maude Terry decided to go fishing. On her way to Gardiners Bay in eastern Long Island, she came across a secluded, underdeveloped, marshy, wooded area that faced a beach. Immediately, she felt a sense of tranquillity in the sylvan space, surrounded by tall old oak and walnut trees. Green shrubbery and weeds grew amid the sand at her feet, and her skin turned sticky in the salt air. It was heaven.
At the time, Terry was a Brooklyn schoolteacher who spent most summers with her husband, Frederick Richards, and her daughter, Iris, who were both doctors at Harlem Hospital; her sister Amaza Lee Meredith, the chair of the art department of Virginia State University in Ettrick, Va. (who was also one of the first Black female architects in the United States), would occasionally join them. The sisters had grown up in Lynchburg, Va., and lived most of their lives up and down the East Coast: Come summer, Terry would usually rent a cottage in Eastville, an area on the outskirts of Sag Harbor, the beachfront village that — although it straddles the rich, mostly white enclaves of Southampton and East Hampton — has always remained a bit more subdued, at least compared to Long Island’s other storied warm-weather escapes, which begin at the eastern edge of Queens and stretch more than 100 miles out into the Atlantic Ocean.
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September 29, 2020
AVEDISIAN AT BERRY CAMPBELL: JUST WHAT THE DOCTOR ORDERED
September 26, 2020
By: Piri Halasz
Edward Avedisian (1936-2007) wasn't in "Post-Painterly Abstraction," the landmark show organized by Clement Greenberg in 1962. He is, however, included in "Clement Greenberg: A Critic's Collection," the catalogue of work owned by the late critic and acquired by the Portland Art Museum in 2000. And, like other, better-known color-field painters, Avedisian evidently understood the importance of making beautiful art that can offer balm to the wounded soul even –or perhaps especially -- in the most trying times.
The twelve paintings in this show date from 1963 to 1965. This was a period wracked by Vietnam, the first upheavals of the civil rights movement, and the assassination of JFK. And so this show comes like just what the doctor ordered in this equally if not more messed-up, politically toxic and disease-ridden New York moment of 2020.
Go and feast your eyes on "Edward Avedisian: Reverberations" at Berry Campbell (through October 10). It will let you take a trip for a few brief moments out of the here and now..and will therefore allow you to return, refreshed & reinvigorated, to do whatever you think may need to be done with redoubled zeal.
I confess that Avedisian's name wasn't familiar to me when I walked into this show. With the aid of the gallery's literature (as well as a bit of help from the web) I can report that he was born in Lowell, Massachusetts, and studied at the School of the Museum of Fine Arts, Boston. After having had at least one show in the Boston area, he moved to New York in the late '50s.
There he studied a bit more (at the School of Visual Arts), and became involved with the adult New York art scene. He was part of a whole younger generation of abstract artists: near-contemporaries included Darby Bannard (1934-2016), Frank Stella (b. 1936), and Larry Poons (b. 1937). From what l can tell, it seems that Avedisian's initial abstractions were painterly, in the tradition of first-generation abstract expressionism, and only became post-painterly later on.
He had a show in 1958 at the short-lived Hansa Gallery. Though it's not clear to me what kind of work he showed, the gallery was under the direction of Richard Bellamy & Ivan Karp, two live wires on the neo-Dada, pop-art front.
The Berry Campbell literature suggests that Avedisian combined the "hot" colors of pop with the "cool, more analytical qualities of Color Field painting." Certainly, Avedisian's colors are bright, but I don't see any further analogies with the limited and coloristically obvious palette of the likes of Warhol, Wesselman, Rosenquist or Lichtenstein.
Rather, I find most of Avedisian's colors far more varied & sophisticated than pop-art colors—fortunately (as far as I'm concerned).
All of these paintings are about circles, and of course circles are richly allusive: they are reminiscent of everything from suns, moon and stars to faces and bouncing balls – even (to be a little anachronistic) emojis.
These shapes are not only allusive but also wonderfully cheerful.
And there seems to be a sort of progression in this show from paintings with two, three or five little balls – decorated in various ways --- to paintings with just one.
The balls in the paintings with one ball in them are striped, like beach balls. The biggest canvas, a majestic horizontal in deep purple, has only a small ball floating near its lower edge – this ball is striped with a lighter purple and orange. It is a very impressive work.
But I guess my real favorites are the ones where the balls grow big, big and bigger, until they outgrow the canvas and only a portion of them can be shown---like the moon coming over a mountain.
There are five of these paintings in all, including one right at the entrance, one in the first gallery space, one (a smaller watercolor) in the central space, and two at the very back of the gallery.
The one I have chosen to reproduce hangs on the southernmost gallery wall. Here the circle has grown so big that only a quarter of it can be shown. The circle has navy blue and lime green vertical stripes, while the field that it dominates is a rich cinnamon brown. And the stripes descend from the top of the painting, making the ball look impossibly large and imposing.
But what is it, really? The moon seen through a powerful telescope? Or the ocean seen through a periscope? The magic of abstraction is it can be all of these – or none.
September 11, 2020 - Surface Magazine
Christine Berry and Martha Campbell, the founders of Berry Campbell gallery in New York, seek to spotlight oft-overlooked artists who played pivotal roles in popular movements.
Christine Berry and Martha Campbell often finish each other’s sentences—and why wouldn’t they? The art dealers have worked together for nearly a decade, and decided to strike out on their own in 2013, founding Berry Campbell gallery in Chelsea, New York. Exhibiting postwar and contemporary work, the gallery seeks to showcase underrepresented artists who still played key roles in the popular movements. But, as Campbell notes, they don’t just stay in one lane: “We don’t have any real parameters—Christine and I have similar taste in terms of what we like.” On the occasion of the gallery’s latest show, “Edward Avedisian: Reverberations,” Surface caught up with the pair to discuss their role in the Chelsea gallery scene, the role of physical spaces in an increasingly digital world, and more.
Tell me about the origins of Berry Campbell. What did you feel was missing in the Chelsea gallery community that you wanted to become?
Campbell: Seven or eight years ago, Christine and I worked together at a large Midtown gallery specializing in American paintings and abstract expressionism, notably painters from from the East End of Long Island. We absolutely loved working together, and she had been in the business for about 15 years longer than I had, so I always felt she was a great mentor and confidante. When that gallery closed, I didn’t want to find a job working for “the man” at another gallery, so Christine and I talked. We discovered a gap in the Chelsea art scene: a few galleries showed artists that were well-respected back in their day, but for whatever reason—whether it was race, gender, or geography—they had fallen off the map. We felt that our role could be bringing these postwar and abstract expressionist artists back to the forefront by telling their stories and showcasing their contributions to the movement.
What kinds of artists does the gallery represent, or seek to represent? You’ve been vocal about championing female artists. What kind of work speaks to you and adds to your roster?
Berry: Recently we’ve had some critical acclaim by featuring women artists from the 1950s who were part of the group of artists that you know, like Joan Mitchell, Helen Frankenthaler, and Elaine de Kooning, but maybe didn’t have as wild of lives or as much written about them. We’ve done exhibitions of Perle Fine, who was part of the Ninth Street Show. She’s recently been exhibited at the Guggenheim, and we’ve represented her for more than eight years, so she’s finally getting her due. Yvonne Thomas is another artist from the 1950s whom we’ve shown twice. We’re trying to get the word out there.
You’re both so steeped in gallery and museum worlds, and have deep art historical backgrounds. What makes Berry Campbell different from your past ventures?
Campbell: It’s a true collaboration. Taking on artists and estates is truly personal because not only are you showing the artist’s work, you’re honoring their life. You have to truly believe in the wholeness of the artist and the people you work with. We’re always open to hearing ideas and seeing bodies of work that haven’t been seen before. Christine embraces my ideas, and I embrace Christine’s ideas. All of us work together.
Has Berry Campbell added any exciting new artists to its roster recently?Campbell: Our most recent addition was Ida Kohlmeyer. We showed her work in the spring—it was supposed to only last a month, but lasted through the pandemic.
Berry: She’s a New Orleans artist and is really wonderful. She started out as an abstract expressionist and then shifted her style to these great kind of hieroglyphic paintings.
It’s exciting that you’ve reopened after months of online viewing rooms. How has Covid-19 impacted your programming? Has it made you reconsider the gallery’s role?
Berry: We have a beautiful ground space on West 24th Street in Chelsea across from Gagosian and Matthew Marks. And before the pandemic, we used to have a hundred people come in on a Saturday afternoon, and then the gallery closed. We switched to having viewing rooms on our website, but I still believe that people need to see art in person. That’s why we’ll always go to museums and art galleries—you have to see a painting to experience it or see a sculpture outside to be a part of it. While the digital market is growing, you have to see something in person to get the true feeling and sense of scale.
September 10, 2020 - Berry Campbell
Artists and Scholars on "blue." A Virtual Talk with Artist Susan Vecsey
This is a virtual program through ZOOM
Thursday, September 10
$10 members, $20 non-members
Now a rising star in the Hamptons art community, Susan Vecsey was a student of Graham Nickson at the New York Studio School and a visiting artist at the American Academy in Rome in 2012. With solo museum and gallery shows, she has garnered such critical raves in the arts press for her “virtuoso painting.” Grab a favorite cocktail and join us for this lively and informative session in the comfort of your home.
September 9, 2020 - Joyce Beckenstein for The Brooklyn Rail
At the same time, quarantine has compelled artists to connect with their communities in new ways. Jeremy Dennis, a tribal member of the Shinnecock Indian Nation, is known for his photographs exploring issues of Indigenous identity and cultural assimilation. With exhibits and photoshoots cancelled, he now works with his father to restore the family’s house on the Shinnecock reservation. It will serve as his home, studio and as a communal art space for an artist residency. Roz Dimon works with the Children’s Museum of the East End to bring art to kids within the Latin American community, Zooming with them, and encouraging them to express their fears and joys. But unlike these artists, Mike Solomon had to leave town in February and head to Florida to care for his 102-year-old mom. While there, he met first responders at the Multicultural Health Institute, an organization dedicated to health care for African Americans. The gripping reality of Black physicians risking their lives—first on the pandemic’s front lines, and then again, walking along the street as people of color—moved Solomon to honor them. In a departure from his abstract paintings and sculpture, he has produced a compelling series of pencil drawings, portraits of Black physicians that unfurl the disturbing personal and political imperatives underlying this coronavirus saga.
This evolving archival project hanging on a video grid invites us into artists’ studios, to glimpse their stuff amidst their artworks, to glean the curator’s response to today’s predicament for artists and museums, and to preserve an intimate anthology of artists’ stories during the pandemic.
July 22, 2020 - Nicole Barylski for Hamptons.com
The New York Academy of Art is taking up a five-month residency at the Southampton Arts Center, where it will present 2020 Vision, a spectacular exhibition featuring over 60 artists and writers. Co-curated by Academy President David Kratz and Stephanie Roach of the FLAG Art Foundation, and edited by Emma Gilbey Keller, 2020 Vision will be on display from Saturday, July 25 through Sunday, December 27.
"The pain, loss and uncertainty of the ongoing COVID-19 pandemic. The awakening cry for social justice following the murders of George Floyd, Breonna Taylor, and Ahmaud Arbery and many others. The unnerving possibility of global recession. 2020 has already experienced seismic events that are shifting values and shaping our choices as citizens and as creators," Kratz and Roach noted. "Artists and writers are always the antennae of our society, all the more so at a time as challenging as this one. They have an opportunity—some might say, a duty—to interpret this moment and imagine the world not only as it is, but also as it could be."
2020 Vision will encompass visual artworks from art students and rising stars to contemporary icons, as well as a myriad of texts, such as poetry and essays, and video diaries.
"This is the guiding challenge of the group exhibition, 2020 Vision. We asked artists, writers, and creative thinkers to consider three questions of critical importance: Our lives will never be the same, but what will change look like? What do we want to keep as we rebuild? And what must we guard against?" they said.
July 22, 2020 - Berry Campbell
Christine Berry appointed as part of the Awards Committee for the New York Studio School 2020 Alumni Exhibition: Mercedes Matter Awards Announcement & DiscussionRead More >>
July 20, 2020 - Jonathan Goodman for Whitehot Magazine of Contemporary Art
“In Between,” the title of Susan Vecsey’s show, refers both to the strange period of quarantine we currently find ourselves living in, as well as the double nature of the painter’s work, in which she floats an acquaintance with artists such as Mark Rothko and Helen Frankenthaler and their landscape-influenced abstractions with her own experience of non-objective art in response to the natural world (Vecsey lives part of the time in East Hampton). The work is subtle, deliberately beautiful, and historically cognizant of the New York School and its history during the past half-century, in particular the ongoing perceptions of a Color Field predilection. If one felt compelled to make a choice, it can be said that the works tend to lean in the direction of landscape; their simplicity makes them strong in an abstract sense, but we never lose the implication that we are close to land, to water, and to the sky. Individually, the paintings are attractive, but there is also a cumulative effect, in which the paintings work a sympathetic magic by creating a pastel-like mood and atmosphere, in which both the beauty of nature and also of art are handled with a notable measure and restraint.
The condition of being in between needs to be remarked upon; much of good painting today plays with the idea that an imagery can share aspects of stylistic genres that play off of difference in their essence. Yet it can be noted that nothing is purely abstract nor entirely figurative. Elements or parts of the painting can flow in and out of meanings that take on both styles. It is hard to see both approaches occurring in the same moment; we remember those visual paradoxes where, looked at one way, the image represents one kind of object; and then, when the mental intelligence shifts, another image comes into being--but both images cannot be processed at the same time. Perhaps Vecsey’s general achievement is to render a visual system that jumps from a particular manner of looking into another. While this process is not new--we have the extraordinary achievement of Rothko, mentioned above--its innate complexity and willingness to occupy different ways of seeing within the same composition make it wonderfully current, not to mention extraordinarily interesting as art.
June 11, 2020 - Guild Hall
May 28, 2020 - Berry Campbell
FOR IMMEDIATE RELEASE
EXTENDED: SYD SOLOMON: CONCEALED AND REVEALED AT THE JOHN AND MABLE RINGLING MUSEUM OF ART
NEW YORK, NEW YORK, MAY 28, 2020—Berry Campbell is pleased to announce the extension of the Syd Solomon traveling museum exhibition, Syd Solomon: Concealed and Revealed. After opening at the Deland Museum, Florida in 2016, the retrospective traveled to the Greenville County Museum, South Carolina (2017), and then to Guild Hall Museum, East Hampton, New York (2018). The exhibition opened at its final venue, The John and Mable Ringling Museum of Art, Sarasota, Florida, in December of 2019. Shortly after a full-day symposium on Syd Solomon in February 2020, the museum temporarily closed due to COVID-19. The John and Mable Ringling Museum of Art reopened to the public on May 27, 2020 and will extend Syd Solomon: Concealed and Revealed and all associated programing through January 2021.
Syd Solomon: Concealed and Revealed consists of 45 paintings and works on paper sourced from public and private collections, including hundreds of original and never seen before archival photographs and documents from the Solomon Archive. These newly discovered materials detail how Syd Solomon's World War II camouflage designs and other early graphic arts skills were foundational to his unique approach to Abstract Expressionism. This new information makes this exhibition and accompanying catalogue a revelation by furthering the understanding of Syd Solomon’s life and work.
Syd Solomon served as camouflage expert in the United States Army during World War II (1941- 1945), which prevented him from taking part in the formative years of the Abstract Expressionist movement in New York. His camouflage designs were used during the Normandy invasion and in the African campaign and his camouflage instruction manuals where distributed throughout the US Army. Solomon's designs were shared with the English camouflage experts, many of whom were artists, including Barbara Hepworth, Roland Penrose, and Henry Moore. Syd Solomon was awarded five Bronze Stars for his service.
Solomon suffered frostbite in the Battle of the Bulge and was not able to live in cold climates, thus settling in Sarasota, Florida. Although he arrived to the Abstract Expressionist scene late because of the War, by 1959 his work had gained the admiration of Museum of Modern Art curators, Peter Selz and Dorothy C. Miller, the Whitney Museum of American Art's director, John Baur, and many others, including artists Philip Guston and James Brooks, who became life-long friends. At this time, Syd Solomon's paintings entered the collections of the Solomon R. Guggenheim Museum, the Whitney Museum of American Art, and over 100 additional museum collections.
This exhibition was co-curated by Mike Solomon, the artist’s son, and Ola Wlusek, the Keith D. and Linda L. Monda Curator of Modern Art and Contemporary Art, at the John and Mable Ringling Museum of Art, Sarasota, Florida.
Syd Solomon: Concealed and Revealed is accompanied by a 96-page hardcover catalogue with essays by Michael Auping (former Chief Curator at the Modern Art Museum of Fort Worth and curator of recent exhibitions of Frank Stella and Mark Bradford), Dr. Gail Levin (expert on Lee Krasner and Edward Hopper), George Bolge (Director of the Deland Museum of Art, Florida), and Mike Solomon, (artist and the artist’s son). This exhibition was organized by the Estate of Syd Solomon in conjunction with Berry Campbell, New York.
For museum hours of operation, please visit: www.Ringling.org. To visit the exhibition virtually, please visit: https://www.youtube.com/watch?v=0f1b8wRQhsw. To purchase the exhibition catalogue, please email: email@example.com.
May 20, 2020 - Jonathan Goodman for Tussle Magazine
This exhibition titled "Cloistered" by Ida Kohlmeyer at the Berry Campbell Gallery consists of paintings and sculptures from the late 1960s, before she turned to the hieratic abstractions of her later career. In some ways the paintings on show relate to abstract elements found in the art of Georgia O’Keeffe and Hilma af Klint (the early 20th century Swedish abstractionist); they consist of mostly diamond-shaped patterns, with a couple of circular compositions. Kohlmeyer was educated and taught at Tulane University in New Orleans; she studied in Provincetown in the middle Fifties with the German-born teacher and abstract painter Hans Hofmann. In the paintings available to us, we see distinguished, soft-edged nonobjective imagery, in which geometric forms become vehicles for understated emotion. The colors are softly muted, communicating the artist’s ability to transmit feeling through simple designs and quite hues.
While not exactly a serial art, this kind of abstraction builds its effects through repetition of forms from one painting to the next. The diamond-shaped designs hold our interest by building a narrowing focus into the very center of the paintings, which can contain different shapes often circles, but also crosses and slits. They offer a kind of artist’s vernacular; the shapes repeat themselves and create links joining one painting to another. As a result, the body of work joins individual voices to a communal process that asks Kohlmeyer’s audience to appreciate their cumulative effect. Thus, a particularly successful variation within unity occurs, full in keeping with a lot of painting being done at the time these works were made. The larger question, Does such repetitiveness add or detract from the experience of the work? This can be considered as something more theoretical--in the case of Kohlmeyer, the accomplishments brought about by such an approach are genuine, in part because the differences from one painting to the next which are large enough to enable us to see the works as individual efforts rather than as nearly identical compositions.
In “Cloistered” (1969), Kohlmeyer has painted a thin, mostly brown diamond with a thinner dark purple stripe re-enforcing the overall shape, inside of which is another diamond, outlined in white and surrounded by a haze of the same dark-purple color. Inside the confines of the white diamond is a thin, yellow-brown, vertically aligned lozenge, flanked on either side by purple and then dark-brown stripes--the same colors used to define the outer diamond. The title might well refer to the oval deep in the center of the painting; it might even convey something of the spiritual mood that exists in the work. Whatever the motivation for the painting is, the experience of Kohlmeyer’s effort is fully satisfying. It suggests, in abstract fashion, a place of refuge and solace. An untitled work, circa 1969, consists of a five-pointed star shape, within which is a white diamond with a circle in the middle. Outside this puzzle of shapes are found a pentangle of red paint, along with a pink area, following the form of the pentangle in a rough manner, linearly contained by a dark-brown line. Certainly, the star is abstract enough, but the image conveys a primal feeling not unaligned with the spirit.
Kohlmeyer’s shapes can hardly be seen as devotional, yet they are so basic as to be archetypal reworking of forms that may have had spiritual meaning in other, earlier cultures. In “Black Insert” (1968), we see a black diamond shape, in the middle of which is the vertical lozenge; this amalgam of forms is supported by quadrants of off white, defined by green stripes of middling width that outline the diamond. The green lines create a cross behind the diamond that does not in any way evoke a Christian aura.
The possibility of external reference, beyond the abstract form, cannot be entirely dismissed. It would be a major mistake to see the works of art as intimating an atmosphere of piety. It is just that the forms in these completely abstract paintings are so archaic as to raise questions about their origins beyond the intentions of the artist. This happens inevitably. In “Suspended” (1968), we meet more rounded forms: a curving hourglass shape dominates the painting, with rows of undulating, differently colored lines embellishing the upper and lower register of the form. Outside this hourglass is a background of whitish, slate blue curved like a circle. Beyond that, there exists a green diamond, with four pinkish mauve triangles, one in each of the cardinal directions. Finally, a smudged light-yellow band follows the edge of the green diamond.
May 18, 2020 - William Corwin for The Brooklyn Rail
Think of all the meanings, nuances, and implications embedded in the word “cloistered,” and they reside here in Ida Kohlmeyer’s series of that title, executed in the late 1960s and now on virtual view at Berry Campbell Gallery through May 23. The earliest of these works were produced in 1968, the same year Stanley Kubrick’s 2001: A Space Odyssey came out, and many of them have the wary and watchful quality of the monotonic computer HAL, which loses faith in its human chaperones in Stanley Kubrick’s iconic film.
In Kohlmeyer’s paintings, there is a protected conceptual space lying just below the surface of the canvas, under a layer of sparingly applied oil paint and graphite. This is the imaginary volumetric structure for most of Kohlmeyer’s imagery in this series: a somber interior zone peeks out through a central oculus, or blossoms in an undulating vegetal sprout. The relationship of painting to the viewer is reversed as the spectator is surveilled by an alien eye. Kohlmeyer paints this cloistered presence into her works with varying degrees of directness. Black Insert” (1968) simply presents a black diamond with a lightly incised rectilinear form floating, shadowy, within it. By contrast, the final painting in the show, Cloistered (1969), stares out obsessively from the back of the gallery. A cross is carefully etched on the lozenge of the eye, a detail that makes the viewer feel as if the painting broodingly judges them. Kohlmeyer's reclusive entities carry with them all the accompanying angst, sadness, concealment, and, at times, anger, that arise from an unwilling sequestration.
There’s also a more immediate structural interpretation: most of the works are geometric, but with relaxed hand-drawn lines, and play on the symmetry and proportion of medieval walled gardens—the literal cloister. The picture plane is quartered or in some cases halved, and has a central element that serves as a point of arrival for the vectors of the painting and attracts the eye of the viewer. In this central position, Kohlmeyer typically substitutes something dark and glowering for the babbling fountains and cheerful plantings most of us know from the Cloisters museum in Fort Tryon Park. Of the paintings on view, the most Kubrickian watcher of all is the bisected black cornea and dilated pupil of Cloister #5 (1968). But there are exceptions, and Kohlmeyer does occasionally traffic in less emotionally fraught effects. Cloistered #12 (c. 1969) culminates in a colorful black/blue and pink/yellow floret, while Suspended (1968), with its palette of bright grass greens, iris, and greenish yellow, is very upbeat, and seemingly Easter-themed, including a central egg-shaped form decorated with arcs and bands. Kohlmeyer’s sculptures are variations on the theme of the paintings, but play with the idea of multiplicity. Canvas stretched over wood, they are paintings moved off the wall and placed in space, toying with a front and back in three dimensions. Stacked #1 (1969), is a tower of three cubes, with fecund buds centered on each surface: the painting now overlooks the entire room like a cyborg lighthouse.
There are obvious relationships that can be drawn between Kohlmeyer’s paintings and human anatomy—eyes and other organs are most obvious. But the repetitive crosses and ecclesiastically-specific architectural titles reiterate a spiritual and symbolic subtext that moves beyond mere floral or organic models. It is hard to say what the message is—the works themselves, juxtaposing bright colors with a forlorn presence, may not have decided for themselves. Before she created the works on view at Berry Campbell, Kohlmeyer’s style was Abstract Expressionist, influenced by Rothko and Gorky. The artist also studied under Hans Hofmann in Provincetown in the mid-fifties. Her later work would go on to explore ideas of pattern and multiplicity—Berry Campbell offers a striking example of this period in Color Stripes (1980). The Cloister series and its auxiliary works seem to represent an interlude of sorts, during which the artist explored a closer, but riskier, engagement with the viewer. These paintings have a pathos to them, but never veer into the outright horror or fury of Lee Bontecou’s dark blank lacunae from the late 1950s and early 1960s. As with all series carried out over just a few years, it’s impossible to tell if Kohlmeyer could have continued to walk the fine line between gripping emotional connectedness and over-the-top sentimentality, but for this short span, she certainly pulled it off.
May 14, 2020 - Berry Campbell
In this video, Christine Berry speaks on Abstract Expressionist, Syd Solomon.Read More >>
May 11, 2020 - Stacey Stowe for The New York Times
The outdoor exhibition on Long Island featured works installed at properties from Hampton Bays to Montauk, with social isolation as just one theme.
No one was supposed to get too close to each other over the weekend during a drive-by exhibition of works by 52 artists on the South Fork of Long Island — a dose of culture amid the sterile isolation imposed by the pandemic. But some people couldn’t help themselves...
There was spontaneous interaction. The artist Bastienne Schmidt, dressed in a bright blue pea coat and red pants, waved to those who checked out her installation of canvas-wrapped posts set six feet apart at the Bridgehampton home she shares with her husband, the photographer Philippe Cheng. Kathryn McGraw Berry, an architect sampling the tour in a champagne-colored Audi, chatted with Eric Dever, who was checking the wind resistance of his 12 paintings mounted on posts at his 18th-century Water Mill home.
“It’s nice seeing one’s work in the landscape when you’ve been cooped up in the house,” Mr. Dever said. “I grew up in Southern California so I appreciate the drive-through idea.”
May 8, 2020 - Robert Passal Interior Design
"#meansformakers Please join us for raising COVID19 relief funds for @cerfplus by sharing a favorite artist or artisan that inspires you. @arteriorshome will donate funds for each of our posts to @cerfplus who will in turn support the skilled artists of the artisans society. Just post your favorite maker’s work and tag @arteriors home and #meansformakers I am sharing several projects showcasing custom pieces done by some of the incredible artisans we continually work with. The work of each of these artisans truly makes each of our projects shine."
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May 7, 2020 - Berry Campbell
Artist's Choice: Interconnected
May 7 - June 7, 2020
Berry Campbell is pleased to announce Artist’s Choice: Interconnected, an exclusive online exhibition of works from gallery’s inventory chosen by Berry Campbell’s represented contemporary artists. Eric Dever, Judith Godwin, Ken Greenleaf, Jill Nathanson, Ann Purcell, Mike Solomon, Susan Vecsey, James Walsh, Joyce Weinstein, and Frank Wimberley have thoughtfully selected one work from our gallery inventory that they associate with their own creative process and artistic journey. This artist-curated exhibition is an inquiry into the lines of influence and connections within our Berry Campbell artist community. Artist’s Choice: Interconnected launches digitally May 7, 2020.
The choices are sometimes expected, and at other times, surprising. Some artists were inspired by a painting from an artist they had never met, and others paid tribute to old friends or mentors. Judith Godwin recalls good times with her old friend and art dealer, Betty Parsons. James Walsh remembers a painting by Walter Darby Bannard from a 1981 show at Knoedler Gallery. Mike Solomon pays homage to the perseverance of abstract painter and dear friend, Frank Wimberley saying: “The quiet intermingling of his experience, with the purity of painting, gives his abstractions an authenticity and delicacy that is profound to witness.” Ken Greenleaf favorite is Cloistered #5 (1968) by Ida Kohlmeyer, delighting in the pure abstraction. Jill Nathanson picked a color-field forerunner, Dan Christensen. Ann Purcell admitted to being picky but found true inspiration after visiting our Yvonne Thomas show repeatedly. Eric Dever ruminates about Charlotte Park: “Like a favorite poem, novel or even film, a painting can be a touchstone, something one returns to with certain regularity; perhaps a gauge of some kind, beginning with personal happiness on the occasion of discovery and new revelation as our lives unfold.” Joyce Weinstein finds parallels with John Opper. Susan Vecsey loves the “stillness and movement” of Elaine de Kooning’s Six Horses, Blue Wall (1987). No coincidence that Vecsey lives down the road from the Elaine de Kooning house in the Hamptons. Frank Wimberley recalls of Herman Cherry: “He was one of the East End artists who wished to me to succeed.”
ABOUT BERRY CAMPBELL
Christine Berry and Martha Campbell have many parallels in their backgrounds and interests. Both studied art history in college, began their careers in the museum world, and later worked together at a major gallery in midtown Manhattan. Most importantly, however, Berry and Campbell share a curatorial vision.
Both art dealers developed a strong emphasis on research and networking with artists and scholars during their art world years. They decided to work together, opening Berry Campbell Gallery in 2013 in the heart of New York's Chelsea art district, at 530 West 24th Street on the ground floor. In 2015, the gallery expanded, doubling its size with an additional 2,000 square feet of exhibition space.
Highlighting a selection of postwar and contemporary artists, the gallery fulfills an important gap in the art world, revealing a depth within American modernism that is just beginning to be understood, encompassing the many artists who were left behind due to race, gender, or geography-beyond such legendary figures as Pollock and de Kooning. Since its inception, the gallery has been especially instrumental in giving women artists long overdue consideration, an effort that museums have only just begun to take up, such as in the 2016 traveling exhibition, Women of Abstract Expressionism, curated by University of Denver professor Gwen F. Chanzit. This show featured work by Perle Fine and Judith Godwin, both represented by Berry Campbell, along with that of Helen Frankenthaler, Lee Krasner, and Joan Mitchell. In 2019, Berry Campbell's exhibition, Yvonne Thomas: Windows and Variations (Paintings 1963 - 1965) was reviewed by Roberta Smith for the New York Times, in which Smith wrote that Thomas, "... kept her hand in, adding a fresh directness of touch, and the results give her a place in the still-emerging saga of postwar American abstraction.”
In addition to Perle Fine and Judith Godwin, artists whose work is represented by the gallery include Edward Avedisian, Walter Darby Bannard, Stanley Boxer, Dan Christensen, Eric Dever, John Goodyear, Ken Greenleaf, Raymond Hendler, Ida Kohlmeyer, Jill Nathanson, John Opper, Stephen Pace, Charlotte Park, William Perehudoff, Ann Purcell, Mike Solomon, Syd Solomon, Albert Stadler, Yvonne Thomas, Susan Vecsey, James Walsh, Joyce Weinstein, Frank Wimberley, Larry Zox, and Edward Zutrau. The gallery has helped promote many of these artists' careers in museum shows including that of Bannard at the Institute of Contemporary Art, Miami (2018-19); Syd Solomon, in a traveling museum show which culminates at the John and Mable Ringling Museum in Sarasota and has been extended through 2021; Stephen Pace at The McCutchan Art Center/Pace Galleries at the University of Southern Indiana (2018) and at the Provincetown Art Association and Museum (2019); and Vecsey and Mike Solomon at the Greenville County Museum of Art, South Carolina (2017 and 2019, respectively); and Eric Dever at the Suffolk Community College, Riverhead, New York (2020). In an April 3, 2020 New York Times review of Berry Campbell's exhibition of Ida Kohlmeyer's Cloistered paintings, Roberta Smith stated: “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.”
Collaboration is an important aspect of the gallery. With the widened inquiries and understandings that have resulted from their ongoing discussions about the art world canon, the dealers feel a continual sense of excitement in the discoveries of artists and research still to be made.
Berry Campbell is located in the heart of the Chelsea Arts District at 530 West 24th Street, Ground Floor, New York, NY 10011. For further information, contact us at 212.924.2178, firstname.lastname@example.org or www.berrycampbell.com.
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: www.drive-by-art.org
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 email@example.com
or reach out to Warren Neidich at +1-917-664-4526 or Jocelyn Anker at +1-917-291-4406
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 firstname.lastname@example.org with the Subject: Monster List.
VIRTUAL ACCESS TO ARTS & CULTURE INSTITUTIONS
Berry Campbell | Ida Kohlmeyer: Cloistered
Read More >>
May 1, 2020 - artnet Gallery Network
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.Read More >>
April 24, 2020 - Berry campbell
In this video, Christine Berry speaks about Ida Kohlmeyer and Berry Campbell's current exhibition, Ida Kohlmeyer: Cloistered.Read More >>
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
April 17, 2020 - FAD Magazine
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.Read More >>
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 WhiteRead More >>
April 3, 2020 - Parrish Art Museum Events
April 2, 2020 - Roberta Smith for the New York Times
March 30, 2020 - Berry Campbell
Forbes Magazine: Add to Your list of '5 Women Artists' at These Museums Around The United States
by Chadd Scott
"Extremely gratifying to see Paul Kasmin Gallery's eye-opening summer show, Painters of the East End reviewed by Erin Kimmel in this month's Art in America . And smiled extra wide that AbEx talent Charlotte Park is written up in the same paragraph as — and holds her own with— Joan Mitchell. 'Park's virtuosic oil and crayon compositions (ca. 1965 and 1967) feature dendrite-like configurations in a palette of bright pinks, yellows and blues that appear frozen mid twist.' Ten years ago Christine Berry, owner of one of the most engaging and provocative galleries in Chelsea, Berry Campbell, thankfully introduced me to the work of Charlotte Park, who died in 2010 at age 92 in Montauk, where she lived and painted. She was the wife of artist James Brooks, supporting his career at the expense of her own, and dear friends and neighbors of Jackson Pollock and Lee Krasner."
View Works by Charlotte Park
Eazel Interactive Exhibition | Yvonne Thomas: Windows and Variations (1963-1965)
Nassau County Museum of Art, Roslyn Harbor, New York
View Works by Susan Vecsey
LINEA: Studio Notes from the Art Students League of New York
Artist Snapshot: Jill Nathanson
What We See, How We See
Through April 2021
Parrish Art Museum, Southampton, New York
View Works by Perle Fine
Curated by William Corwin
The Art Students League, New York
View Works by Joyce Weinstein
March 21, 2020 - Berry Campbell
In this video, James Walsh gives an artist talk for his exhibition, James Walsh: THE ELEMENTAL.Read More >>
March 21, 2020 - Berry Campbell
March 21, 2020 - Berry Campbell
March 19, 2020 - Berry Campbell
March 14, 2020
March 14 - July 5, 2020
Nassau County Museum of Art
Roslyn Harbor, New York
What color means more to us than blue? Even among the primaries, the color of the sky and sea commands a privileged place, by far the most popular hue in the spectrum according to surveys on every continent. Blue casts its spell, pushing beyond symbolism to a deeper emotional level, drawing us into its pure and distant mysteries. Every artist goes through a “blue period,” from the Mediterranean blues of Matisse and Yves Klein to the haunting auras of Redon. Blue has been holy to Egyptian, Hindu, Chinese and Western traditions. Its physical sources (cobalt, ultramarine, cerulean, indigo, lapis lazuli, cyan) are a catalogue of valued materials that rival gold itself. As this exhibition exuberantly proves, the power of blue transcends art history. Poets, filmmakers, musicians and designers have tapped its resonant appeal. The most original music in America (home of bluejeans, “democracy in fashion”) is the blues. We are turning the entire museum over to the multi-media exploration of blue in many incarnations. It spans history and geography, from the precious lapis lazuli of antiquity to paintings, photographs, sculpture, ceramics, cyanotypes, and fashion. As Miró said, “This is the color of my dreams.”
February 25, 2020 - Parrish Art Museum
Alicia Longwell on Women Artists in What We See, How We See
February 28, 6 pm - 7:30 pm
Alicia Longwell, the Lewis B. and Dorothy Cullman Chief Curator, Art and Education, highlights women artists in this seven-part exhibition that contextualizes the artists’ work through the lens of how they see and interpret the world around them.
Parrish Art Museum
279 Montauk Highway, Water Mill, NY 11976 United States
February 25, 2020 - Kim Uchiyama for Two Coats of Paint
Contributed by Kim Uchiyama / “Specific Forms” at Loretta Howard Gallery illuminates a particular moment in 20th century art history where works created by a variety of artists occupied the space between the then diverging ideologies of a young Donald Judd and those of the older critic Clement Greenberg. Saul Ostrow has curated a finely-tuned exhibit that demonstrates the highly individual modes of thought that were at play during this transitional time, ideas distinct from the critical positions of Minimalism, Pop and Color-field.
The movement known as Abstract Expressionism – a “movement” itself comprised of highly individualistic artists – can be seen in retrospect as the physical and psychological response to the global tensions of World War II. Mary Gabriel, in Ninth Street Women, her invaluable contribution to understanding the full scope of this era, emphasizes the war – and the lead up to war – as the underpinning for the formation of a new American art which would reflect the exigencies of the moment. The works in “Specific Forms” came about because these times had changed. Post-war America lacked the angst of the 1940s and 1950s, and was increasingly replaced in the 1960s and 1970s by an art that sought to look to itself reflexively, on its own terms – the thing being the thing itself.
In an era characterized by an implicit questioning of authority and established norms, these fourteen artists sought to break the mold of existing “-isms” and are seemingly preoccupied in creating a new consciousness via their art. The resulting works are highly specific unto themselves and characterized by strikingly individualistic terms for their existence.Read More >>
February 6, 2020 - D. Dominick Lombardi for Dart International Magazine
The success of an exhibition, or any work of art for that matter, is its ability to engage the viewer. Engagement can be a bit more difficult to achieve when you eliminate any sort of representation, as with the current exhibition at the Hofstra Museum of Art, Uncharted: American Abstraction in the Information Age. The fact that this show truly connects with the viewer – in this instance, partly through the use and influence of technology – illustrates the more thought provoking side of abstract art. Organized by Karen T. Albert, Acting Director and Chief Curator, with essays by Laurie Fendrich and Creighton Michael, Uncharted quickly draws you in through a variety of means that include everything from hi-tech contraptions to mesmerizing optics. When curiosity is piqued and perceptions are expanded, the viewer becomes part of the expression – a key difference between completely spelled out narrative representational art and non-representational abstraction. That unavoidable brain activity that is prompted by something new or visually foreign is very different than the comfort that straight representation brings.
The kinetic sculptures of James Seawright add a strong technological component to the exhibition. Using various sensors, Twins (1992) can be a bit sensitive to the movements in its immediate environment adding to its already palpable creepiness. Gemini (2004) and Lyra (2006) movements and lights are completely preprogrammed. As objects, they give the impression of designs for futuristic theater or movie sets. Despite the fact that all these works are between 14 and 28 years old, they maintain their immediacy and freshness. Like Lynne Harlow’s All Above the Moon, John Goodyear offers another aspect of physical participation for the viewer. By carefully swaying the picket fence-like apparatus in front of his two paintings, the art immediately becomes animated with short bursts of movement. Figurative Abstraction (2015) has an almost hypnotic effect on the viewer when it is activated – something like fabric billowing in the wind. The result with Diving Board (1983) is quite different. It shows a person’s feet continually being propelled by a very springy board, while offering much needed humor to the omnipresence of more elusive technology.Read More >>
February 5, 2020 - Michelle Trauring for 27East
“If you have a minute, can I read you a poem quickly?”
With ample encouragement, artist Eric Dever clears his throat and begins. “Forever – is composed of Nows – / ‘Tis not a different time,” he recites. “Except for Infiniteness – / And Latitude of Home.”
He continues, the last two verses of the celebrated Emily Dickinson poem haunting as ever as they teach a crucial lesson: Every moment that has ever existed was, is or will be a present moment, a “now,” and the infinite is composed of them.
And forever stops for no one. It is with Dickinson’s words in mind that, last year, Dever began a new series of work. Each painting would be inspired by sequential lines of “Forever – Is Composed of Nows –,” the next canvas evolving from the previous.
And not long after he started, Dever cast the idea aside, out of sheer frustration — until recently. “Not too long ago, I realized the way to approach it is not to try to illustrate the poem, but to just select certain paintings and put them together, and that could very much hold the idea,” he said. “For me, I think an artist’s entire oeuvre, if we look at it, it really is a collection of ‘nows,’ and it’s not just ‘nows’ that are in the past. When I engage with my work over time, it’s almost as if that time or that place was in crystal. It’s very clear, the whole thing.”
Dever’s newest body of work, “A Thousand Nows” — on view at The Lyceum Gallery on Suffolk County Community College’s Eastern Campus in Riverhead — is a study in compressed time, the 22 exuberant oils layered with colors that span the artist’s lifetime, from his earliest memories growing up in California.
February 4, 2020 - Cori Hutchinson for Whitehot Magazine
Not necessarily spiked, each painting by New York artist James (familiarly Jim) Walsh instead crests like an eggy spire of Pavlova meringue; is viewed head-on as the subtle terrain of a human face. Painted on canvas then mounted, the pure paint impressively lifts off without the assistance of plaster or other molding material. Walsh’s work is distinct from other Modernist abstraction by its textural quality. His life-long professional experience with Golden Paints has rendered him an expert technician and master of patience. The paintings on view at Berry Campbell forego major scale in favor of a very concentrated surface, apprehending the viewer’s eye from an intimate distance. The show’s title "The Elemental," might allude to Robert Rauschenberg’s Elemental Paintings, which gave agency to both the vibrant life and eventual degradation of materials used, or feel back further to Renaissance elemental conception. Questions of alchemy, preservation, handling, and drying time are all brought to light by the reliefs of Walsh.
The compositions themselves range from tufted and pouty to petri dish to epic mixing bowl. There are obvious clusters of like-minded pieces, sharing color or arrangement. For example, BLEND, NATURAL, and MAGENTA MAJOR are unified by a lippy palette and quenelle bulge. CRIN CRIN and Untitled both utilize a radioactive green, smeared and smattered, respectively. On one wall, a pod of miniatures express continuity with crinkly white-on-black contrast, blue wash, and confetti drippage.
Pieces like SAND SOUND align themselves in the lineage of Color Field painter Jules Olitski. SAND SOUND, as well as POSITIVE VENUS, resemble slick sea glass. These pieces recall Olitski’s Plexiglas, 1986 show at KASMIN, particularly Dream Time (1986). Olitski’s hovering color—manifested by the illusion of the depth of glass—is taken up materially by Walsh. SAND SOUND, largely gray and green, achieves a texture that is at once sludge and mist, appearing wet almost.Read More >>
January 28, 2020 - Piri Halasz for From the Mayor's Doorstep
It was standing-room-only at the opening for "James Walsh: The Elemental" at Berry Campbell (through February 8). Nor did this long-awaited show disappoint: it more than lives up to advance expectations and shows this gifted mid-career artist spreading joy along with pigment and molding paste in peak form. Indeed, James Walsh is one of the best.
True, he has not gone off on any wild tangents in this exhibition. He is still creating small to medium-sized paintings on canvas, using multi-hued acrylics mixed with molding paste. And (as far as I know) he still manipulates the molding paste with everything from his hands to a battery of tools.
The molding paste enables him to alter the thickness of his medium from raised curls, twirls, swirls, twists, blobs, and upward or downward strokes or pours of color right down to only barely tinted and scraped areas of canvas -- often all in the same image.
He has become if anything more adept in orchestrating these opposites from thick to thin. And he is experimenting – if still very carefully – with creating larger and smaller pictures.
The last time I reviewed a display of his work (at Berry Campbell on June 22, 2014), the smallest painting was 18" x 14" and the largest was 41" x 27¾ ". In this show, the largest painting is 48" x 36" and the smallest is only 6¼" x 4".
The former is entitled "Opus Eight, Number Twelve (2017). It is unique in its scale, and hangs in a prominent position in the first large space at Berry Campbell. Done in blacks, browns and other autumnal colors, it is very authoritative-looking, and fits nicely into this front space, which I mentally characterized as occupied by the most ambitious paintings in the show.
(However, I have to confess that the smaller "Crin-Crin" (2019), hanging just to the right of "Opus Eight," seemed to me more successful. With its green vertical on the top half of the painting, and horizontal strokes below, I was also mysteriously reminded of "The Piano Lesson" (1912) by Henri Matisse. Aren't art critics irritating?)
January 25, 2020 - Sarasota Herald Tribune
January 18, 2020 - Artdaily
NEW YORK, NY.- Berry Campbell is presenting an exhibition of recent paintings by James Walsh (b. 1954). An abstract painter who has been an active member of the New York art scene since the early 1980s. Following in the Modernist tradition, Walsh relentlessly explores the properties and limits of paint and the results of his inquiry are spectacularly wide ranging. Experimenting with innovative acrylic formulas, Walsh produces large masses of pigment that project outward from the surface of the canvas, creating unusual forms in high relief. In some works, the paint is sculptural and three-dimensional, while in others, it rises from richly treated surfaces. Although Walsh makes specific compositional choices, the spontaneous appearance gives his paintings a feeling of the accidental.Read More >>
January 8, 2020 - Suffolk County Community College
Eric Dever: A Thousand Nows, an exhibit of 22 new oil paintings inspired mostly by the East End of Long Island, will be exhibited at Suffolk County Community College’s Eastern Campus Lyceum Gallery from February 1 through March 11. An artist’s reception will be held on February 5th from 4 p.m. to 6 p.m. Refreshments will be served.
Layering veils of exuberant color, Dever creates the illusion of depth while describing atmosphere that falls over views of Montauk Point, Sag Harbor’s Clam Island, and Southampton’s Flying Point Beach. Forms appear weightless and at times dematerialize reversing figure and ground. Similarly, Dever paints his experience of plants that he cultivates in his Water Mill studio garden. Agapanthus, Bird of Paradise, and roses that are past their prime become metaphors for the past, evocative of places and characters from literature.
Dever’s work harkens from experiences deep within his sensory memory of growing up in California. “Los Angeles is subtropical, the sun is more intense and sets over the Pacific, my paint selection, when working with a full palette has remained consistent, especially a love of Cadmium Orange; but the blue hues I am mixing echo the long late spring and summer twilight of the Northeast,” Dever said.
These sensations inform Dever’s work today here on the East End becoming examples of a type of compressed time.
December 13, 2019 - Apollo: The International Art Magazine
Syd Solomon (1917–2004), who described himself as an ‘Abstract Impressionist’, made the city of Sarasota in Florida his home from 1946 until his death, establishing the Institute of Fine Art at New College, which brought artists such as Philip Guston and Larry Rivers to teach in Sarasota. He was also the first living artist to have work in the collection of the Ringling Museum. Find out more from the Ringling’s website.Read More >>
December 13, 2019 - Kay Kipling for Sarasota Magazine
The retrospective of the longtime Sarasota artist’s work opens this weekend.
Prior to the public opening of the exhibition Syd Solomon: Concealed and Revealed, at the John & Mable Ringling Museum of Art this Sunday, Dec. 15, events open to museum members provided a preview of this retrospective of the work of the longtime Sarasota artist.
Solomon lived and created here for many years, including a long stint at the home and studio on Midnight Pass Road he shared with his wife Annie. He’s famed for his abstract paintings, often involving nature, the beach, wind, the shoreline and more. But the exhibit also allows museumgoers the chance to see earlier works, some figurative, some portraits, and to learn more about Solomon’s background. Both his time spent as a camouflage artist during World War II (concealing Allied planes and troops to prevent enemy attack) and as a commercial artist (creating sign lettering and graphic design) are on view here, along with personal photos and items from the vast Solomon family archive.
December 7, 2019 - Audra Lambert for Ante Mag
Navigating the complex paths presented to visitors at Art Miami is no small feat. Faced with the mountain of galleries on view, we’ve pulled together a handy reference guide for must-see presentations at this year’s Art Miami. Located at One Herald Plaza in Miami (NE 14th Street and Biscayne Bay,) the fair shares the grounds with its sister fair, Context.
From secondary market prospects to mid-career artists, Art Miami marks a diverse cross-section of modern and contemporary art reflecting a wide assembly of tastes. From the merging of digital and material to the large-scale mid-century modernists, no other fair holds quite the range of gems on display at Art Miami.
Make sure to survey the show, and keep an eye out for the following art galleries.
Berry Campbell (AM122) – Frank Wimberley and Syd Solomon steal the show at Berry Campbell gallery’s presentation, while stunning pieces by Nancy Graves, Elaine de Kooning and others round out an impressive survey of painters and mixed-media artists spanning from the post-war period to the present day. Wimberley’s ruminations on texture and minimalism alone feel shockingly contemporary. Syd Solomon’s work will be featured in an upcoming solo show at the Ringling Museum of Art in Sarasota, so take a peek at his works on view here to familiarize yourself with his style and deft mastery of color tones.
December 4, 2019 - Sarah Cascone for Artnet News
What do Elaine de Kooning, Monir Farmanfarmaian, Helen Frankenthaler, Louise Bourgeois, and Faith Ringgold have in common? They all studied at the Art Students League of New York—and they are all featured in a new show at the school highlighting the accomplishments of its many women students.
Titled “Postwar Women,” the exhibition, curated by Will Corwin, features more than 40 women who studied at the school between 1945 and 1965. “It seemed like the obvious choice because before the war, most of the women students here were wealthy or had family who supported them as artists,” Corwin told Artnet News at the exhibition’s opening. “During this period, you actually get working-class women becoming artists. And of course, you get the Abstract Expressionists.”
Corwin has put together an impressive selection of works by well-known alumna—Lee Krasner, Grace Hartigan, and Louise Nevelson are also among the big names—alongside examples by an intriguing array of artists who haven’t yet been widely recognized for their talents.
“The league’s list of famous graduates is like everybody you’ve ever heard of,” Corwin said. For him, the curatorial challenge was balancing expectations: ensuring that all the major names were in place while still creating opportunities for viewers to discover new artists.Read More >>
December 4, 2019 - Tim Keane for Hyperallergic
By the mid-1970s, critic Thomas Hess acknowledged the critical favoritism shown to postwar male artists when he singled out the women of the Ninth Street Show as “sparkling Amazons.”
KATONAH, New York — The Ninth Street Show in 1951 is among the more enduring of the origin stories about New York’s postwar art scene, uniting the theme of artist solidarity to the ideal that art can be a vocation unsullied by money and fame.
As the story goes, painter Jean Steubing, working on behalf of her obscure New York artist-peers, secured gallery space in a vacated storefront on East Ninth Street near Broadway. The resulting exhibition was curated by Leo Castelli with substantial input from artists, around 60 of whom were included in the hastily assembled roster. History — or legend — holds that the show was a breakthrough. Museum curators and uptown collectors attended and began to acquire this brave new art. Art reviewers noticed, too. And as the 1950s progressed, New York surpassed Paris as the art-making capital of the world.
In reality, the tale of the Ninth Street Show did not end quite happily ever after. Only a handful of the Ninth Street artists gained increased recognition from it. Even fewer saw any sales. Still, postwar New York accommodated these artists who, for the most part, operated without institutional affiliations. In the 1950s, a downtown loft could be rented for about $30 a month — the equivalent of about $400 in today’s money. So most Ninth Street artists soldiered on in obscurity, getting by through shitty day jobs or family money while finding morale boosts and genuine recognition through their own cooperative galleries. Many finally left the city. Some, like Steubing herself, abandoned art-making entirely.Read More >>
November 30, 2019 - Jennifer Landes for the East Hampton Star
The essay for Joan Marter’s exhibition at Guild Hall, “Abstract Expressionism Revisited: Selections From the Guild Hall Permanent Collection,” is notable for reminding us about the people behind the pictures and sculptures. For her, the artists’ relationship to this environment and other factors affecting the work that ended up here are essential to understanding its relevance.
This makes sense in the context of the museum’s permanent collection, which exists only because so many of these artists lived and worked here and left some of their legacy behind as they rocketed to international recognition and acclaim.
Guild Hall, which has recently fully archived and digitized its collection, is celebrating just some of what it has with this exhibition. The show’s unfussy title takes us back to a simpler time, before stratospheric auction results in the tens and hundreds of millions, to when these artists might have been famous and well to do on a more modest scale, if at all.Read More >>
November 26, 2019 - John Dorfman for Art & Antiques
November 21, 2019 - Will Heinrich for The New York Times
A surprising number of 20th-century female artists, if they spent any time in New York, had something to do with the Art Students League, a coeducational institution since its founding in 1875. Ahead of next year’s centennial of the 19th Amendment, which gave women the right to vote, the sculptor Will Corwin put together “Postwar Women,” an impeccable show of work by alumnae, former models and other connections of the league, in its Phyllis Harriman Mason gallery. Mr. Corwin narrowed his focus to women who were active from 1945 to 1965 but he still came up with a profusion of names and styles: more than 40 artists making everything from social documentary to winsome portraiture to the most stereotypically muscular sort of Abstract Expressionism.
A brace of powerful lithographs by Elizabeth Catlett, a totemic bronze by Louise Bourgeois and Joyce Pensato’s wonderfully spooky charcoal drawing of Mickey Mouse sit happily alongside work by less famous names: The red and green church in Blanche Lazzell’s woodcut print “The Little Church” has a strangely childlike innocence, and Lenita Manry’s delicate but committed oil-on-canvas view of the city from her studio window made me think of the New York School painter Jane Freilicher. The overall effect is to make the ongoing process of rethinking the art-historical canon to remedy discriminatory exclusions feel as exciting as a treasure hunt.
November 20, 2019 - Christiane Lemieux for Architectural Digest
Designer Laura Santos transformed a light-filled, full-floor apartment in a former parking garage into a cozy backdrop for her impressive collection.Read More >>
November 16, 2019 - Berry Campbell
November 16, 2019 - Stephanie Cassidy for the Art Students League, New York
Artist Snapshot: Jill Nathanson
Exploring the mind and habits of an artist in twenty-five questions
At what age did you decide to become an artist?
When I was a tiny girl I loved horses, pretending I was a horse and also drawing horses. When I first started kindergarten, my horse drawing skill was rewarded: I was honored with the position of glue monitor. I had heard of horses being killed and sent to the glue factory, so I was nervous about a possible connection. I thought of myself as an artist in some way from that early time.
How did your parents react when you told them you anted to become an artist?
My mother was enthusiastic. She was a classical pianist with the highest level of training but a truncated career. She liked the idea of me being an artist even if she didn’t have a clear sense of what that might really mean, and I guess my father didn’t think much about his little girl’s future in terms of career in any case. From my earliest days I heard my mother practicing the classical repertoire without explanations, so I assumed she was making up the music as she went along — creating the great piano works of Chopin, Beethoven, Schumann. Why did she make the song go in that way. Why did the nice calm part become the loud stormy part? When I was a teen, my mother wanted me to go to Bennington College because that was where Helen Frankenthaler, a famous woman artist, had gone. So I went to Bennington early, after my junior year at the High School of Music and Art (now known as LaGuardia High School), thinking of myself as a professional from the start, knowing next to nothing. Bennington College, a key site of American modernism in the 1970s, was very good for me.
October 31, 2019 - Berry Campbell
A generous gift to the Gallery from American artist Judith Godwin (b. 1930), Seated Figure (1955) is the first work by her to enter the collection. Seated Figure is a striking arrangement of pale blue, royal blue, and black planes outlined in white and gray that evoke a figure's head, back, knee, and leg folded into a chair. Angular lines, extravagant drips, and vigorous brushwork energize the composition and transform the static motif of a seated figure into a dynamic image. The work shows both Godwin's mastery of the gestural style of abstract expressionists like Franz Kline and the influence of Martha Graham's expressive bodily gesture. Completed when Godwin was 25 years old, Seated Figure is a powerful example of second-generation abstract expressionism by one of the movement's female practitioners.Read More >>
October 29, 2019 - Art Students League
November 2 − December 1
Art Students League: The Phyllis Harriman Mason Gallery
Postwar Women is The Art Students League’s first exhibition to explore the vital contributions of these alumnae on the international stage. On view at The Phyllis Harriman Mason Gallery from November 2 to December 1, 2019, Postwar Women challenges the misperception that great art produced by women artists is somehow an exception rather than the rule. Curator Will Corwin investigates the history of innovative art academies like The League that promoted democratic ideologies, which in turn created artistic opportunities for women of all social classes. This ground-breaking exhibition features over forty artists active between 1945-65, tracing the complex networks these professional women formed to support one another and their newfound access to art education. Postwar Women presents work by some of the prominent artists of the 20th Century like Louise Bourgeois and Helen Frankenthaler, but more importantly it calls out the women who were not credited enough: Mavis Pusey, Kazuko Miyamoto, Olga Albizu and Helena Vieira da Silva – challenging a new generation of visitors and art students to KNOW YOUR FOREMOTHERS.
Berenice Abbott, Mary Abbott, Olga Albizu, Janice Biala, Isabel Bishop, Nell Blaine, Regina Bogat, Louise Bourgeois, Vivian Browne, Elizabeth Catlett, Dorothy Dehner, Elaine de Kooning, Monir Farmanfarmaian, Perle Fine, Helen Frankenthaler, Judith Godwin, Terry Haass, Grace Hartigan, Carmen Herrera, Eva Hesse, Faith Hubley, Lenore Jaffee, Gwendolyn Knight, Lee Krasner, Blanche Lazzell, Marguerite Louppe, Lenita Manry, Marisol, Mercedes Matter, Kazuko Miyamoto, Louise Nevelson, Charlotte Park, Joyce Pensato, Irene Rice Pereira, Mavis Pusey, Faith Ringgold, Edith Schloss, May Stevens, Yvonne Thomas, Lynn Umlauf, Maria Vieira da Silva, Merrill Wagner, Joyce Weinstein, Michael West
October 16, 2019 - NYC GALLERY OPENINGS
New York City Gallery Openings Video. Christine Berry introduced exhibition: Dan Christensen: Early Spray Paintings (1960s)Read More >>
October 11, 2019 - artnet News
The Museum of Modern Art is set to reopen after its big expansive and restoration—and when it does, it’s crown jewels, the permanent collection will be reimagined. Old hits are still there, but new discoveries are also worked in. Film and architecture are integrated into the galleries. And the curation, as the New York Times reported, seeks to make room for “detours, anachronisms and surprise encounters.”
As the public gets ready for the new MoMA, here are photos that give a sense of how its new art history fits together.
Image: Ben DavisRead More >>
October 8, 2019 - Phil Lederer for SRQ Magazine
SYD SOLOMON AT THE RINGLING Camouflage and Calligraphy
For Sarasota’s art aficionados and culture vultures, the works of acclaimed abstract expressionist Syd Solomon are well known. And for locals, his time here remains a source of cultural pride and a milestone in the area’s artistic history. But a new exhibition opening this December at The Ringling Museum—Syd Solomon: Concealed and Revealed—proposes to dive deeper into the artist’s early life and inspiration than ever before, presenting a definitive origin story for a man who became a local legend.
Dominating the Searing Wing, Concealed and Revealed brings not only several of Solomon’s paintings to the museum, but also several artifacts from the artist’s early life, most importantly his service in World War II and professional start as a graphic designer and calligrapher in Sarasota, on loan from the Solomon Archive. His son, the artist Mike Solomon, has been working on the archive for five years now, and even he has been surprised by what they’ve found. “The general knowledge was always there,” he says, “but the surprise was in the details, and how it connected to his painting.” When the elder Solomon served in World War II, his camouflage designs hid men, tanks and supplies from German air raids following the Normandy invasion. Fake trees on wheels disguised Allied planes resting on makeshift airstrips. And when Solomon and his fellow soldiers liberated the French town of Roye, they held a big celebration with a parade and a printed poster. That original poster will be on display. And when Solomon moved to Sarasota in 1946, he turned his talents to signage for local businesses and layout work for local newspapers. “And a lot of the look of Sarasota in the ‘40s, in terms of advertising and signage, he made,” Mike says. But more than that, both of these experiences—Solomon the camouflagist and Solomon the calligrapher—would greatly influence the celebrated abstract expressionist he became. “For the people who think they know Syd Solomon’s work, they’ll realize it’s a lot more complex than they thought,” Mike says. “It wasn’t just about nature. It’s expressionism. It’s a personal, autobiographical thing.” Syd Solomon: Concealed and Revealed opens at The Ringling this December.
Read More >>
October 3, 2019 - Franklin Hill Oerrell for Hamptons Art Hub
Approaching the Quogue Gallery, I was immediately drawn in by Susan Vecsey’s painting, visible through the side entrance along Jessup Avenue in Quogue, NY. It was awash with warm, radiant color; a vast field of peachy orange. I had seen Vecsey’s work before, in Chelsea at Berry Campbell gallery, and was intrigued with how it would look in this setting in The Hamptons.
I passed through a forecourt with greenery, slate steps and a silvery sculpture by Hans Van De Bovenkamp and stepped into the gallery’s north exhibition space to see Vecsey’s solo show simply titled “Paintings” as it eases into its final week before closing on October 2, 2019. Inside, this impressive painting, Untitled (Orange/Purple/Gold), 2017, greeted me with its vast sky of orange. A circle of the same hue pushed towards the top edge, glowing with a whitish halo. The horizon was marked by a swath of deep purple infused with ultramarine, and a band of ochre yellow suggested sand. I was reminded of our Long Island beaches, in the light of late afternoon on a summer day.
September 26, 2019 - Roberta Smith for The New York Times
In the early 1960s, Yvonne Thomas (1913-2009) was one of many painters seeking a more rational, methodical alternative to the untethered, intuitive and often outsize gestures of Abstract Expressionism. The French-born Ms. Thomas — who came to the United States as a child and was a regular on the New York art scene after 1950 — made a series of modest but radiant proto-Minimalist works that, as seen in this moving show, “Windows and Variations: Paintings From 1963-65,” may be the best of her career.
Until around 1960, Ms. Thomas’s loose patches of color had been relatively generic, a de Kooning-infused form of Abstract Expressionism, albeit sensitive in its paint-handling and palette. But gradually she simplified: reducing the numbers of colors and limiting her shapes to a repeating pattern of lozenges or, often, fat, short brush strokes that suggest a form of counting.
Leaning this way and that, these elements floated in horizontal rows before fields of related hues. In “Transition” (1963), for example, yellow ocher, green and black repeatedly change places, defining shiny strokes and then matte background areas, almost in a kind of dance. In “Variations,” also from 1963, shades of red prevail fore and aft, but additions of white and black create shifting lights, shadows and shimmers. The repetition of identical elements would be foundational to Minimalism, but Ms. Thomas was less strict and more expressive. She kept her hand in, adding a fresh directness of touch, and the results give her a place in the still-emerging saga of postwar American abstraction.
ROBERTA SMITHRead More >>
September 17, 2019
10 x 10
Ten Slides Ten Speakers
Art Ovation, Sarasota, Florida
October 3, 2019
5:30 - 7:00 pm
Frank Alcock, Karen Arango, Bill Buchman, Jetson Grimes, Cooper Levey-Baker, Joan Libby-Hawk, Steve Phelps, Shakira Refos, Mike Solomon, Javier Suarez
September 13, 2019 - Berry Campbell
Juried by Phyllis Tuchman
September 20 - October 19, 2019
September 20, 2019
Founded by the ancient Greek mathematician Euclid, geometry is the area of mathematics concerned with the study of space and the relationships between points, lines, curves, and surfaces. In the arts it has often referred to the form and position of parts and shapes, as well as the relationship between those parts and shapes. The connection between are as deep as they are wide. Employing rulers and compasses, Islamic art utilized geometry to create elaborate tessellated expanses, while painters in the Renaissance used geometry to devise evermore realistic perspectives, finding vanishing points and lines of sight. Geometric forms may also be found among textile and folk art around the world. However, it was in the 20th century when geometry came to occupy such a prominent role in art history. Modern painting, from Piet Mondrian, to Bridget Riley and Charlene von Heyl, to name only a few, brought geometry and art into a world of its own. Contemporary artists, in Site:Brooklyn’s Geometry continue and elaborate in this long tradition, using geometric theory, naturally occurring patterns and forms, and other engagements between math and art to explore new syntheses between realism, figuration, abstraction, and pattern making. These works include painting, sculpture, drawing, multimedia, and video.
September 10, 2019 - ArtFixDaily
The Baltimore Museum of Art (BMA) has announced the first exhibition of its year-long 2020 Vision initiative to celebrate female-identifying artists. By Their Creative Force: American Women Modernists features 20 works by artists such as Elizabeth Catlett, Maria Martinez, and Georgia O’Keeffe to recognize the innovative contributions women artists have made to the development of American modernism. The exhibition is on view October 6, 2019–July 5, 2020.
“This exhibition presents a survey of women artists from a variety of geographic regions and socioeconomic backgrounds to tell a more inclusive story of American modernism,” said Christopher Bedford, BMA Dorothy Wagner Wallis Director. “It also demonstrates the BMA’s long history of acquiring works by women artists and our commitment to showcasing accomplished artists from this community, both efforts the museum is amplifying in 2020 and beyond.”
September 10, 2019 - NYC GALLERY OPENINGS
New York City Gallery Openings video. Christine Berry introduced Yvonne Thomas: Windows and VariationsRead More >>
September 7, 2019 - Sarah Cascone & Caroline Goldstein for Artnet
In 2017, arts patron and Saint Louis native Ronald Ollie and his wife Monique gifted 81 works by black abstract artists to the St. Louis Art Museum, including examples by Norman Lewis, Sam Gilliam, Chakaia Booker, James Little, and others. The works, while focused on contemporary art, date back to the 1940s, when a generational shift in abstraction was afoot.
The Saint Louis Art Museum is located at One Fine Arts Drive, Forest Park, St. Louis, Missouri; general admission is free.Read More >>
September 6, 2019 - Hamptons Cottages and Gardens
Susan Vecsey included in ABSTRACT ART SHOWS.
Art lovers, rejoice! Through October 27, Water Mill's Parrish ARt Museum is presenting "Abstract Climates: Helen Frankenthaler in Provincetown," a selection of 30 paintings and works on paper by the late abstract expressinoist, including "Low Tide" (near right). In springs, 11 works by late Queens-born abstractionist Walter Plate included X + Yellow (top right) are on view at the Pollock-Krasner House through October 31st.And the Quogue Gallery is exhibition a number of works by Manhattan and East Hampton-based artist Susan Vecsey, including Untitled (Orange/Blue) (bottom right) from August 22 to October 2.
September 3, 2019 - Katonah Museum
Katonah Museum of Art
Katonah, New York
October 6, 2019 - January 26, 2020
Sparkling Amazons presents the often-overlooked contribution by women artists to the Abstract Expressionist movement and the significant role they played as bold innovators within the New York School during the 1940s and 50s. Through the presentation of some 30 works of art alongside documentary photography, the exhibition captures an important moment in the history of Abstract Expressionism.
The catalyst for this project is the groundbreaking 9th St. show arranged by avant-garde artists with the help of the fledgling gallerist, Leo Castelli in 1951. The show became a pivotal moment for the emergence and acceptance of Abstract Expressionism. The artists of the 9th St. show had struggled to gain critical recognition having been shut out by museums and galleries due to the radical nature of their work. Of the more than 60 artists in the show, including many who were to become prominent figures in Abstract Expressionism, only 11 were women. This is the first time works by these extraordinary women will be brought together since the 9th St. show took place 68 years ago.
In the early 1970s, the preeminent editor and art critic, Thomas Hess, would refer to them as “sparkling Amazons.” These women would neither have viewed themselves as “Amazons” nor as feminists; they simply worked and lived as artists, pursuing their professions with the same dedication as their male counterparts even though the social stakes were much higher for them at the time. Several of the artists, including Lee Krasner, Joan Mitchell, Elaine de Kooning and Helen Frankenthaler went on to have distinguished careers and have found their rightful place in the art historical canon. Others, including Grace Hartigan, Perle Fine and Anne Ryan, enjoyed critical success. The remainder, Sonia Sekula, Day Schnabel, Jean Steubing and Guitou Knoop are yet to be fully recognized by art history, a fact that this exhibition addresses.
August 12, 2019 - Michelle Trauring for 27East
Frank Wimberley is not one for procrastination.
Historically, the Sag Harbor-based painter has conceptualized and executed his annual creation for the East End Hospice “Box Art Auction” months ahead of schedule.
Until this year, that is.
For the first time in nearly two decades, the artist was feeling the pressure, considering people are still talking about last summer’s auction — an event he has never missed in its 18 years, and a night he will never forget.
“You know what happened last year, right?” Mr. Wimberley asked with a goodhearted laugh. “I got a bid of the highest it has ever been — a bid of $10,000! I thought it was absolutely amazing. Everybody cheered and jumped up and down. We still can’t get over it. I was at the Parrish Art Museum the other day and they say, ‘You’re the guy!’ It’s nice when somebody remembers you! Everybody likes to be remembered.”
The 92-year-old artist was feeling optimistic ahead of this year’s 19th annual auction on Saturday, August 24, at St. Luke’s Church in East Hampton, where bidders flock to see the collection of small, unadorned boxes transformed into one-of-a-kind creations by some 90 East End artists.
August 9, 2019 - Eazel
August 9, 2019
August 9, 2019 - Berry Campbell
August 9, 2019 - Berry Campbell
July 17, 2019 - Zoë Van Straat for ArtZealous
Summer may be halfway over, womp womp, but there is still time to brighten up and refresh your space with artwork. Whether you want to add pops of color to your living room or do a full-blown redo of your house, we’ve got five solid tips on how to incorporate artwork into your home to give it that new look.
Read More >>
1. Add Pops of Color
To bring your home to life, swap in some light color abstract paintings for wall décor. Any pop of color will brighten the room, giving it a new, cozy and inviting feel. Colorful artwork is perfect for any neutral color walls in the home, and a simple painting can do the trick!
2. Showcase High-End Pieces
If you are an avid art collector or have wiggle room in your budget, try adding a vintage art piece to your walls in your home. Syd Solomon, who was a notable American abstract artist, shares work such as the one below which adds an extra touch to any room.
3. Travel Shots
Incorporating one’s vacation pictures on the wall is the perfect way to decorate a home while giving a more personal and natural feel. Saving your vacation photos then throwing it into a beautiful frame can look fantastic in any room, and also shows off your adventures.
4. Art Sculptures
For a livelier feel, homeowners can accessorize their homes with art sculptures that are sure to make any room pop. Art sculptures are terrific because they serve as a unique decoration, but can also be used to fill up a room.
5. Determine a Theme
From florals to bold colors to fun prints, make your home feel like a tropical getaway or a calming cottage to escape to. Landing on a theme in your summer home can help determine the type of art décor you plan to showcase. It’s crucial to incorporate bright, flashy colors to portray warmth and light.
July 2, 2019 - Berry Campbell
Widewalls, the online marketplace and magazine dedicated to modern and contemporary art, is delighted to announce that 19 internationally renowned galleries will shortly join its marketplace, in a collective effort to support the platform's business model and foster competition in the third-party online marketplace sector.
Honoring its commitment to help art professionals access and serve the online art market more efficiently, Widewalls promotes a gallery-friendly business model that allows art dealers to connect to collectors transparently. Through a reasonable subscription fee only, Widewalls provides its members with online visibility and sales opportunities.
July 2, 2019 - Laura Joseph Mogil for WAG Lifestyle
We are very exhibited about this amazing exhibition opening in September at the Katonah Museum. Perle Fine and Yvonne Thomas are included along with Lee Krasner, Helen Frankenthaler and so in.
Join us for the opening in September!
While it’s only July, some things are worth waiting a few months for. One such example is the upcoming exhibition, “Sparkling Amazons: Abstract Expressionist Women of the 9th Street Show” at the Katonah Museum of Art.
Opening on Oct. 6 and continuing through Jan. 26, 2020, “Sparkling Amazons” will present the often overlooked contributions by female artists to the Abstract Expressionist movement and the significant role these women played as bold innovators within the New York School during the 1940s and ’50s.
Michele Wije, the show’s curator and associate curator at the Katonah museum, says, “Our staff was looking at past exhibitions that changed the course of art history and one of the main ones in America was the ‘9th Street Show,’ which was a kind of ‘Salon des Refusés’ for New York artists who were being shut out of exhibition spaces in the uptown galleries and whose artwork was not being purchased by museums.”
Wije said the museum decided to give their upcoming exhibition a unique spin by focusing on the 12 women featured in “9th Street Show,” which took place in 1951 and was organized by then fledgling gallerist Leo Castelli.Read More >>
June 26, 2019 - Franklin Hill Perrell for Hamptons Art Hub
From the moment I walked into the solo show “Frank Wimberley” at Berry Campbell in Chelsea, I became thoroughly engaged with Wimberley’s textural paintings. The works convey an exhilarating sense of freedom as well as a consistent vision: one major painting after another, evidencing some of the most original and varied paint handling I’ve seen.
On view through July 3, 2019, “Frank Wimberley” is a near survey and presents 20 paintings that roam across the decades (including recent works). Now 92 years old, Wimberley proves that he is still vibrant and active as an artist. He evolved as a pure painter, largely eschewing overt sociopolitical themes in his work and became exemplary of American abstraction’s mainstream; an expressionist responding to free association and guided solely by his own taste and intuition.Read More >>
June 13, 2019 - Berry Campbell
Berry Campbell is pleased to announce the exclusive representation of the Estate of Edward Zutrau (1922-1993). Exhibition forthcoming in 2020.
View Works by Edward Zutrau
EDWARD ZUTRAU (1922–1993)
An artist for whom life and art were intertwined, Edward Zutrau worked with dedication, energy, and intensity throughout a long career—lasting from the 1940s through the early 1990s. While he resided mostly in Brooklyn and Manhattan, his travels had an important impact on his creative development, especially the five years he spent in Japan, where his art received a significant amount of appreciation and recognition. Blending precepts of the New York School with a strong physicality, Zutrau’s works draw the viewer into both feeling and contemplation. His art was admired by his close friend Betty Parsons, who held three solo shows of his paintings at her renowned New York gallery from 1972 to 1980. As an art teacher, Zutrau inspired his many students with a love of materials and art as a means of self-expression rather than of technical virtuosity. He upheld the high ideals he conveyed in his teaching in his own work, which was always idea-driven, representing his constant search for clarity and concision.
June 7, 2019 - Phillip Barcio for Ideel Art
More than a century ago, Wassily Kandinsky asked whether purely abstract art could ever achieve the same emotional effect as music. Since the 1950s, Frank Wimberley has been proving that it can, by simply doing it—composing images that pull the human mind and heart along on a journey of feeling, same as a symphony might. One year ago, Berry Campbell gallery in New York announced it had signed Wimberley to the roster of artists the gallery represents. Their highly anticipated first solo exhibition of his work just opened on 30 May. Featuring more than 30 paintings spanning from the early days of his career to works created just this year, the museum quality exhibition breathes fresh life into the landscape of contemporary American abstraction. In fact, the emotional content of these paintings is so condensed it is frankly difficult to experience the whole exhibition in one visit. Wimberley starts each painting with what he calls an “attack”—an instinctive incursion into the blankness. That first, intuitive confrontation with the unknown territory of the surface leaves behind a known quantity: a mark. Like a mystical boat carrying the rider across a spiritual river into the netherworld, that first mark guides Wimberley along through the composition, collaborating with him on a series of choices that lead the picture to its unimaginable, yet inescapable aesthetic conclusions. Imagine a jazz trio: the drummer strikes the snare drum; the keyboard player riffs on that sound; the horn player follows suit; a tempo emerges; finally, the improvisation takes on a life of its own and pulls the players along till it plays itself out. This is how Wimberley paints. Like a listener at a jazz concert, a viewer at this Wimberley exhibition may be best served by an attitude of openness verging on surrender. Pick a starting point and let your eye establish its own tempo. The composition will carry you along.
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May 30, 2019 - Mark Segal for The East Hampton Star
A solo show of work by Frank Wimberley will open today at the Berry Campbell Gallery in Chelsea with a reception from 6 to 8 p.m. and continue through July 3. Known since the 1960s for his dynamic, multilayered abstract paintings, Mr. Wimberley, who lives in Sag Harbor, takes the theme of each painting from the first stroke he lays down and follows it to its conclusion, not unlike improvisation in jazz.Read More >>
May 29, 2019 - Berry Campbell
May 22, 2019 - Yitzi Weiner for Authority Magazine
Photo: Michael Halsband
I had the pleasure to interview Christine Berry and Martha Campbell. Christine and Martha opened Berry Campbell Gallery in Chelsea in 2013 and have many parallels in their backgrounds and interests. Both studied art history in college and began their careers in the museum world, but mostly importantly both share a curatorial vision. Berry, from Geneseo, New York, graduated from Baylor University in Waco, Texas in 1992. Campbell, from Greenville in the Mississippi Delta, attended boarding school at Groton School in Massachusetts, and graduated from Vanderbilt University in Nashville, Tennessee, in 2006. Berry received a Master’s Degree in art history and criticism at the University of North Texas, along with a certification in museum studies and education. She worked at the Modern Art Museum of Fort Worth, Texas, as Assistant Curator before moving to New York for a position at the Whitney Museum of American Art. Campbell went directly from college to a job at the Phillips Collection in Washington, D.C. She then decided to explore the gallery world before pursuing a further degree in art history and was hired at age 24 as an associate director at Spanierman Modern in New York. “I loved everything about the gallery world, from curating exhibitions to rediscovering artists,” Campbell recalls. Spanierman Modern, which focused on mid-twentieth century abstraction and mid-career artists in the modernist tradition, was part of Spanierman Gallery, one of New York’s most prominent American art galleries since the 1960s. Berry, who moved from the public to the private sector in several roles, had come to Spanierman Gallery as associate director in 2003. Both art dealers developed a strong emphasis on research and networking with artists and scholars during their art world years. They decided to work together, opening Berry Campbell Gallery in 2013 in the heart of New York’s Chelsea art district, at 530 West 24th Street on the ground floor. The two recognized that they shared a curatorial vision based in “an understanding of art, history, languages, business, and people.” In 2015, the gallery expanded, doubling its size with an additional 2,000 square feet of exhibition space. Highlighting a selection of postwar and contemporary artists, the gallery fulfills an important gap in the art world, revealing a depth within American modernism that is just beginning to be understood, encompassing the many artists who were left behind due to race, gender, or geography — beyond such legendary figures as Pollock and de Kooning. Since its inception, the gallery has been especially instrumental in giving women artists long overdue consideration, an effort that museums have only just begun to take up, such as in the 2016 traveling exhibition, Women of Abstract Expressionism curated by University of Denver professor Gwen F. Chanzit. This show featured work by Perle Fine and Judith Godwin, both represented by Berry Campbell, along with that of Helen Frankenthaler, Lee Krasner, and Joan Mitchell.
Thank you so much for joining us! Can you tell us the story about what brought you both to this specific career path?
Martha Campbell: I’ve always loved art from as early as I can remember, but it never dawned on me that I could pursue art as a career path until college. When I entered Vanderbilt, I intended to major in Econ and get a job on Wall Street after college, however, I always tried to take as many Art History classes as I could. One day, as I was talking to my parents about my career after college, they said, “well you know you can major in art history and pursue it as a career.” They outlined that I could work in a museum or an art gallery and with this knowledge, I majored in Art History and upon graduation, decided that I would try out working at a museum and at a gallery to see which I liked better. After getting a job at the Phllips Collection in DC and working there for a year, I was offered a job at Spanierman Gallery in New York. I loved that in the gallery world, you could still do research on historical artists as well as interact with the public on a daily basis. Thus, as soon as I started working in the gallery world, I knew that this was the career path I wanted to pursue.
Christine Berry: My mother was a 5th grade teacher in rural Western New York state (where I grew up). One year as a Christmas gift, she brought home a huge coffee table book on Renoir. I was enamored as I turned every page — memorized by these beautiful painted scenes and rosy-cheeked people. Just after Christmas, we traveled to Boston to visit my mom’s sister. Aunt Dot was painter (with a day job) and brought us to the Museum of Fine Arts in Boston. As we were working our way through the museum, we came on to the French Impressionism room, my heart skipped a beat as my eyes found the painting I had been starring in the book, Renoir’s “Dancing in the Country (Dance at Bouvigal, 1883).” It was the most beautiful thing I had ever seen (and it was real!). I started to love art, and later realized it was something you could actually study. (Two college degrees, several museum jobs and now owning an art gallery; the coffee table book made a huge impact!)Read More >>
May 21, 2019 - Michelle Trauring for Sag Harbor Express
Sag Harbor has known 92-year-old artist Frank Wimberley since the 1960s — but in New York, it’s time for a re-introduction, according to Berry Campbell Gallery, who will open a survey of the artist’s dynamic, multi-layered abstract paintings with a reception on Thursday, May 30, from 6 to 8 p.m.
“Over the course of a career that has lasted more than 50 years, Frank Wimberley has felt abstract painting to be a continuous adventure,” a press release said. “The artist is a well-known presence in the art scene on the East End of Long Island and an important figure in African-American art since the 1960s.”
Growing up in the New Jersey suburbs, Wimberley was drawn to art and music — interests supported by his mother, a ceramicist and pianist who involved him in her work, and his father, who gifted him a trumpet.
In 1945, after serving in the Army, he attended Howard University, where he studied painting with three of the most influential African-American artists of the mid-20th century — James Amos Porter, James Lesesne Wells and Loïs Mailou Jones. There, he also immersed himself in jazz, listening to it and playing it himself, leading to long friendships with the likes of Miles Davis, Ron Carter and Wayne Shorter.
But after two years — and with the basics under his belt — Wimberley left, ready to teach himself. At first, he practiced ceramics, following in his mother’s footsteps and influenced by the tactile and sculptural pottery of Peter Voulkos.
“However, on discovering that Voulkos was also a painter, Wimberley realized that he did not need to be committed to one medium, and instead ‘could do several,’” a press release said. “In the 1950s, while living in Queens with his wife, Juanita, and son, Walden, he worked the night shift at a local post office. This freed him to paint and take care of Walden during the day, while Juanita was at work. The post office provided him ‘with money—and time,’ which he felt was ‘the most important thing.’”Read More >>
May 17, 2019 - Wandering Carol
Visiting New York? Here’s an insiders’ guide to the best things to do in Chelsea NYC and its surroundings, with suggestions on where to go and what to do from two New York gallery owners.
An Insider's Guide
To get an insider take on the best things to do in Chelsea, I went to the two powerhouses behind Berry Campbell Gallery, Christine Berry and Martha Campbell who have owned an art gallery on 24th Street for the last six years.
I was at Berry Campbell for the opening of my late father’s art show, William Perehudoff: Architect of Color, so I pestered and prodded them (in the nicest way possible, of course) for insider tips on the best restaurants, galleries and top things to do in the area. What I learned was that it’s easy to spend at least one day in Chelsea exploring.Read More >>
May 9, 2019 - Provincetown Art Association and Museum
May 7, 2019 - Luxeport Intl: Luxury & Creativity In Media
Video by Luxeport Intl: Luxury & Creativity In MediaRead More >>
May 2, 2019 - Berry Campbell
47th Kips Bay Decorator Showhouse
May 2nd - May 30th
Berry Campbell collaborated with Robert Passal Interior Design and Daniel Kahan of Smith and Moore Architects as well as Sarah Bartholomew Design in the Kips Bay Decorator Showhouse, supplying works by Eric Dever, Perle Fine, and Stephen Pace.
Each year, celebrated interior designers transform a magnificent estate into an elegant exhibition of fine furnishings, art and technology. This all began in 1973 when several dedicated supporters of Kips Bay Boys & Girls Club launched the Kips Bay Decorator Show House in Manhattan to raise critical funds for much needed after school and enrichment programs for New York City children. For more than four decades, the show house has been a must-see event for thousands of design enthusiasts, renowned for sparking interior design trends throughout the world. In 2017, the show house expanded with a second location in Palm Beach, in partnership with Boys & Girls Clubs of Palm Beach County.Read More >>
May 1, 2019 - William Corwin or The Brooklyn Rail
Three canvases hang as looming, watchful presences in New York-Centric, an exhibition at the Art Students League of New York curated by James Little: Al Loving’s stolid New Hexagon (1996), Dan Christensen’s Jarrito, (1997) and Ed Clark’s sensual and lugubrious X-form Untitled (Bastille Series) (1991). While these artists, and the others in the show, fulfill Karen Wilkin’s simple precept from her introduction to the catalogue—that their paintings make “color and the way it [is] applied the main carriers of emotion and meaning”—these works, many of them contemporary but emerging from specific artists’ practices forged in the ’60s, are evidence of a decisive break with modernist tradition. They were a rejection of existing standards of aesthetics, mirroring Pop Art’s rejection of appropriate subject matter but with a more visceral turn. Loving’s marbled blue triangle illusionistically juts out into the viewer’s space, a threatening machine of sharp edges and points, while Clark’s twisting torso-like abstraction mimics the enticement of corporeal flesh. This is color not behaving itself, expanding to overtake the more modernist and Ab-Ex sanctioned notions of “gesture,” “form,” and “mark” to become the main component of painterly composition. Color was accepted historically as a tool to illuminate emotion or psychological depth, but outliers such as William Blake, Hilma af Klint, and Johannes Itten, who foregrounded color as the main dynamo of expression, were relegated to the periphery and seen as overtaxing on taste or engaged in optical trickery. Emerging mid-century, most of the artists in New York-Centric refused to handle color gingerly, and while this novel approach is not overtly political, many of the artists are African-American and several are women, and this alternative approach to abstraction may have functioned to move the form away from exclusionary art historical traditions.Read More >>
April 25, 2019 - Berry Campbell
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The New York Foundation for the Arts (NYFA) inducted three arts luminaries into its Hall of Fame during its annual benefit on April 11 at Capitale. The evening’s honorees were Sanford Biggers, a visual artist whose work speaks to current social, political, and economic happenings while examining the contexts that bore them; Karl Kellner, patron of the arts, Senior Partner, New York Office Managing Partner, McKinsey & Company, Inc., and a former NYFA Board Member; and Min Jin Lee, novelist of the best-selling books Free Food for Millionaires and Pachinko(Grand Central Publishing, 2007 and 2017). The gala was Co-Chaired by Marc Jason and J. Wesley McDade, both members of NYFA’s Board of Trustees. The silent auction was Co-Chaired by Marjorie W. Martay, a NYFA Board Member, and Marjorie Croes Silverman, a NYFA Leadership Council Member.
April 24, 2019 - Incollect
Designer QnA: Elizabeth Swartz On Bunny Williams Bingo, Her Belgian Urn, And That Moment The Art Goes On The Walls
Stephen Pace, Untitled (52-53), 1952, oil on canvas, 40 x 30 inches.
Elizabeth Swartz was named partner of Bunny Williams Associates in 2017 after a 14-year tenure, which began with a coveted internship. Elizabeth notes, “These days, it’s rare to rise from intern to partner while under one roof. In my case, I found my calling through the apprenticeship tradition much the way Bunny did when she began her long association with the revered Parish-Hadley Associates.” Originally from Wilmington, Delaware, Elizabeth attended the University of Richmond and then the New York School of Interior Design. After graduation, her internship at Bunny Williams Associates led to a job as Junior Designer and she rose later to Senior Designer. “Bunny is an ideal mentor and collaborator and we take our partnership seriously. She sets the stage with her vast experience, practicality, intelligence, and sense of humor. Generous in spirit, she invests in her staff when they show initiative, drive, and talent so I worked hard to meet these expectations. I’m thrilled to have the privilege of leading by Bunny’s example,” continues Swartz. Known for her skill in building stories for beautiful rooms from one point of inspiration, Elizabeth carves out time for personal growth, which informs her designs. When not at the office, reading, visiting museums, or spending time with numerous nieces and nephews, she’s exploring the world and capturing her adventures through her other great passion: photography. A recent trip to Berlin and Vienna are highlights, while future sojourns in Greece, Africa, and Iceland await.Read More >>
April 18, 2019 - Berry Campbell
We are preparing for our William Perehudoff exhibition, Architect of Color, opening on March 21, 2019. Please read our online catalogue with essay by Fraser Radford to learn more about the artist and his career.
William Perehudoff | Architect of Color
April 25, 2019
April 25, 2019
April 18, 2019 - Dr. Tom Mack for Aiken Standard Art and Humanities
Our country, particularly New York City, became the center of the Western art world after World War II with the advent of abstract expressionism. No American artist looms larger in that movement than Jackson Pollock, and there is no more important Pollock work than his 1943 “Mural.”
Complementing the landmark display of this modern masterpiece at the Columbia Museum of Art is a temporary exhibition of works collected over six decades by South Carolina residents Dwight and Sue Emanuelson. Entitled “A Life in Art,” the exhibition features nearly seventy pieces, from major abstract expressionist paintings to iconic objects of midcentury design.
What is the genesis of this collection? Dwight Emanuelson began collecting art when he was just in his twenties, living in New York City and working as an investment advisor. He had a personal relationship with many of the artists whose work he purchased: “I’d help them manage their money, and they’d show me their art.”
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April 17, 2019 - Berry Campbell
Gallery Talk by Karen Wilkin
Wednesday, May 8, 2019
Karen Wilkin is an independent curator and critic. She was previously the curator of “American Vanguards,” on view at the Neuberger Museum, SUNY Purchase and a faculty member at the New York Studio School. She is an art historian, curator, and critic, educated at the High School of Music and Art, Barnard College, and Columbia University. After living and working in Italy and Canada for some years, Ms. Wilkin returned to her native Manhattan in 1985. She lives near the Empire State Building with her architect husband and two Maine Coon cats. A specialist in 20th century modernism, Ms. Wilkin has organized numerous exhibitions internationally and written monographs on David Smith, Helen Frankenthaler, Anthony Caro, Kenneth Noland, Stuart Davis, Giorgio Morandi, and George Braque, and is the co-author, with Clifford Ross, of The World of Edward Gorey. She contributes regularly to The New Criterion, Partisan Review, and Hudson Review. Her recent projects include a study of Clement Greenberg’s personal collection for the Portland Art Museum, Portland, Oregon, and “David Smith: Two into Three Dimensions”, the first exhibition to examine Smith’s reliefs as a coherent body of work, in relation to his drawings, paintings, and free-standing sculptures, which will be seen at the New York Academy Museum at the end of 2001.Read More >>
April 15, 2019
Greenport, New York
April 13 - May 19, 2019
As a formal device, the grid defines and divides space, serving as a framework for which a given subject might be expressed. As an art historical element, the grid has been employed as a compositional guide in renaissance painting, an ideal in the Bauhaus, and a form to be obliterated by the abstract expressionists and action painters. In many ways, modern life has been influenced by grids, from city planning to microchips, and yet, for every practicality imposed on the utilitarian x and y axis, there is a possibility for chance, spontaneity, and art.
Artists participating in "On the Grid" include Sabra Moon Elliot, Darlene Charneco, Bastienne Schmidt, Christine Sciulli, Mike Solomon, Colin Goldberg, Drew Shiflett, Patience Pollock, Daniel Sullivan, Robert Otto Epstein, Ryan DaWalt, and Josh Cohen.
Please contact email@example.com for more information.
April 4, 2019 - Berry Campbell
March 21, 2019 - NADINE MATTHEWS
In an interview in BOMB magazine a few years ago, artist James Little declared, “I choose to be abstract because that’s where I found my voice, because it best reflects my self-determination and free will. That’s why I love abstraction, it forces us to see things in a different way. It forces us to come out of what we have been trained and conditioned to see. It forces us to use another part of our brain.”
Little’s love for abstract art is now literally on display at the Art Students League, where he is also an instructor. Titled “New York-Centric,” it is an exhibition curated by Little that will run through May 1. As described in promotional materials from the 144 year old institution, “New York-Centric” is, “An exhibition dedicated to color, color theory, design, expressionism. All of the work on display was produced in New York during the latter half of the 20th century or the beginning of the 21st century.”Read More >>
March 21, 2019 - Berry Campbell
March 20, 2019 - Berry Campbell
MARTICA SAWIN is an art historian and critic who has spent a half century covering contemporary art in print and in the classroom. She is author of the seminal publication, Surrealism in Exile and the Beginning of the New York School, and has written more than 100 essays on contemporary artists for exhibition catalogues and art magazines as well as authoring and co-authoring a number of monographs. Sawin served as Art History Department Chair at Parsons School of Design (1967-1995), is founder of Parsons in Paris, was a contributing editor in ARTS magazine, and was the New York Correspondent for Art International in the 1950s and 1960s. Sawin authored Stephen Pace, the critical and biographical text that summarizes the artist's life and art from Pace's early forceful abstract expressionist canvases to the luminous representational paintings of recent decades.Read More >>
March 19, 2019 - Berry Campbell
March 9, 2019 - Berry Campbell
March 7, 2019 - Berry Campbell
March 7, 2019
March 7, 2019 - Berry Campbell
February 28, 2019 - Tausif Noor for ArtForum
That history has so often obscured and overwritten the creative and intellectual output of women is by now a very well-known observation that, nevertheless, continues to sting. “The men simply said, ‘Women can’t paint,’” recalls Judith Godwin, who began her artistic career in the 1950s in New York—Abstract Expressionism’s heyday—alongside contemporaries including Helen Frankenthaler and Grace Hartigan. The men, simply put, were wrong. This exhibition of Godwin’s paintings across the last half-century situates the artist’s early works alongside later pieces, demonstrating her consistent penchant for experimenting with figure, ground, and color, as well as her persistent dedication to playfulness.
February 20, 2019 - Berry Campbell
February 19, 2019 - Art Fix Daily
NEW YORK, NY.- Berry Campbell Gallery opened an important exhibition of paintings by legendary Abstract Expressionist painter, Judith Godwin. This historic exhibition is a survey of sixteen paintings, including several large-scale examples from the 1950s originally shown at the Betty Parsons Gallery. This exhibition is accompanied by a sixteen-page catalogue with an essay written by Gwen Chanzit, Ph.D., Curator Emerita of Modern Art and Curator of Women of Abstract Expressionism (2016) originated by the Denver Art Museum. The exhibition continues through March 16, 2019.
From 1950, when she first exhibited her work to the present, Godwin has held to her convictions, using a language of abstract form to respond with unbowed directness and passion to life and nature. For Judith Godwin, painting “is an act of freedom and a realization that images generated by the female experience can be a powerful and creative expression for all humanity.” Through her studies with Hans Hofmann, her long association with Martha Graham and Graham’s expressive dance movements, her participation in the early burgeoning of Abstract Expressionism, and her love for Zen Buddhism and gardening, Godwin has forged a personal and unique career path.
February 9, 2019 - Franklin Einspruch for Delicious Line
Eric Dever's paintings sent me to reread a sestina by Fairfield Porter that opens, "No color isolates itself like blue. / If the lamp's blue shadow equals the yellow / Shadow of the sky, in what way is one / Different from the other? Was he on the verge of a discovery / When he fell into a tulip's bottomless red? / Who is the mysterious and difficult adversary?"
Who indeed. Color theory can be taught. Color phenomenology has to be submitted to as if it were a cruel and mute master. Dever, for four years in the 2000s, restricted his palette entirely to Titanium and Zinc White. That is how the current works at Berry Campbell come into being with such rightness, though his palette since then has burst open like spring.
July 16, Lavender Pilgrimmage (2018) may be the first predominately purple abstract painting I've ever seen that didn't succumb to the hue's clownishness. He accomplished this by adding various whites, including that of the canvas. Much else is at that level or better, including sonorous intonations like April 1st, Hellebores I (2018). May the discovery never end.Read More >>
February 2, 2019 - Bryan Rindfuss for the San Antonio Current
In 2016, New York’s Museum of Modern Art (MoMA) unveiled “From the Collection: 1960-1969,” a chronologically organized capsule of its world-renowned permanent collection that went beyond the expected paintings, drawings and sculptures to include books, design objects and archival materials in immersive environments that conjured stylized time capsules. Reporting on that inspired reconfiguration, the New York Times pointed out that “treasures long secreted in departmental galleries have come to the center ring, like the Jaguar E-Type Roadster that dominates, perhaps a little too completely, the 1961 gallery.”
Borrowing creative direction from MoMA’s 1961 gallery, the McNay takes a similarly unorthodox approach to its new era-focused exhibition “American Dreams: Classic Cars and Postwar Paintings.” Organized by the McNay’s René Paul Barilleaux, head of curatorial affairs; Kate Carey, head of education; and Jackie Edwards, assistant curator, it reconstructs a vivid slice of what’s been called “America’s Golden Age” by parking 10 painstakingly restored vintage automobiles inside the museum to engage in “unique visual conversations” with paintings that exemplify artistic movements that emerged from the economic expansion following WWII — specifically abstract expressionism, pop art and op art.
In addition to paintings by such heavy hitters as Frank Stella, Roy Lichtenstein, Robert Indiana and Ed Ruscha, “American Dreams” strives for “strong representation of women artists” by highlighting works by Joan Mitchell, Grace Hartigan, Judith Godwin and Dorothy Hood. It also celebrates the contributions of women in the male-dominated auto industry with complementary programs including a lecture by author, Girls Auto Clinic owner and self-professed “sheCANic” Patrice Bank (save the date for April 4).Read More >>
February 1, 2019 - NYC-Arts
Interesting. Unusual. Uniquely NYC. Highlights of this week’s top events include “The Art of Fashion,” “Eric Dever: Painting in a House Made of Air,” “Race, Sex & Cinema: The World of Marlon Riggs,” and more. Get the NYC-ARTS Top Five in your inbox every Friday and follow @NYCARTS on Twitter to stay abreast of events as they happen.
Click here for more information.
January 30, 2019 - Eazel
January 22, 2019 - NYU | Steinhardt News
Eric Dever (MA ’88) is a painter who graduated from NYU Steinhardt’s studio art program.
His paintings are part of notable public collections at the Parrish Art Museum, Grey Art Gallery-New York University Art Collection, Guild Hall, East Hampton, New York, and Centre d’Art et de Culture, Saint Just de Bellengard, France. He was in the permanent collection exhibition, Parrish Perspectives: Art in Context at the Parrish Art Museum, Water Mill, New York, and on display at the Hudson River Museum in Yonkers, New York. Current exhibitions include the U.S. Consulate General Hong Kong, and Macau, Art in Embassies, Department of State exhibition.
Eric Dever: Painting in a House Made of Air is on view this month at Berry Campbell Gallery in New York City. The exhibit features a new body of brilliantly hued, large-scale paintings, which emerged when Dever was planting a garden at his Water Mill, New York, studio.
We spoke to him about his artistic process.
You paint in New York City and the East End of Long Island. How do these locales influence your work?
My painting during graduate school, 1986-88, was influenced by urban landscape and physical forms of civilization. New to town from Los Angeles, I spent a lot of time in museums and was fascinated walking around the city and boroughs. My paintings were often elegiac; the AIDS crisis concerned everyone. The city was very exciting, one had the sense that anything could happen, and each day held life changing possibilities.
Since 2003, I have worked on the East End of Long Island. It is always exciting to move to a new place and my paintings reflected this change. I began with sampled color from a new landscape, but soon moved towards a more personal experience which space and contemplation seemed to permit.
Working with just white paint for four years gave me a heightened awareness of my material. Canvas, linen, paint media—painting itself became the subject of my work. The addition of black and red corresponded over time with an increasing awareness of the subtle qualities of ‘Clarity, Passion and Dark Inertia’ (exhibition NYU Kimmel Galleries, 2015), or the 3 gunas, a key aspect of yogic studies, and a means of interpreting nature itself.Read More >>
January 19, 2019 - Pat Rogers for Hamtons ArtHub
Neon pinks, lush greens, vibrant purples and a variety of orange hues enliven vibrant abstract compositions with direct ties to nature. These colorful paintings that seem to capture spontaneous moments are part of a new body of work by artist Eric Dever. Surprised? Hold on because there's more.
In a groundbreaking departure, Eric Dever has let go of his controlled use of limited color palettes and tight grids to embrace the entire color spectrum and loose shapes that seem to capture a joy that's both quiet and profound. Historically, Dever has slowly been opening his art to color after a period of four years where he worked in white only (Zinc and Titanium White). During this time, Dever discovered the possibilities of the spectrum of white as well as the textural interactions of raw linen, canvas and burlap with paint.Read More >>
January 17, 2019 - Jennifer Landes for The East Hampton Star
Eric Dever’s recent paintings literally take over Berry Campbell’s Chelsea space. They hang prolifically and fervently on the white walls, bringing the intense hues of spring and summer into the rooms and warming a cold and wind-blown morning.
The show, titled “Painting in a House Made of Air,” comes alive with the artist’s unabashed use of saturated, matte, electric, and often acid color. The paintings offer scattered references to Lee Krasner, Joan Mitchell, and even Andy Warhol.
The works on view build on a transformation of the artist’s practice noted in The Star in April of 2017. Before a major illness, Mr. Dever had painted the same way for more than 10 years, choosing a limited square format and a palette consisting of white, black, and red in different combinations at different intervals.Read More >>
January 12, 2019 - Mark Segal for The East Hampton Star
Eric Dever in Chelsea
“Painting in a House Made of Air,” an exhibition of new large-scale paintings by Eric Dever, will open this evening at the Berry Campbell Gallery in Chelsea with a reception from 6 to 8 and remain on view through Feb. 9. For more than a decade, the painter used a limited palette, but in recent work he has embraced the entire color spectrum.
The shift in Mr. Dever’s art occurred when a move from square to rectangular formats loosened up his compositions, as “there was no longer a central area of interest, but multiple areas of concentration.” He has coupled his new palette with an awareness of the yogic notion of the charkas — seven energetic centers in the human body where matter and consciousness meet — in which he finds a parallel to the visible spectrum. Mr. Dever lives and works in Water Mill.Read More >>
January 11, 2019 - John Torrendo for Wirefax
As the Royal Academy in London two years ago, the “New York School” prepared a great appearance, were intended for the painter’s inner self-supporting roles only very sparingly. After all, the Denver Art Museum in Texas, had 2016, also, the artists of the Abstract expressionism devoted to an Overview of the Setareh now has the düsseldorf gallery, are excited to a Review: The thirteen artists in the exhibition – the majority in New York, but also in Europe – quite an expressive abstraction of the day, but found only in a few cases, inclusion in the exclusive circles and Clubs of men. The painters were in turn represented in a large number of, of all things, of the two avant-garde gallery owners, namely the Peggy Guggenheim and Betty Parsons.
The name of the in Dusseldorf, gathered painters, Helen frankenthaler and Lee Krasner, anything other than common. And all of you would like to see more than two to three images from the fifties and sixties. Especially from the in 1923 in Kapuvár, born a Hungarian, Judit Reigl and the energetic Gera Celts images from the series “Ecriture en mass”: instead of appearing to be a cross-format Reigl distributed with the spatula bizarre Islands of cabbage Raven black oil Paint on snow white and leaves behind the traces of the Malakts on the canvas – powerful, these contrasts. The Surrealist André Breton was fond of Reigls way to paint and organized in the fifties, the first exhibitions for the artist, who now lives in France...Read More >>
January 8, 2019 - Jennifer Ring for Creative Loafing Tampa Bay
The Museum of Fine Arts in St. Petersburg
The Museum of Fine Arts is currently showing artwork by Sarasota's Syd Solomon. Solomon is locally well-known for helping launch the Sarasota arts scene in the 1950s. He moved to Sarasota after World War II, in 1946, hoping the warmer climate would be better for his war-acquired frostbite. According to his son, Michael Solomon, Syd Solomon's studio home rapidly became a gathering spot for artists and writers in Sarasota. Gather at the Museum of Fine Arts before January 20 to see a sampling of his work.Read More >>
January 4, 2019 - Berry Campbell
December 11, 2018 - Piri Halasz for From the Mayor's Doorstep
WALTER DARBY BANNARD
The Darby Bannard at Berry Campbell on West 24th Street show has many more successes, not least because it’s a much bigger show (with nineteen canvases on view).
I counted at least eight paintings that I really related to -- although this show is devoted to a very demanding -- because experimental -- period when the artist was transitioning from his early hard-edged and geometric minimalism to his more mature, free-formed and painterly modernism.
It is in the nature of experimentation that not every experiment comes off, but as Clement Greenberg once advised Jacob Kainen, in a letter that I’ve never forgotten, the artist must continually take risks if he wants to renew his art (or words to that effect).
This show appears to stop right about at the moment when Bannard began really ladling on the gel. The two last paintings in the sequence of nineteen here are both embellished with streaks of it.
One of them, “Glass Mountain Fireball” (1975), has a field of fiery reds and oranges, and is embellished with narrow upward squiggly streaks of olive green gel. The effect of such a contrast is spicy and delightful.
One of the most intriguing aspects of this show is the appearance and disappearance of the geometry underlying the free-form. Quite a number of paintings here attempt to juxtapose the two modes, and surprisingly enough, the effect can be very pleasing – or not.
One of the most pleasing is “Summer Joys No. 2” (1970), with a summery tangle of yellows (lemon & apricot) laid atop vestiges of nine squares in pale tan and pale green.
Another charmer is “China Spring #3” (1969), in lime, mint, khaki and pale peachy pink, embellishing yet diminishing the under-drawing of a large set of tic-tac-toe squares.
Still, one of the many virtues of this show is that it doesn’t try to establish a straightforward linear progression.
Rather, it suggests spiral evolution from minimalism to modernism, or what the French call reculer pour mieux sauter – fall back in order to jump further forward.
“Winter’s Traces” (1971) comes early not late in the sequence, yet it is all a symphony of swaying mint, apple green and olive daubs without the slightest hint of underlying squares.
Two years later, nearly at the end of the sequence, “The Meadow” (1973) is a forthright bright green with decidedly straight vertical lines through the body of the picture, topped with straight horizontal straight lines.
Throughout the show, in fact, the colors are lovely – and loveliest (in my opinion) when not tied down to delineation. One gets this square between the eyes when one walks into the gallery from the street and sees “Peru” (1971) right in front of the door.
Although this is another early one in the sequence, I see no squares at all. But what an exploding galaxy of merry yellow is massed in the center of the canvas, and how loosely yet tellingly it is framed by cloud-like elements of mint green, olive and mauve!
November 30, 2018 - Berry Campbell
Berry Campbell is pleased to collaborate with SETAREH GALLERY in Düsseldorf to celebrate women in art with the exhibition "GESTURE OF CONVICTION | Women of Abstract Expressionism" open from December 1, 2018 to February 29, 2019.
Image: © James Brooks and Charlotte Park Foundation
November 29, 2018 - Berry Campbell
November 27, 2018 - Berry Campbell
We are so pleased to have been able to work with Garrow Kedigian Interior Design for Kravet | Lee Jofa | Brunschwig & Fils New York City for this fabulous show room! Paintings on loan by Balcomb Greene, Raymond Hendler and Ann Purcell. Please visit the D & D building when you are in the neighborhood!Read More >>
November 15, 2018 - ICA Miami
November 10, 2018 - Berry Campbell
November 10, 2018 - Maria-Lisa Farmakidis for Delicious Line
The appearance of effortless beauty is not easy to produce. But this is the aspiration of Susan Vecsey's current show at Berry Campbell, an exhibition of twenty recent paintings, including her largest to date.
The artist has been working on this series of abstractions from nature for over a decade. She pours one layer at a time over a textured Belgian linen, creating subtle variations on the surface. Every next pour is a new layer of calculated risk.
Untitled (Blue/Gold) (all are 2018) is a six-foot square, most of which is a light gray. Across the lower edge, bands of vibrant gold, blue, and blue-black create a wide expanse that envelops the viewer.
The dark blues and deep reds in Untitled (Nocturne) are a new experiment. That composition and Untitled (Nocturne II) extend her range as a colorist, with wide spaces that shimmer with iridescence.
Vecsey's paintings are entirely concerned with color, light, and surface. They require looking at up close, in person.
November 8, 2018 - Berry Campbell
We are preparing for our Walter Darby Bannard exhibition, opening on November 15, 2018. Please read our online catalogue to learn more about the artist and his career.
Walter Darby Bannard: Paintings from 1969 to 1975
November 15 - December 21, 2018
November 15, 2018
6 - 8 PM
October 31, 2018 - Guild Hall
Guild Hall Museum, East Hampton
Saturday, November 3, 2018
Join Gail Levin, Ph.D., in the Boots Lamb Education Center for a lecture on the artist Syd Solomon (1917-2004) whose work is on view in the exhibition Syd Solomon: Concealed and Revealed. Levin is a primary contributor to the exhibition catalogue. She has also authored Lee Krasner: A Biography, in addition to many other works.
Gail Levin (Ph.D., Rutgers University) is Professor of Art History, American Studies and Women Studies at Baruch College and the Graduate Center of CUNY. She is an art historian specializing in art of the twentieth and twenty-first centuries, with diverse research interests that include the work of Edward Hopper, Marsden Hartley, Yasuo Kuniyoshi, Judy Chicago, women artists, Jewish artists, Chinese emigre artists, and contemporary art of the United States, Europe, and Japan, as well as American Studies and the cinema.
October 24, 2018 - Thomas Barrie for Vanity Fair
Amar Singh’s eponymous Islington gallery has a simple but laudable ethos, specializing in exhibitions of LGBTQ and female artists with diverse, progressive narratives. Raised in London but a member of the royal Kapurthala family of Punjab, Singh was one of many political campaigners who made up a global coalition that last month recorded a landmark legal victory in India, overturning the country’s 2013 criminalization of gay sex. Now, Amar Gallery is turning to one of the lesser-known histories of art, with an exhibition of the women behind Abstract Expressionism in 1950s and 60s America. Lynne Mapp Drexler, Elaine de Kooning, Joan Mitchell, Grace Hartigan and myriad others take pride of place in Hiding in Plain Sight, which explores the female painters who have been neglected in favour of their more barnstorming counterparts—the Rothkos, the Pollocks and the Newmans. There’s a pioneering spirit to the paintings, be they the natural blooms Drexler cultivated on her canvases, or the liquid colour-field stains of Helen Frankenthaler, made all the more engrossing by the fact that many of these artists have never been exhibited in the U.K. before.Read More >>
October 24, 2018 - Cathy Salustri for Tampa Bay Creative Loafing
You may not have heard of Syd Solomon (but we bet you have), but his presence, even posthumously (he died in 2004) still vibrates through Sarasota. He came to Sarasota because of the Battle of the Bulge. For real — he was an aerial camouflage specialist in WWII, and he came away from the Battle of the Bulge with a nasty case of frostbite. After that, no one could blame him from wanting to keep warm, and so, in 1946, he and his bride decided to call Sarasota home.
He was the driving force behind the Fine Arts Institute at Sarasota's New College, not only helping to start the Institute but also encouraging his friends — all artists — to teach there. Those friends? Conrad Marca-Relli (1913-2000), Larry Rivers (1923-2002) and Philip Guston (1913-1980).
No shocker, then, that the John and Mable Ringling Museum of Art accessioned his art — marking the first time that the Ringling accessioned a living artist.
Come see Views from Above, a collection of Solomon's abstract expressionist work, at St. Petersburg's Museum of Fine Arts. The work starts in 1945 and runs through the 1980s, and it's all influenced by his chosen home (Florida!). One of his works ("Westcoastalscape") is pictured above and part of the MFA's permanent collection.Read More >>
October 22, 2018 - Tracy Ross & Melanie David for WKMS Murray State's NPR Station
The American Abstract Artist movement was founded in 1936 in New York City, at a time when abstract art was met with strong critical resistance. Women played an integral part in forming the AAA, and Murray State's Clara M. Eagle gallery is housing an exhibit that honors these groundbreaking female artists. Emily Berger, an abstract artist featured in the exhibit, and T. Michael Martin, director of university galleries, visit Sounds Good to discuss the traveling exhibit.
The Murray State University Galleries and the department of art and design present Blurring Boundaries: Continuity to Change - The Women of AAA 1936-2018through the beginning of November. In the first exhibition dedicated exlusively to the intergenerational group of women artists of American Abstract Artists, Blurring Boundaries traces the history of AAA's female founding members through present-day artists. The exhibition highlights approximately 45 works, emphasizing each artist's approach to central tenents of abstraction - composition, color, content, and material. Well-known founders and early members of AAA, such as Perle Fine, Esphyr Slobodkina, Gertrude Greene, Alice Trumbull Mason (featured above), and I. Rice Pereira, are included in the exhibit. Their classic works will be displayed beside contemporary abstract artists such as Sharon Brant, Merrill Wagner, Cecily Kahn, Alice Adams, and Emily Berger.
October 18, 2018 - Jennifer Landes for The East Hampton Star
“Please Send To: Ray Johnson” is predominently a collection of “Mail Art” Johnson sent to Ted Carey, left to the museum by Tito Spiga as part of his bequest. “Syd Solomon: Concealed and Revealed” operates as a retrospective of the artist, who died in 2004, using his archive to provide new context to his output from his early days before and after World War II, when he devised camouflage techniques for the military, to late work from the early 1990s. Finally, “Sara Mejia Kriendler: In Back of Beyond” will showcase the artist’s Colombian roots with sculptures in terra-cotta, plaster, and gold leaf that also reference today’s consumer culture. Ms. Kriendler was the recipient of top honors in the 2016 members show.Read More >>
October 11, 2018 - Mark Segal for The East Hampton Star
Susan Vecsey in Chelsea
A solo show of paintings by Susan Vecsey, who lives and works in New York City and East Hampton, will open Thursday at the Berry Campbell Gallery in Chelsea with a reception from 6 to 8 p.m. and continue through Nov. 10.
Ms. Vescey’s recent abstractions call to mind both Color Field painting and landscapes. The woods, beaches, farms, and big skies of the East End inspire her, but her work strips those images of their specificity, resulting in “abstract art that looks familiar,” according to a release.Read More >>
October 10, 2018 - Hamptons ArtHub
Berry Campbell: “Susan Vecsey”
October 11 through November 10, 2018
Opening Reception: Thursday, October 11, from 6 to 8 p.m.
Berry Campbell Gallery presents “Susan Vecsey,” featuring recent paintings by the artist. The exhibition marks the artist’s third solo exhibition since her representation by the gallery began in 2014. Referencing Color Field paintings, Vecsey’s landscapes are inspired by the East End of Long Island. The paintings act as elusive reminders of memories or recollections, according to the gallery, evoking calm and serenity. Susan Vecsey lives and works in NYC and East Hampton. Her art is held in numerous public and private collections including Guild Hall in East Hampton, NY.
Click here for exhibition details.Read More >>
October 6, 2018 - Steve Parks for Newsday
SYD SOLOMON and PLEASE SEND TO: RAY JOHNSON
Oct. 20-Dec. 17
Through his New York Correspondence School in the 1950s, Ray Johnson started his own art movement — Mail Art. Johnson networked with other artists to whom he mailed drawings, poems and collages, asking them to add their touches and forward it to another member of the group. Guild Hall’s second major gallery will explore the career of Syd Solomon, self-described “Abstract Impressionist” whose paintings were inspired by the natural environment surrounding his homes in the Hamptons and Florida.
October 6, 2018 - Berry Campbell
October 5, 2018 - Corcoran School of the Arts & Design
June 14 - October 26, 2018
Luther W. Brady Art Gallery
The Corcoran School of the Arts & Design
The George Washington University
October 2, 2018 - Art Miami
Art Miami, returning for its 29th edition on December 4 - 9, 2018, has announced its 2018 exhibitor list. Recognized as one of the preeminent international modern and contemporary art fairs, Art Miami will showcase an array of iconic and important art works, dynamic projects and special installations from more than 160 international galleries from nearly 30 countries representing 68 cities.Read More >>
September 27, 2018 - Mark Segal for The East Hampton Star
What made Mike Solomon’s talk about Alfonso Ossorio and the Creeks so captivating was that, as he put it, “It is a personal as well as a cultural history.” An overflow audience packed the Baldwin Family Lecture Room at the East Hampton Library to hear Mr. Solomon, an artist and founding director of the Ossorio Foundation, discuss Ossorio’s art, his generosity, and his influence in the art world of the 1950s and beyond.
The Solomon family — Syd, an important abstract painter, his wife, Annie, and their two children, Mike and Michele — lived at the Creeks, Ossorio’s 57-acre estate on Georgica Pond in East Hampton, for three months in 1959. Thirty years later, Mike returned to East Hampton with his wife and 2-year-old son to work as Ossorio’s studio assistant. After the artist’s death a year later, he became the director of the foundation established by Ted Dragon, Ossorio’s life partner and heir.Read More >>
September 25, 2018 - Museum of Fine Arts, St. Petersburg, Florida
September 29, 2018 - January 20, 2019
Museum of Fine Arts
St. Petersburg, Florida
Syd Solomon’s (American, 1917–2004) gestural canvases are exemplary of the tenets of Abstract Expressionism, as seen in the large-scale painting Westcoastalscape (1968) currently on view in the Acheson Gallery. He has stated, “I am interested in the immediate, the chance and the transitory aspects […] in my work. The truth of the moment, I believe may frequently be the artist’s opening to permanent quality.” His multilayered paintings, characterized by stunning sweeps of color contrasts, are inspired by nature, and specifically the Florida landscape. This Spotlight exhibition brings together works ranging from 1945 through the 1980s, drawn from the Museum collection as well as the Estate of Syd Solomon, which has also loaned archival images and publications.
After serving in WWII, Solomon divided his time between Sarasota, where he established the Institute of Fine Art at New College, and East Hampton, New York. At his invitation, a distinguished group of artists taught at New College in the 1960s including Conrad Marca-Relli, Larry Rivers, and Philip Guston.Read More >>
September 24, 2018 - Mary Gabriel for The New York Times
More than ever, female artists are breaking sales records and being recognized for their role in important art movements.
Once, when asked about discrimination against female artists, the Abstract Expressionist Lee Krasner said the bias was as old as Judeo-Christian history. Brushing aside the weight of that realization, she added, “There’s nothing I can do about those 5,000 years.” She painted anyway, as have women throughout the ages who have continued to create despite official disdain.
Centuries and decades later, it seems their persistence may be finally paying off. Galleries are adding more women to their rosters, museums like the Uffizi in Florence are combing their storage facilities in search of treasures that deserve airing, and numerous institutions have been mounting exhibitions of art by women. On the eve of this fall’s auction season, the art market appears to be experiencing a long overdue correction.
September 24, 2018 - Ian Marcus Corbin for Spectator USA
The works of female painters were consistently undervalued by auction houses – but that’s all changing.
It has been several decades since the art world – that swirling miasma of idealism, virtuosity, pretense and money – has recognised the men of the New York School, also known as the Abstract Expressionists, as truly great artists. Paintings by Jackson Pollock, Franz Kline, Robert Motherwell and Willem de Kooning have long been in high demand, now more than ever; their canvases regularly fetch hilarious sums, well into the eight and nine figures.
September 4, 2018 - Berry Campbell
Mike Solomon at East Hampton Library
East Hampton Public Library
September 15 - October 10, 2018
September 15, 2018
September 4, 2018 - Berry Campbell
August 29, 2018 - Berry Campbell
We are preparing for our John Goodyear exhibition, Distillation and Wit, opening on September 6, 2018. Please read our online catalogue to learn more about the artist and his career.
Distillation and Wit
September 6 - October 6, 2018
Thursday, September 6, 2018
6 - 8 pm
August 29, 2018 - Blouin ArtInfo
The Institute of Contemporary Art, Miami, is hosting ”Walter Darby Bannard: 1959-1962,” a focused show exhibiting the breakthrough works of the American abstract painter. On view through January 6, 2019, the exhibition showcases some of the early and rarely seen works of the artist.
“Walter Darby Bannard: 1959-1962” focuses on a significant period of the artist career — a time when he abandoned gestural brushwork and developed a pared-down geometric vocabulary. The period on focus represented for Bannard a moment of reckoning with the lessons and legacy of Abstract Expressionism. Bannard who lived in Princeton, New Jersey, at the time, had the desire to usher in a new era in American painting.Read More >>
August 27, 2018 - Hunter College Art Galleries
Acts of Art + Rebuttal in 1971
October 5, 2018–November 25, 2018
Acts of Art and Rebuttal revisits the 1971 exhibition Rebuttal to the Whitney Museum Exhibition: Black Artists in Rebuttal, which was organized by members of the Black Emergency Cultural Coalition at Acts of Art, a small, artist-run gallery in Greenwich Village. The original exhibition was mounted in response to the Whitney Museum’s refusal to appoint a Black curator for their survey Contemporary Black Artists in America.
August 27, 2018 - A. E. Colas for ZealNYC
Art Break: Museums of Long Island Are Steeped in History While Capitalizing on Their Picturesque Settings
When people think of Long Island, they tend to think about the outdoors: the beaches, ocean, parks, wineries – even the best mall on the Island is an outdoor one. Not Art Break! When we think of Long Island what springs to mind are the artists’ colonies of the East End and North Fork, the sculpture gardens of Nassau and Suffolk counties, and the community involvement of so many museums.
Nassau County Museum of Art, Roslyn Harbor, located on the old Frick estate, is known for specializing in 19th and 20th century American and European art as well as having a beautiful garden, well-marked nature trails, and an excellent sampling of modern sculpture on display. There are two special exhibitions currently on view: True Colors and A Mirror to Nature: Sculpture by Marko Remec (both ongoing).
August 23, 2018 - Sarah Drake for Hamptons Art Hub
Pollock-Krasner House and Study Center: “The Permanent Collection: A 30-Year Survey”
August 2, 2018 through October 27, 2018
The Pollock-Krasner House and Study Center presents “The Permanent Collection: A 30-Year Survey” featuring highlights such Composition with Red Arc and Horses, a 1930’s painting by Jackson Pollock, and a wooden bird house made by Pollock in the 1940s.
In addition to art by Jackson Pollock, the survey includes artworks by Lee Krasner, Mike Bidlo, Thomas Hart Benton, James Brooks, Stanley William Hayter, David Slivka and Syd Solomon. Photography by Dan Budnik, Robert Giard, Bernard Gotfryd, Barbara Kasten, Fred McDarrah, Hans Namuth, Tony Vaccaro and Wilfrid Zogbaum are also part of the show.
The Pollock-Krasner House and Study Center is located at 830 Springs-Fireplace Road, East Hampton, NY 11937.
Click here for exhibition details
August 21, 2018 - L. Kent Wolgamott for Lincoln Journal Star
This list of 20 Includes exhibitions in Lincoln, Omaha, Des Moines, Los Angeles, Washington, D.C., Philadelphia and New York. I saw the latter three when I was one of 12 American fellows in the International Arts Journalism Institute in Visual Art in 2009.
“Now’s The Time,” Sheldon Museum of Art, 2017
There were multiple Sheldon shows drawn from its collection that I considered for this list. I ended up choosing the one that is most in my wheelhouse — "Now’s The Time,” an exhibition of Sheldon’s abstract expressionist works conceived by director and chief curator Wally Mason after “Yellow Band,” the museum’s Mark Rothko masterwork was exhibited in an AE survey in London and Bilbao, Spain.
A who’s who of mid-century artists, the smartly hung show included works by Barnett Newman, Han Hoffman, Robert Motherwell, Clyfford Still, Willem deKooning, Franz Kline, Jackson Pollock, Philip Guston, Lee Krasner along with newly acquired works by Judith Godwin and Perle Fine. That’s an impressive lineup for any museum, particularly a university museum in the middle of the country.Read More >>
August 21, 2018 - Emma Corry for The Shield
“Stephen Pace: An Artist’s Process” honors Stephen Pace for the 10th anniversary of the McCutchan Art Center/Pace Galleries and will be displayed until Sept. 10.
Susan Sauls said artists don’t just sit down and create a masterpiece.
The university’s summer exhibit, “Stephen Pace: An Artist’s Process” features the work of Stephen Pace to celebrate the 10th Anniversary of the McCutchan Art Center/Pace Galleries.
Sauls, university art collection registrar, co-curated the exhibit. She said she wanted to showcase Pace’s work because he is the patron of the gallery. Pace donated 245 works of art to the university.Read More >>
August 17, 2018 - Berry Campbell
Photo credit Pam Abrahams, Friends of Guild Hall.
Eric Dever | Solo Exhibition
Berry Campbell Gallery
August 16, 2018 - Berry Campbell
August 15, 2018 - Berry Campbell
In Conversation: Jill Nathanson talks with A.V. Ryan about her solo exhibition,
Directed by Andrew GurianRead More >>
August 15, 2018 - Berry Campbell
August 15, 2018 - Berry Campbell
Walter Darby Bannard | 1959 - 1962
Institute of Contemporary Art, Miami
April 26 - January 6, 2018
Walter Darby Bannard | 1959-1962 is a focused exhibition of a series of breakthrough paintings the artist produced over a period of several years, during which he abandoned gestural brushwork and developed a pared-down geometric vocabulary. The early works presented have rarely and only recently been exhibited.
August 8, 2018 - Jennifer Anne
DC artists paint the town red — and every color of the rainbow
The Washington Color School encompasses the DC artists in the 1950s and 1960s who focused on Color Field painting, a style of abstract painting that typically includes blocks of solid color. Many of these artists were associated with what is now known as George Washington University’s Corcoran School of the Arts & Design. The Luther W. Brady Art Gallery’s inaugural exhibition in the Corcoran’s Flagg Building celebrates the history of both the Washington Color School and the Corcoran.
August 3, 2018 - Berry Campbell
Seattle Art Fair | Booth H11
August 2 - 5, 2018
The Seattle Art Fair is a one-of-a-kind destination for the best in modern and contemporary art and a showcase for the vibrant arts community of the Pacific Northwest. Based in Seattle, a city as renowned for its natural beauty as its cultural landscape, the fair brings together the region's strong collector base; local, national, and international galleries; area museums and institutions; and an array of innovative public programming. Founded in 2015 by Paul G. Allen, the Seattle Art Fair is produced by Vulcan Arts + Entertainment, and Art Market Productions.Read More >>
July 30, 2018 - Parish Art Museum
Open Studio for Adults: All About Color
Saturday, August 4, 2018 - 1:00pm to 3:00pm
Free with Museum Admission
Advance registration is required.
In these free monthly studio sessions, explore painting and mixed-media with guidance from painter Eric Dever. In this session, explore a personal palette within the color spectrum.
Please register online or call 631-283-2118 x130.Read More >>
July 19, 2018 - Hampton's ArtHub
The Parrish Art Museum Midsummer Party is always a favorite in the Hamptons benefit circuit. This year, the Midsummer Pary drew nearly 500 people and raised nearly $1.3 million for the Hamptons art museum. Held on July 14, 2018 in Water Mill, the Midsummer Party honored Parrish trustee Chad Leat and artist Keith Sonnier, whose work is the subject of a solo show on view through January 29, 2019.Read More >>
July 16, 2018 - Berry Campbell
Inaugurated in 2010, the Long Island Biennial is a juried competition offering local artists an opportunity to show their work to a broad public in a professional Museum setting. Long Island has a rich artistic history and has long been an inspiration for artists. The Long Island Biennial receives hundreds of entries from gifted, professional, contemporary Long Island artists. The jurors will select outstanding works for inclusion in a Biennial exhibition at The Heckscher Museum, August 4 to November 11, 2018. All submissions will be shown in an online gallery on LongIslandBiennial.org
“The Long Island Biennial is a perfect opportunity for artists to showcase their work to a wide audience, and for art lovers to discover the talent that is flourishing across Suffolk and Nassau Counties,” said Lisa Chalif, Curator, Heckscher Museum of Art.Read More >>
July 10, 2018 - Berry Campbell
We are thrilled to add this talented artist to our roster and look forward to presenting an exhibition of his work in 2019.
Over the course of a career that has spanned more than fifty years, Frank Wimberley has felt abstract painting to be a continuous adventure. Now 92, the artist is a well-known presence in the art scene on the East End of Long Island and an important figure in African American art since the 1960s. Acclaimed for his dynamic, multi-layered, and sophisticated paintings, Wimberley is among the leading contemporary artists to continue in the Abstract Expressionist tradition. What has always excited him is to take the theme or feeling from the very first stroke he lays down and follow it to its particular conclusion, "very much like creating the controlled accident." His improvisational method is akin to jazz, an important part of his life and a theme in his art. Despite the spontaneity of his process, Wimberley makes each decision deliberately, respectful of what emerges and where it is going; he enjoys the surprise of arriving at definitions that seem to come to life on their own. Similarly, his works engage the viewer in their strong physicality and unpredictability as well as in their insights into the ways that pictorial experiences are perceived and understood.Read More >>
July 6, 2018 - Wall Street International
Berry Campbell Gallery is pleased to announce its annual exhibition, “SUMMER SELECTIONS,” from July 5 through August 17, 2018. Berry Campbell will present a work from each of the gallery’s represented twenty-eight artists/estates. Also, included in the show will be additional works from the gallery’s inventory by Elaine de Kooning, Nancy Graves, Paul Jenkins, Larry Poons, Frank Stella, and Wolf Kahn. This exhibition offers a chance to view a wide variety of paintings and works on paper by important mid-century and contemporary artists. Berry Campbell Gallery is located in the heart of the Chelsea Arts District at 530 West 24th Street, Ground Floor, New York, NY 10011. For information, please contact Christine Berry or Martha Campbell at 212.924.2178 or firstname.lastname@example.org.Read More >>
July 5, 2018 - Mark Jenkins for The Washington Post
'Full Circle: Hue and Saturation in the Washington Color School'
The first show at the Luther W. Brady Gallery’s new, larger quarters in the former Corcoran Gallery draws mostly from George Washington University’s own collection, but it’s broadened by savvy borrowings. This impressive selection of color-field painting includes many mid-20th-century Washingtonians, and encompasses out-of-towners and recent work. Pictures by such noted D.C. colorists as Gene Davis and Anne Truitt contrast vivid colors with hard-edge geometry. Less solemn and newly painted is a 2017 canvas by New York’s Larry Poons, a onetime minimalist buoyantly reborn as an expressionist. Through Oct. 25 at George Washington University Luther W. Brady Gallery, Corcoran School of the Arts & Design, 500 17th St. NW. 202-994-1525.
July 3, 2018 - Genevieve Kotz for Hamptons Art Hub
Allowing viewers the opportunity to see a wide variety of work, this annual exhibition will feature paintings and works on paper by mid-century and contemporary artists. Select works from each of the gallery’s 28 represented artists and estates will be on display, including work by Judith Godwin, Raymond Hendler, Ann Purcell and Larry Zox. Additional works from the gallery’s inventory will also be on display, including work by Elaine de Kooning, Nancy Graves, Paul Jenkins, Larry Poons, Frank Stella and Wolf Kahn.Read More >>
June 27, 2018 - Christina Kee for artcritical
Talk of “purity” is usually best resisted in relation to works of visual art. What sort of uninflected content or form can really ever be referred to by it, after all? Jill Nathanson’s structured pourings of clear and vivid color, however, suggest the creator’s affinity with the powers of her painted medium in their most abstract sense. Beyond the transparency of the paint itself, which leads the viewer into impressions of these paintings as something aquatically pristine, there is an overall attitude of clarity and resolution in these strong and searching works. In contrast to much contemporary abstraction, Nathanson’s paintings have more to do with elucidation than complication, and seem distilled from deeply thought-through relationships of light, space, color and gravity.Read More >>
June 26, 2018 - Linda Yablonsky for The Art Newspaper
Every year, the arrival of June seems to have a Pavlovian effect on art dealers. Everywhere, doors open to group exhibitions, often organised by outside curators and all kinds of artists.
That is the case for the serene Summer at Peter Freeman in SoHo (until 27 July), which is also a kind of special case, chiefly because its curator was the Swiss-born New Yorker, Ugo Rondinone. He is an artist known for his deft handling of work in nearly all media and scale, but he also has an excellent track record as the curator of two, sweeping exhibitions at the Palais de Tokyo in Paris and at the Barbara Gladstone Gallery in New York, which represents him.Read More >>
June 19, 2018 - Kay Kipling for Sarasota Magazine
How do you mark the miraculous milestone of a 100th birthday? If you’re Annie Solomon, renowned hostess and party giver extraordinaire, you welcome guests to your bayfront condo with plenty of great food and drink, plus a very special piece of clothing and a group photograph.Read More >>
June 18, 2018 - Peter Malone for Hamptons Art Hub
As the exhibition title “Cadence” implies, there is a cyclical pattern to Jill Nathanson’s paintings. In the artist’s current show at Berry Campbell in Chelsea—consisting of a dozen or so pieces remaining on view through June 30—each painting returns to a fundamental premise. All of the works rely in part on an easily grasped compositional process to create subtle color relationships that in turn complicate what seems at first a predictable formula.Read More >>
June 15, 2018 - David Jacobson for Delicious Line
Empirical Empyrean (2017), the title of one of Jill Nathanson's fifteen abstract paintings in "Cadence" at Berry Campbell, says it all. Each painting is built out of discrete, translucent color areas that thicken where they overlap. As they coalesce into fields, juxtapositions of hue prompt the eye to unify the compositions. The color transcends local incident, while the translucency generates an overall glow.Read More >>
June 8, 2018 - Piri Halasz for From the Mayor's Doorstep
At Berry Campbell in Chelsea, we have “Jill Nathanson: Cadence” (through June 30). This lovely show, of 17 shimmering veils of color, picks up where the artist’s notable last show left off, and carries the unique presence she has established on to new triumphs.Read More >>
June 5, 2018 - John Link for The New Art Examiner
Not many art lovers know Darby Bannard, even though he lived a long time and accomplished many things. In the late fifties, Bannard and his friend Frank Stella inspired themselves to make pictures that were very direct, to the point not many recognized them as “paintings” until almost 10 years later. In a letter to me he said the rules they followed were “the work should be very simple, flat, symmetrical and inexpressive.”( 1 ) The result, for Bannard, were pictures that can be described as direct, “in your face”.Read More >>
June 4, 2018 - Katharine Earnhardt for Business of Home
Today, we’re meeting Jill Nathanson, a contemporary painter whose work feels summery and uplifting, and stands out from your typical pretty abstracts. Her solo show at a New York gallery just opened, so find out what you need to know about the hows and whys of her work.Read More >>
May 30, 2018
Summer brings together 34 works by 7 artists who combine skeptical clarity with a mindful and at times humor-tinged desire to locate the intersection of spiritual and physical presence in daily life. The natural world serves as a doorway into a highly rarefied metaphysical realm where the sea of consciousness surges against the tangible world. Here all is in flux as distinctions between self and soul, body and spirit, past and present, mortification and bliss, confinement and escape all blur and waver. Summer celebrates the disparate elements of the Earth, while exploring the human connection to nature.Read More >>
May 22, 2018 - Daniel Kany for Portland Press Herald
Now on view at the Dorothea and Leo Rabkin Foundation in Portland is an exhibition featuring 20 works from eight of Maine’s artist-endowed foundations. Not only is it a worthy introduction to these institutions, it is a fascinating and beautifully installed exhibition.Read More >>
May 21, 2018 - Genevieve Kotz for Hamptons Art Hub
May 17, 2018 - Annie Armstrong for Artnews
Berry Campbell joins David Zwirner and Gagosian at the Seattle Art Fair in August! West Coast here we come!Read More >>
April 26, 2018 - Architectural Digest
We are honored to be working with Bunny Williams and Drake/Anderson for the Kips Bay Designer Show House to raise money for the Kips Bay Boys & Girls Club. You'll see paintings by Stanley Boxer, Charlotte Park, Stephen Pace and James Walsh.Read More >>
April 12, 2018 - Charles A. Riley II for Hamptons Art Hub
April 10, 2018 - Dorothea and Leo Rabkin Foundation
The Dorothea and Leo Rabkin Foundation presents the exhibition "Celebrating Maine's Artist-Endowed Foundations", featuring works by artists Stephen Pace, Joan Marie Beauregard, Bob Crewe, John David Ellis, Joseph Fiore, Beverly Hallam, John Heliker, Robert LaHotan, Kenneth Noland, and Leo Rabkin. Opening reception on May 4th, 5-8pm.
Read More >>
March 31, 2018
The Anne S. K. Brown Military Collection of the Brown University Library, Providence, RI, acquired 127 Stephen Pace World War II works on paper from the Stephen and Palmina Pace Foundation.Read More >>
March 31, 2018
"Walter Darby Bannard | 1959-1962" museum exhibition opens at the Institute of Contemporary Art, Miami. From April 26 to September 9, 2018.Read More >>
March 15, 2018 - Kay Kipling for Sarasota Magazine
Along with passions for music and surfing, visual art—and his faith—have filled Solomon’s existence ever since. But, as with any artist, it’s been a complex journey to the point in his career where he stands now, with works in the permanent collections of the John & Mable Ringling Museum of Art, the Cantor Fitzgerald Collection in New York, the Guild Hall Museum in East Hampton and the Parrish Art Museum, among others, as well as the private collections of playwright Edward Albee, artist Dan Flavin, architect-artist Richard Meier and others.Read More >>
March 14, 2018 - artcritical
Career overview of a significant AbExer who started his career in Paris in the circle of Joan Mitchell and Sam Francis and went on to provide an important conduit in the 1950s to avant garde stirrings in Philadelphia.Read More >>
March 9, 2018
Christine Berry, Eric Dever, and Susan Vecsey photographed at the Guild Hall Academy of the Arts Awards dinner on March 5, 2018.Read More >>
March 9, 2018
Susan Vecsey and Christine Berry photographed at the Guild Hall Academy of the Arts Awards dinner on March 5, 2018.Read More >>
March 9, 2018
Susan Vecsey, Eric Dever, and Christine Berry head in to the Rainbow Room for the Guild Hall Academy of the Arts Awards dinner on March 5, 2018.Read More >>
March 6, 2018 - Artnet
Berry Campbell's current exhibit, "John Opper: Paintings from the 1960s and 1970s", is featured in Artnet's daily newsletter. The exhibit is on view until March 10, 2018.Read More >>
March 3, 2018 - Art Fix Daily
Berry Campbell Gallery is pleased to announce a special exhibition of paintings by RAYMOND HENDLER from March 15 through April 14, 2018, in New York. This is Berry Campbell’s third solo exhibition of Hendler’s work. After focusing on particular periods of the artist’s oeuvre, the gallery has curated a small survey of the artist’s entire career, allowing visitors to see the transitions from early gestural abstraction to tighter more graphic forms. The opening reception for “Raymond Hendler: Fifty Years of Painting” is Thursday, March 15 from 6 to 8pm.Read More >>
February 28, 2018 - Widewalls
From February 15th-19th, 2018, the seventh edition of Art Wynwood welcomed more than 25,500 guests to its new location, the former site of the Miami Herald that overlooks beautiful Biscayne Bay in Downtown Miami. Art collectors and enthusiasts could find contemporary and modern art from emerging talent, mid-career artists, blue chip, post-war and modern masters showcasing a dynamic array of murals, pop surrealism, street art and other genres.Read More >>
February 7, 2018 - Art Fix Daily
Berry Campbell Gallery is pleased to announce a special exhibition of paintings by JOHN OPPER from February 8 through March 10, 2018. The opening reception for “John Opper: Paintings from the 1960s and 1970s” is Thursday, February 8 from 6 to 8 pm. This is Berry Campbell’s first exhibition of Opper’s work since announcing the representation of his estate a year ago.Read More >>
February 6, 2018 - Artcards
February 5, 2018 - Broadway World
This spring, the Institute of Contemporary Art, Miami (ICA Miami) will mount major solo exhibitions for Terry Adkins and Donald Judd, alongside an exhibition of works by Francis Alÿs, a tribute to Walter Darby Bannard, and a commissioned project by emerging artist Diamond Stingily. Highlighting experimental practices from 1959 to present day, ICA Miami's spring exhibitions reflect the museum's commitment to advancing scholarship on artists at all stages of their careers.Read More >>
February 2, 2018 - Wall Street International
Berry Campbell Gallery is pleased to announce a special exhibition of paintings by John Opper from February 8 through March 10, 2018. The opening reception for “John Opper: Paintings from the 1960s and 1970s” is Thursday, February 8 from 6 to 8 pm. This is Berry Campbell’s first exhibition of Opper’s work since announcing the representation of his estate a year ago.Read More >>
January 31, 2018
Judith Loves Martha, a short film about Judith Godwin and Martha Graham, premieres at the Sundance Film Festival. Directed by Anna Gaskell.Read More >>
January 19, 2018 - R.C. Baker for The Village Voice
Modernist with a vengeance, the paintings in Ann Purcell’s “Caravan Series” range from five-to-six-feet-high or -wide, an expanse an energetic Abstract Expressionist could cover with one step and a sweeping arm.
Yet Purcell, who was born in Washington, D.C., in 1941, was too young to be part of the New York School artists’ postwar pas de deux with their canvases. Rather than de Kooning’s voluptuous strokes or Pollock’s animated splatters, Purcell’s early-1980s imagery has a fractured grace that reverberates with that era’s garish excesses. It was a time not unlike our own—Ronald Reagan was in the White House and the boorish extravagances of Wall Street’s budding Masters of the Universe were chalked up to its being “Morning in America,” after the drip-drip-drip revelations of Watergate in the first half of the ’70s and Jimmy Carter’s dithering in the second.Read More >>
January 13, 2018 - Blouin ArtInfo
An Abstract Expressionist painter, Syd Solomon, held important roles in the art communities of Sarasota, Florida, and East Hampton, New York. He began painting in high school in Wilkes Barre, Pennsylvania, where he was an All-American football player. He studied at the Art Institute of Chicago from 1935 to 1938. Before the attack on Pearl Harbor, he joined the war effort. He was assigned to the 924th Engineer Aviation Regiment of the US Army where he was able to hone his artistic skills by creating camouflage from the air, which protected the airfields being built by the battalion.Read More >>
January 5, 2018 - Veranda Magazine
With postcard vistas of Central Park, a Manhattan apartment blends classic architecture with cosmopolitan style. Chair in a Fox Linton linen, Quintus; lamp, Visual Comfort; painting, Susan Vecsey. | Photo: Simon Upton; Interior Design: Tammy ConnorRead More >>
January 2, 2018 - Genevieve Kotz for Hamptons Art Hub
Start the New Year off right by checking out our top picks for gallery shows opening in New York City. Galleries in Chelsea, Downtown and Brooklyn showcasing painting, sculpture, collage, photography and work that blends genres. The shows consider dualities of form, inspiration from architecture, new directions in portraiture and the challenges of the past year. Below, check out our selection of highlights for the NYC gallery scene through January 7, 2018.Read More >>
December 26, 2017 - Jean Lawlor Cohen for IN New York
When Ann Purcell was a young painter and art teacher in Washington, D.C., she came to know two artists she now considers mentors—Gene Davis, famed for his vertical stripes, and Jacob Kainen, who influenced generations of artists with his wisdom, independence and work ethic. Those two, in their prime years, had solved their own formal problems during the heyday of America’s most influential critic—the legendary Clement Greenberg. Much later, Purcell had a five-hour encounter with Greenberg, a studio visit when the man pointed to “Lascaux,” her first so-called “Caravan,” and said, “Do more of these.”Read More >>
December 21, 2017 - Wall Street International
Berry Campbell Gallery is pleased to announce a special exhibition of paintings from the 1980s by Ann Purcell from January 4 through February 3, 2018. For Ann Purcell, a nationally recognized artist, whose abstract work is represented in museums across the United States, process is a critical factor. The gestural and alive qualities of her paintings, collages, and works on paper reflect her use of process as a means of expression and exploration, as she works within tensions of paradox, ambiguity, duality, and contradiction.Read More >>
December 19, 2017 - Harold E. Porcher for Doyle
NEW YORK, NY -- On view through December 22, 2017 at Berry Campbell Gallery is “Albert Stadler: Studies in Color.” This exhibition presents twenty-one works dated from 1973-1986. “Studies in Color” is the second one-person show of Stadler’s paintings held at Berry Campbell; the first, which ran from September 11 through October 11, 2014, featured Stadler’s works from the 1960s. The two shows juxtaposed show an evolution in technique and palette range with a constant devotion to color.Read More >>
December 19, 2017 - Emilia Dubicki for The Woven Tale Press
On my last visit to Chelsea, a must-see was the Syd Solomon show at the Berry Campbell gallery. Surveying all the paintings in this show, one can quickly see that Syd Solomon, an abstract painter who from 1959 and for the next thirty-five years split his time between Sarasota and the Hamptons, lived to paint. These works, from the ’70s and ’80s, today still look fresh and energetic; the aerosol enamel and acrylic paint he used is vibrant. The paintings are composed of exuberant swaths of color, his northern and southern coastal imagery melding together, collage-like. In “Morning Light Signs” the flotsam and jetsam of pink and orange recede and return to the foreground as if floating. There is an excitement to Solomon’s abstraction, as in “Lunareach,” where ribbons of orange and yellow tangle in an infinite darkened distance.Read More >>
December 18, 2017
Patrick McMullan photographed Martha Campbell and Christine Berry of Berry Campbell gallery at Art Miami 2017.Read More >>
December 13, 2017 - Rose-Carol Washton Long for Delicious Line
The pairing of the painters Perle Fine and Marguerite Louppe opens corresponding windows on two vibrant art scenes of the 20th century: New York's AbEx, and Paris from the 1930s to the '60s. They were remarkable colorists, Louppe with her geometric, purist landscapes and still lifes in rich earth tones, and Fine with her luminous Prescience series.Read More >>
November 17, 2017 - William Wolf for Wolf Entertainment Guide
Even before entering the Berry Campbell Gallery in Chelsea, one can see through the broad window paintings that glow with amazing use of color. They are the works of important artist Albert Stadler (1923-2000), honored with the current show that runs through December 22 at the gallery owned by Christine A. Berry and Martha Campbell. The exhibit is appropriately called “Albert Stadler—Studies in Color.”Read More >>
November 13, 2017 - Claire Voon for Hyperallergic
Some have called it the “Paris of the Prairies.” It’s a nickname that now seems even more apt for the fast-growing city of Saskatoon, which last month celebrated the opening of Canada’s newest modern and contemporary art museum. The Remai Modern houses works by renowned Canadian and international artists as well as the largest collection of Picasso linocuts, and it aspires to be a world-class attraction that draws tourists to this urban center of Saskatchewan.Read More >>
November 11, 2017 - Wall Street International
Berry Campbell Gallery is pleased to announce a special exhibition of paintings by Albert Stadler (1923-2000) from November 16 through December 22, 2017. Albert Stadler was a leading figure in the rise of color abstraction in the mid-1960s, addressing the nature of the optical experience in art. This exhibition at Berry Campbell will highlight these developments in Stadler’s career focusing on paintings from the 1970s and 1980s. The opening reception for Albert Stadler: Studies in Color is Thursday, November 16 from 6 to 8 pm. In the catalogue for Albert Stadler’s first solo exhibition held at Bennington College in 1962, he stated that he saw his canvases as invitations “for the viewer to participate in events, in the activity of color and the relativity of space.” For Stadler, “space . . . and the “to illuminate and elucidate all parts of a painting,” while allowing viewers the opportunity to find their own way through an image. Creating both hard-edge and more ethereal paintings, Stadler united directions in Color Field and Minimalist art, often bridging the gap between the intellectual and sensual and the conceptual and spiritual.Read More >>
November 9, 2017 - Franklin Einspruch for Delicious Line
In this exhibition's museum-quality catalogue, Gail Levin makes a plausible case that we don't know Syd Solomon better only because he enlisted. The mildly infirm and the conscientious objectors were able to form their art in the modernist heyday of early-1940s New York City while Solomon was off earning Bronze Stars and contracting frostbite in the Battle of the Bulge.Read More >>
October 30, 2017 - Charlie Husking for Sarasota Magazine
When 99-year-old Annie Solomon attends an opening at an art gallery, she’s as much of a focal point as the paintings on the walls. Artists, art lovers, students and retirees all want to hang out with her.
Some admire her because she’s a vibrant link to Sarasota’s days as an arts colony in the 1940s, ’50s and ’60s. The widow of abstract expressionist painter Syd Solomon, she has clear memories of those bohemian times, when she and Syd hosted parties for local artists, writers and musicians, as well as famous visitors such as Kurt Vonnegut, Elia Kazan and Betty Friedan.Read More >>
October 27, 2017
Glenn Glissler designed a space at the Brooklyn Heights Designer Showhouse with pieces of artwork by Judith Godwin, Dan Christensen, Larry Zox, and Walter Darby Bannard from Berry Campbell gallery.
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October 26, 2017 - Alice Murphy for Sarasota Magazine
Jon Schueler was part of the second wave of Abstract Expressionists in the mid-20th century. He did not begin painting until later in life, writing briefly for the New Haven Evening Register and then joining the U.S. Army Air Corps in September 1941. As a B-17 navigator stationed in England, he flew missions over France and Germany. Schueler was hospitalized and discharged in 1944, and following the war taught English at the University of San Francisco. He became increasingly interested in painting and at age 31 enrolled under the G.I. Bill at the California School of Fine Arts (San Francisco Art Institute.)Read More >>
October 26, 2017 - Jennifer Landes for The East Hampton Star
There is a natural tendency among art historians, critics, curators, and even in human nature to place people, places, and things in categories, eras, styles, periods. It helps make sense of how ideas and objects fit into a continuum, or where they fall along the timeline. At the centenary of Syd Solomon’s birth, it is time to free the artist from these constraints and celebrate him for his unique contributions, which is what “Syd Solomon: Time and Tide,” a show at the Berry Campbell Gallery in New York City, does eloquently.Read More >>
October 26, 2017 - Curated by William Corwin
The exhibition contrasts the lives of two women painters, one working in New York and the other across the Atlantic in Paris, who lived and were active for the same period of time, existing in the parallel art worlds of abstract painters and modernist Paris. Louppe lived from 1902-1988 and Fine from 1905-1988. The exhibition will place emphasis on the artists’ work; their style, use of material and aesthetic inspirations, accompanied by a consideration of the art scenes they emerged from and contributed to so vibrantly.Read More >>
October 25, 2017 - Arternal
Welcome to our first Spotlight post. We will be conducting a series of interviews with art world leaders who inspire us, by going beyond the white walls to get their thoughts on everything from the future of the art market, to their go-to neighborhood eateries.
First up is Martha Campbell, an art world veteran who began her career at The Phillips Collection in Washington, D.C., and then worked for several years in the gallery world at Spanierman Modern in New York City before founding her own gallery with Christine Berry.Read More >>
October 19, 2017 - NYC-Arts
Celebrating the centenary of the artist’s birth, “Syd Solomon: Time and Tide” showcases his renowned works. Born in Pennsylvania and a student of the Art Institute of Chicago, Solomon used his artistic skill to create camouflage instruction manuals during WWII. After the war, Solomon experimented with new synthetic media, the precursors to acrylic paints, which put him at the forefront of technical innovations in his generationRead More >>
October 18, 2017 - Liz Sadler Cryan for Brownstoner
If you are an interior design buff who goes bananas over brass and gaga over grasscloth, then don’t miss the first-ever Brooklyn Heights Designer Showhouse. Sixteen designers have filled four floors of the 150-year-old brownstone at 32 Livingston Street with lavish furniture, art, wallpaper, carpets and cabinetry to create showstopping rooms that combine modern design with the home’s original detail.Each designer tackled one room of the nearly 7,000-square-foot Neo-Grec house, which is on loan from its longtime owners, Karin and Saul Cooper.Read More >>
October 12, 2017 - Mark Segal for The East Hampton Star
“Syd Solomon: Time and Tide,” a centenary exhibition of paintings by the influential Abstract Expressionist, will open tonight at 6 with a reception at the Berry Campbell Gallery in Chelsea. It will run through Nov. 11.Read More >>
October 8, 2017 - Teresa Genaro for Brooklyn Heights Blog
Following the cancellation of the Brooklyn Heights house tour because the age of ubiquitous social media made homeowners uneasy, the Brooklyn Heights Association is presenting Showhouse at 32 Livingston Street from 11 am – 5 pm every day except Monday through November 5. Last entry is at 4 pm. Showhouse features the work of more than a dozen designers, along with products for the home, wallpaper, furniture, and fixtures, many of them created right here in the borough.Read More >>
October 8, 2017
Ai Weiwei and Christine Berry of Berry Campbell gallery photographed together at the premiere of his new film, Human Flow.Read More >>
October 1, 2017 - Artdaily.org
Berry Campbell Gallery announces an exhibition of paintings by Syd Solomon to celebrate the centenary of his birth. Syd Solomon: Time and Tide will open on October 12 and run through November 11, 2017. This centenary exhibition precedes the artist’s traveling museum retrospective to open at Guild Hall Museum, East Hampton, New York, in October 2018. The retrospective, which will also travel to the John and Mable Ringling Museum in Sarasota, Florida, is accompanied by a 96-page exhibition catalogue with essays by Dr. Gail Levin, Michael Auping, Mike Solomon, and George Bolge.Read More >>
September 30, 2017 - Jonathan Goodman for Whitehot Magazine
Syd Solomon (1917-2004), the gifted abstract-expressionist painter, was well recognized as an artist in the middle of the last century, especially in the early 1960s. He kept studios in East Hampton and Sarasota in Florida, spending time in both places during the course of the year. Solomon established an art presence in Sarasota, bringing in artists such as James Brooks and Larry Rivers to participate in the community there, as well as teaching at Sarasota’s Institute of Fine Art, the educational center he founded at New College. In the East Hamptons, he met Pollock, de Kooning, and Kline. His work, an attractive amalgam of bright colors and mostly organic shapes, feels as if it were heavily influenced by his experience of landscape. As a noted member of the abstract expressionists’ first generation, Solomon played a distinctive role as an artist who brought people together, at the same time developing a compelling style of his own. This style can’t be clearly tied to any particular colleague, but takes part in a playfully exuberant use of color only barely contained by the natural forms that they fill. Living as Solomon did in places of unusual beauty, it seems inevitable that his art would reflect his surroundings.Read More >>
September 26, 2017 - Art Fix Daily
Berry Campbell Gallery is pleased to announce an exhibition of paintings by SYD SOLOMON (1917-2004) to celebrate the centenary of his birth. Syd Solomon: Time and Tide will open on October 12 and run through November 11, 2017. This centenary exhibition precedes the artist’s traveling museum retrospective to open at Guild Hall Museum, East Hampton, New York, in October 2018. The retrospective, which will also travel to the John and Mable Ringling Museum in Sarasota, Florida, is accompanied by a 96-page exhibition catalogue with essays by Dr. Gail Levin, Michael Auping, Mike Solomon, and George Bolge. The opening reception for Syd Solomon: Time and Tide is Thursday, October 12 from 6 to 8 pm.Read More >>
September 14, 2017 - Wall Street International
Berry Campbell is pleased to announce an exhibition of paintings by Yvonne Thomas (1913-2009). The gallery will present nineteen paintings from 1950-1962. Berry Campbell is now representing the Estate of Yvonne Thomas. Throughout a career lasting over fifty years, Yvonne Thomas blended the intuitive freedom of Abstract Expressionism with the symbolic language of form and color.Read More >>
September 1, 2017 - Donald Kuspit for Artforum
It’s hard to categorize Larry Zox’s painting, though many have tried. In 1965, his work appeared in the exhibition “Shape and Structure,” organized by Frank Stella and Henry Geldzahler, which positioned the artist’s work amid hard-edge Color Field painting and Minimalism. A year later, Lawrence Alloway included Zox’s art in the show “Systemic Painting,” implying the work is best understood as an example of repetition and systemization, then supposedly the new “in” thing. This exhibition at Berry Campbell, however, demonstrated that Zox’s work betrays these categories. The eighteen pieces displayed (four small works on paper, fourteen on canvas) don’t have the reductive look of Minimalism—their colors don’t form a uniform field—and their structures can’t be regarded as systems. The repetitions that occur in them tend to be limited, giving them an odd inconclusiveness, and with that a peculiarly absurd, irksome quality.
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June 28, 2017 - Alex Gotthardt for Artsy
Abstract Expressionism is largely remembered as a movement defined by the paint-slinging, hard-drinking machismo of its poster boys Jackson Pollock and Willem de Kooning. But the women who helped develop and push the style forward have largely fallen out of the art-historical spotlight, marginalized during their careers (and now in history books) as students, disciples, or wives of the their more-famous male counterparts rather than pioneers in their own right. (An exception is Helen Frankenthaler, whose transcendent oeuvre is often the only female practice referred to in scholarship and exhibitions around action painting.)Read More >>
June 21, 2017 - Sag Harbor Express
The John Jermain Memorial Library will present an exhibition of paintings and works on paper by East Hampton artist Susan Vecsey. This exhibition runs through September 4 with an opening reception July 29 from 2:30 to 4:30 p.m.Read More >>
June 12, 2017 - Peter Malone for Hamptons Art Hub
New paintings by Mike Solomon embrace an unusual variety of formal ambiguity. Uniquely and unexpectedly reticent, his resin-constructed panels, most of which fall within easel scale, present the viewer with out of focus fields of color that are compelling while still offering resistance to optical navigation. Currently exhibited in "Mike Solomon: Immediate Splendor" at Berry Campbell in New York, these works insist instead on a viewer’s steady and indeterminate gaze. Objectively speaking, they may be said to cultivate a realization of Hans Hoffman’s push-and-pull that is frozen in time.Read More >>
May 26, 2017 - John Jackson for LMU Library News
The William H. Hannon Library, and Master of Arts in Yoga Studies at Loyola Marymount University, are pleased to present, Eric Dever: Light, Energy and Matter, an exhibition of 45 paintings which brings the viewer on a journey, similar to the path of the artist himself.Read More >>
May 19, 2017 - Alexander Zox for Hamptons Art Hub
May 1, 2017 - Chris Hopkins for Incollect
Pedestrians walking by Berry Campbell, site of a new exhibition dedicated to Larry Zox (1937-2006), all have the same reaction.
“You look through the window, and it’s like, ‘Wow!’” says Christine A. Berry, co-owner of the gallery on West 24th Street, in Chelsea. “You’re whacked in the face by bold reds, and next to that, you may see a soft seafoam green. It’s a very powerful show, with bold compositions and beautiful colors.”
April 25, 2017 - Kim Uchiyama for Delicious Line
The vibrant geometric paintings of Larry Zox from the 1960s employ strategies that continue to influence contemporary abstraction. A jazzy, muscular narrative fuels these works. Zox used diagonals to break up languid horizontal elements grounded in landscape.Read More >>
April 18, 2017 - Blouin ArtInfo
Berry Campbell Gallery, New York, presents an exhibition of works by American painter, printmaker, and Abstract Expressionist Larry Zox (1937-2006) that will run from April 20 through May 26, 2017.
The selection of works on display explores the artist’s intense and vibrantly colored geometric abstractions that question and violate symmetry. His paintings reveal an artist who is a master of composition challenging the possibilities of Post-Painterly Abstraction and Minimalist pictorial conventions. Zox’s works are represented in over one hundred museum collections. What he strived for was to arrive at the specific character and quality of each painting in and for itself.Read More >>
April 6, 2017 - Jennifer Landes for The East Hampton Star
For more than a decade, Eric Dever employed the same idiom in his painting, with a square canvas and a limited palette. It served him well, with many group and solo exhibitions both locally and internationally.Read More >>
March 15, 2017 - British Vogue
March 14, 2017 - Melissa Minton for Architectural Digest
You may know the Woolworth Building as one of the most historic places in the United States, formerly housing a shopping mall, but now it's getting a different title: luxury apartment building. Completed in 1913, it stood as the tallest building in the world until 1930, when the Chrysler Building was erected. The top thirty floors have been converted to residences, though the 33 units are still under construction, which will include full-floor homes on the market for $26.4 million. Designed by French architect and designer Thierry Despont, all of the apartments feature custom kitchens with Dada cabinetry, Calacatta Caldia marble countertops and backsplashes, solid oak herringbone floors, and a suite of integrated Miele appliances. The building's amenities include a pool, spa, and sauna; a wine cellar and tasting room; and an exclusive entertainment salon. With one-bedroom units starting at $4.6 million, it may be worth it to live in the "cathedral in the sky."
Below is a model apartment, decorated by Alan Tanksley, which represents 2–3 bedroom units that will be priced around $9.5 million.
February 27, 2017 - Jennifer Wolf
Berry Campbell’s current exhibition highlighting the stain paintings from the last decade of Dan Christensen’s career brings to life an intriguing body of work from a perhaps under the radar artist working in the Abstract Expressionist and Color Field traditions at the close of the twentieth century. The works included in this aptly titled “Late Calligraphic Stains” exhibition hearken back to the work of icons of mid-century art history: Pollock, Rothko, and Twombly among them, but Christensen’s handling brings something truly unique to the conversation.Read More >>
February 8, 2017 - Blouin Artinfo Datebook
Berry Campbell, New York presents an exhibition of paintings by late artist Dan Christensen (1942-2007) that will run from February 9 through March 11, 2017.Read More >>
January 26, 2017 - Star Staff for East Hampton Star
The United States Consulate in Hong Kong is currently exhibiting two paintings by Eric Dever, who has a house in Bridgehampton. “NSIBTW-40” is an oil on canvas measuring 72 inches square; “NSIBTW-22” is an oil on linen of the same dimensions.
January 26, 2017 - Roberta Bernstein for New York Post
In 2012, the venerable 120-year-old museum moved from Southampton to a stunning Herzog & de Meuron-designed building on 14 acres of meadow in Water Mill. The collection ranges from the 19th- to 21st-century (adults $12 , seniors $9, children under 18 free).
January 25, 2017 - Denise M. Reagan
Some of the additions are featured in The Evolution of Mark-making, now on display on the second floor. Project Atrium artist Shinique Smith donated her Something from Nothing Bundle (2008). The hanging satellite contains clothing and accessories donated to a church in the aftermath of Hurricane Katrina, which came to the artist when New Orleans refused clothing in lieu of funds.Read More >>
January 12, 2017 - Holland Cotter for the New York Times
When a call went out online recently for an art world protest strike — “no work, no school, no business” — on Inauguration Day, more than 200 artists, most based in New York, many well known, quickly signed on. In numbers, they represent a mere fraction of the present art world, and there was reason to expect the list would grow. By contrast, in New York in the 1950s, 200 artists pretty much were that world, and one divided into several barely tangent circles.Read More >>
January 10, 2017 - Bruce Helander for the Huffington Post
Jill Nathanson is a talented painter who makes magic on canvas by using a technique of poured polymer, which forms overlapping layers of translucency that provide unfamiliar albeit fresh gorgeous hues and are delightful to examine and savor. Over the last four decades, she has deepened her study of color dynamics through methodically delving into chance and risk to ultimately create unity. Berry Campbell, New York. (http://www.berrycampbell.com/)Read More >>
December 13, 2016 - Barbara Rose
WALTER DARBY BANNARD WAS BORN TO WIN. He was the perfect American, a taller, more physically imposing but equally charming version of Warren Beatty, smiling and savvy, brilliant but mischievous. He could have been a movie star, a tennis pro, or at the very least a successful banker sporting a navy blazer and Exeter and Princeton degrees. But he wanted none of what the world could offer him.Read More >>
December 12, 2016 - Hamptons Art Hub
The exhibition "Material Witness" speaks to the sheer physical presence of paint itself and how the artist’s application and use of color creates radiant and dynamic effects. In Blinds and Shades, Josh Dayton literally extends the painted surface by attaching sculptural forms to the canvas, while Herman Cherry and John Opper use color to create paintings that seem to vibrate with energy. Willem de Kooning’s ribbon-like strokes, cascading in swathes of vibrant color, attest to the primacy of the material substance in the evolution of painting. Six of the eight paintings in this exhibition are on view for the first time at the Parrish's Water Mill location.Read More >>
November 16, 2016 - Pat Rogers for Hamptons Art Hub
Bridgehampton artist Eric Dever's painting NSIBTW 50 was acquired for the Parrish Art Museum's permanent collection. He is represented by Berry Campbell gallery in New York.Read More >>
November 1, 2016 - Piri Halasz for From the Mayor's Doorstep
When word broke on Facebook on October 2 that Walter Darby Bannard had died, I received more than the ordinary number of worried or consolatory emails. This was proof, if I needed any, that he was widely known and loved, not only for his fine painting but also for his teaching, for his role as dauntless defender of modernism in print, and for simply being a very nice guy. MoreRead More >>
October 26, 2016 - Franklin Einspruch
The magnificent painter Elisabeth Condon, who in early October met me at her show at Lesley Heller Workspace, did her best to console me when I broke into tears. I had been expressing my hope, shared among all of us who cared about Walter Darby Bannard, that he would be able to attend the opening for his exhibition of recent paintings at Berry Campbell Gallery, eleven days away. Those hopes had been banished that morning. He had succumbed to complications ensuing from treatments for liver cancer. Elisabeth remarked sagely: “He’ll have the last word. That was always his way.”
October 20, 2016 - Emma Crichton Miller
The role of female artists in the development of Abstract Expressionism has historically been underplayed and the consequent value of their work in the marketplace diminished. But women played a key role in the articulation of the movement: as early as 1942, Lee Krasner’s work was exhibited alongside that of Jackson Pollock, her future husband; Joan Mitchell, Perle Fine, and Mary Abbott were regularly invited to the members-only Eighth Street Club, founded in 1949 by Willem de Kooning, Ad Reinhardt and others; and Elaine de Kooning and Helen Frankenthaler (who later married Robert Motherwell) were included in the seminal ‘Ninth Street Exhibition’ alongside Krasner and Mitchell, organised by Leo Castelli in 1951. Women also participated in the museum shows of the day; Grace Hartigan took part in the 1956 MoMA exhibition ‘Twelve Americans’, which also featured paintings by Philip Guston and Franz Kline.Read More >>
October 19, 2016 - Blouin Artinfo Datebook
The exhibition presents selected works from the well-known series of paintings by American painter Jon Schueler, “Women in the Sky,” comprising eighteen oils and eight works on paper on display. Jon Schueler’s work incorporates human form, or its memories and mysteries, as figure has been a major influence in his thoughts which prominently reflected in his works.Read More >>
October 8, 2016 - William Grimes for The New York Times
Walter Darby Bannard, a Color Field painter whose elegant, severe abstract paintings of the late 1950s and early ’60s were the springboard for a lifetime’s exploration of color, form and the physicality of paint, died on Sunday in Miami. He was 82.Read More >>
October 4, 2016 - Hamptons Art Hub Staff
American abstract painter Walter Darby Bannard died on Sunday, October 2, 2016 in Miami, announced Berry Campbell gallery. He was 82 years old. A pioneer of color field painting in the 1950s, Walter Darby Bannard (1934-2016) was committed to color-based and expressionist abstraction for over six decades.Read More >>
October 3, 2016 - Franklin Einspruch for Artblog.net
The presence of Walter Darby Bannard in my life was an accident. I went to graduate school at the University of Miami largely because my father was the dean of the College of Engineering and it made financial sense for my family. Darby was increasingly having trouble selling paintings in New York by the early '90s, he admitted to me, but he could have ended up at a lot of schools that would be happy to have someone of his caliber on the faculty. South Florida, he said, had the advantage of being warm.Read More >>
August 23, 2016 - Piri Halasz for From the Mayor's Doorstep
Although the scratchy lines convey a certain sense of itchiness or irritation, they are set in a context of quiet reflection. Thus as a whole these paintings are harmonious, not grating, organized and not chaotic.
Above all, they are triumphantly human – though occasionally, a wild little sun puts in an appearance, as in the small gem that greets the visitor upon entering the gallery, and is entitled, “Winter Country Fields and Sky” (2015).
August 8, 2016 - Mary Demaio for Long Island Post
Eric Dever’s work is black and white and red all over. He began using the limited color palette 10 years ago this month as a way to create subjective designs that echo hues from the environment. Before summer ends, people can experience his work at exhibits in New York City and the Hamptons. I caught up with Dever at his studio in Water Mill to find out more about his upcoming projects, what inspires his creativity and the meaning behind his abstractions.Read More >>
August 4, 2016 - Denise M. Reagan
Christine Berry and Martha Campbell launched their gallery to bring attention to the works of a selection of postwar and contemporary artists and revealing how these artists have advanced ideas and lessons in powerful and new directions. Berry Campbell provided five paintings by Jill Nathanson for MOCA Jacksonville's Confronting the Canvas: Women of Abstraction. Berry traveled to Jacksonville to see the exhibition, and we asked her a few questions.Read More >>
July 6, 2016 - Bruce Helander for Huffington Post
Mike Solomon creates beautiful, color saturated paintings that have a built-in grid reminiscent of early Larry Poons geometric accents, which contain an elegant veil of dreamlike mist. Solomon is a tastemaker if there ever was one, and coupled with his unusual acquaintances, including his experiences as a studio assistant to John Chamberlain, James Brooks and Charlotte Park, and collectors like Edward Albee, Beth DeWoody, Dan Flavin and Richard Meier, among others, this kind of professional support and relationships are simply golden, and it shows.Read More >>
July 2, 2016 - Carrie Seidman for Sarasota Herald-Tribune
It was New Year’s Day of 1946 when Annie Solomon and her husband Syd, who had finished his service as a camoufleur — a specialist in the design and implementation of camouflage — in the war, arrived in Sarasota, where they intended to start their new life together. They’d met five years earlier, just after Pearl Harbor, at a distant cousin’s wedding when Annie, a graduate of Ohio State, was 21.
June 2, 2016 - Piri Halasz for From the Mayor's Doorstep
A fair number of people by this time must know that I greatly admire the mostly-mixed- media abstract paintings of Stanley Boxer. Since I started posting at this website, I’ve discussed his work four times, most recently and at greatest length when he showed at Spanierman Modern in 2012. Before then – around 2009, I believe – I dealt at even greater length in reviewing his retrospective that premiered in Richmond, Virginia and went on to tour in New England and Florida.
I am happy to report that his recent show at Berry Campbell (closed May 21) carried on his unique gifts with many more pleasures.Read More >>
May 21, 2016 - Tim Keane for Hyperallergic
Painter Stanley Boxer used the term “manufacture” to describe his process. His late-period paintings currently on view at Berry Campbell Gallery demonstrate this notion of assemblage remarkably well. His abstractions integrate raw materials into a polished whole, all the while retaining evidence of painting as pure, manual labor.
Boxer’s body of work gives renewed meaning to what used to be called “all-over painting.” Employing multiple brushwork techniques within any single painting, Boxer crams his surfaces with impastos, drips, dabs, washes, and three dimensional objects, foregrounding both the serene and frictional properties of painting. Embedded materials such as sawdust, stones, glitter, twine, and netting produce mysterious depths within the thick, textured, melted and bleeding color.
April 28, 2016 - Kay Kipling for Sarasota Magazine
Those familiar with the Sarasota visual arts scene will immediately know the name of painter Syd Solomon, whose large-scale, colorful abstract works have drawn attention and collectors for decades. But they may not fully realize how Solomon’s work was influenced by his days as an aerial camoufluer in World War II. An exhibition opening April 29 at the Museum of Art in DeLand, Syd Solomon: Concealed and Revealed: Camouflage & Lettering in the Artist’s Work, aims to change that.Read More >>
April 12, 2016 - Christine Berry and Mike Solomon
A Traveling Museum Exhibition of 36 paintings and works on paper with a hardcover catalog with essays by Michael Auping – Chief Curator of the Modern Art Museum of Fort Worth, George Bolge- Director, Museum of Art in Deland, FL and the eminent Art Historian, Dr. Gail Levin.Read More >> Download Article (PDF)
April 6, 2016 - Themaineedge.com
Taking place in the fall of even-numbered years, the CMCA Biennial is an open, statewide juried exhibition featuring work in all mediums produced by the selected artists in the past two years. A snapshot of Maine’s vibrant contemporary art scene, the CMCA Biennial dates back to 1978 and is the longest-running juried competition in the state. Jurors for 2016 are Christine Berry, director of Berry Campbell Gallery, New York City, and John Yau, noted writer, poet, and art critic for Hyperallergic. This show is sponsored by Allen Insurance and Financial and CHUBB.Read More >>
March 29, 2016 - Hilarie M. Sheets for The New York Times
Starting on June 12, “Women of Abstract Expressionism” will spotlight virtual unknowns like Judith Godwin and Perle Fine, alongside the handful who broke through, including Joan Mitchell and Helen Frankenthaler. Ms. Chanzit’s research convinced the museum to acquire seven canvases in the show.Read More >>
March 20, 2016 - Artdaily.org
A first-generation action painter, Raymond Hendler started his career as an Abstract Expressionist in Paris, as early as 1949. In the years that followed, he played a significant role in the movement, both in New York, where he was the youngest voting member of the New York Artist’s Club and a friend of Franz Kline, Willem de Kooning, Jackson Pollock, and Harold Rosenberg and in Philadelphia, where he ran an avant-garde gallery between 1952 and 1954.
March 16, 2016 - Jamie de Simone for MoCA Jacksonville
Nathanson constructs color fields of acrylic polymer gels. I immediately Googled images on my iPhone after my conversation. Interesting was my immediate reaction, but “interesting” is my “go-to” word, my word when I don't yet know how to describe an object, but think something deeper, richer is occurring. Nathanson's work was, and is, interesting, but I couldn't come to describe the “why” until I saw the paintings firsthand.Read More >>
March 14, 2016 - Artfix Daily
Berry Campbell is pleased to announce an focused exhibition of over sixteen paintings and works on paper by Raymond Hendler (1923-1998) from the 1970s. The exhibition opens on March 17, 2016 and runs through April 16, 2016 with an opening reception on Thursday, March 17 from 6 to 8 pm.Read More >>
March 10, 2016 - Noah Becker for Whitehot Magazine of Contemporary Art
Noah Becker Visits the New York Studio of Artist Jill NathansonRead More >>
March 7, 2016 - Jennifer Landes for The East Hampton Star
With so much going on during Armory Week in Manhattan, you can be forgiven for not getting to the Charlotte Park survey on view at the Berry Campbell gallery in Chelsea, but it's really your loss.Read More >>
March 7, 2016 - Jennifer Landes for East Hampton Star
With so much going on during Armory Week in Manhattan, you can be forgiven for not getting to the Charlotte Park survey on view at the Berry Campbell gallery in Chelsea, but it's really your loss.
Sure, the art fairs dotting the city as far north as the Park Avenue Armory and as far south as Tribeca had their moments. But just as the female artists of the past and present shined in those settings, Ms. Park's paintings from the years 1950 to 1985, work relatively unknown to the wider art market, demonstrate an artist at top form.Read More >>
February 29, 2016 - Charles A. Riley II for Hamptons Art Hub
Redemption can be jubilant, as the current resonant solo show devoted to Charlotte Park (1918-2010) at Berry Campbell gallery in Chelsea proves. After decades in the shadow of her husband, James Brooks, Park steps forward from the Abstract Expressionist chorus and unleashes her singular strong voice, hitting all the top notes of color, gesture and scale with confident power.Read More >>
February 29, 2016 - Bridget Gleeson for Artsy
In the Hamptons of the 1950s and ’60s, there were two significant pairs of artists working in Abstract Expressionism. The two couples were also friends. One set you know: Jackson Pollock and Lee Krasner. The other you might not: James Brooks (1906–1992) and Charlotte Park (1918–2010).
Brooks and Park were both artists when they met in Washington, D.C., during World War II. They moved to New York together in 1945 and forged a fast friendship with Pollock and Krasner, renting studio space from them in the city and eventually following their lead to resettle on Long Island. “These artists were forging a new aesthetic,” Helen Harrison of the Pollock-Krasner House and Study Center has said, “and only they understood what they were doing, so there was this sense of camaraderie.”
February 18, 2016 - Ryan Steadman for The New York Observer
The exhibition, titled “Women of Abstract Expressionism”, has been organized by DAM’s curator of modern art Gwen Chanzit and consists of 51 paintings by 12 groundbreaking women artists who contributed to Abstract Expressionism; the large-scale, imageless painting style that firmly put New York City on the avant-garde art map in the 1940s and 50s. The artists in the exhibition include Mary Abbott, Jay DeFeo, Perle Fine, Helen Frankenthaler, Sonia Gechtoff, Judith Godwin, Grace Hartigan, Elaine de Kooning, Lee Krasner, Joan Mitchell, Deborah Remington and Ethel Schwabacher.Read More >>
February 5, 2016 - Sadie Starnes for Artcritical.com
“Noah Becker Presents… Something” is a New Yorker’s show. As children of glam, gold, glitter and garbage, much of the 26 artworks dance at the shiny-dusty feet of Andy Warhol, the city’s veritable king of things. These could easily turn trite as riffs on the classics of Pop and abstraction, mixed media and montage; however, curator Noah Becker has thoughtfully gathered the artists by their more subtle connections of something or another.Read More >>
January 21, 2016 - Kathy Leonardo for the Huffington Post
Looking back to Miami Art Week (which took place the first week of December), one would have thought the perpetual rainstorms would have dampened the spirits of attendees. However, practically every art gallery that I spoke with said the inclement weather had absolutely no effect on the reported record sales.Read More >>
January 14, 2016 - Audra Lampert for Artfuse
The overwhelming majority of artworks on view in Something are paintings. The works evoke illusory and imaginative revisions of reality, manifesting curator Noah Becker’s vision to highlight playful ambiguity in contemporary art trends. Becker explains about the title, Something: “It’s a bit Warholian to use a word like that as a starting point…for an epic group show. Words are pop art due to words being universal symbols. The idea of things being universal and understood instantly…how does one express it in their art?”Read More >>
January 4, 2016 - Paul Laster for New York Observer
Noah Becker—artist, curator and founder of Whitehot Magazine of Contemporary Art(full disclosure, I also write for the publication)—takes on the role as the first guest curator at Berry Campbell with a show of 20 international artists exploring enigmatic narratives in their paintings, sculptures and works on paper. Michael Anderson contributes the massive 2009 collage Blue Abstract, which is assembled from street posters gleaned from New York, Los Angeles, Rome and Mexico City. Marc Dennis presents a witty, realistic painting of a young woman looking at Gustave Courbet’s controversial canvas Origin of the World from the vantage point of the woman’s long hair obscuring Mr. Courbet’s subject’s genitals and pubic hair. Meanwhile, Nir Hod’s painting of the word “Fame” on an oxidized chrome canvas looks tarnished, as if to express that celebrity just might be a passing thing.
Berry Campbell, 530 West 24 Street, New York, 6-8 p.m.
December 14, 2015 - Hamptons Art Hub
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.Read More >>
December 2, 2015 - Piri Halasz for (An Appropriate Distance) FROM THE MAYOR'S DOORSTEP
The 49th Parallel too often functions like an invisible sound barrier: few Canadian artists have been able to become well-known in the U.S. But the splendid Saskatchewan painter William Perehudoff has been posthumously making himself into one of those happy few—first, two years ago, and second, now.Read More >>
November 25, 2015 - Jennifer Landes and Mark Segal for East Hampton Star
Berry Campbell, a Manhattan gallery with an affinity for gifted but sometimes overlooked South Fork artists, plans to give James Brooks center stage in its Art Miami booth. Brooks will be accompanied by contemporaries such as Charlotte Park (his wife), Alfonso Ossorio, Perle Fine, and Syd Solomon. Artists from younger generations — Dan Christensen, Susan Vecsey, Eric Dever, and Mike Solomon — will be shown at Berry Campbell as well.Read More >>
October 18, 2015 - Daniel Kany for Portland Press Herald
Anchoring the center of the space is John Walker’s great “Wake,” a rough and muscular canvas only surpassed in the show by Ken Greenleaf’s “Chelsea Bridge,” a shaped multi-panel geometric painting that writhes with ecstatic slowness on the exhibition’s otherwise empty end wall as a brilliant bit of punctuation. Gideon Bok’s powerful studio paintings are also particularly notable in this setting as they model the elegant chaos curator Ferris has targeted.Read More >>
October 1, 2015 - Karen Kedmey for Artsy
Known for his ambitious experimentation with gestural abstraction during the Minimalism-dominated 1960s, the late painter Dan Christensen is being honored this month in a retrospective at Berry Campbell Gallery. Exuberantly kicking off the gallery’s fall season, “Dan Christensen | Retrospective” includes work from all four decades of the artist’s career.Read More >>
September 24, 2015 - Jill Steinhauer for Hyperallergic.com
The paradigm of the “overlooked female artist” is both a cliché and a truth. We all know the art market is unceasingly hungry, and previously sidelined women artists are the perfect food. But that doesn’t change the fact that countless female artists have been ignored, forgotten, and stepped on, that movements defined by their male stars have entire other histories still in need of writing.
Exhibitions are a way to begin that process, and next spring, the Denver Art Museum (DAM) will mount one. The title — Women of Abstract Expressionism — says it all: this is a show devoted to the women artists involved with the famously macho movement, and it is the first of its kind. Highlighting better-known names — Lee Krasner, Joan Mitchell — alongside lesser-known ones — Sonia Gechtoff, Perle Fine — the exhibition will encompass 12 women’s work, “focus[ing] on the expressive freedom of direct gesture and process at the core of abstract expressionism, while revealing inward reverie and painterly expression,” according to the description. It will also include a new video exploring these women’s lives — the particulars as well as the broader (sexist) cultural conditions of the 1950s — through their own testimony and that of their children.
September 12, 2015 - Berry Campbell Gallery
Berry Campbell is pleased to open its fall season with a retrospective by renowned Color Field painter, Dan Christensen (1942-2007). Christensen’s relentless experimentation with new tools and materials made him among the most ambitious abstract and gestural artists of his time. This important exhibition will feature more than twenty paintings from various periods of his forty year career: rare “early spray” paintings from the late 1960s, saturated stained canvases from the 1970s, dizzying spray ovals from the 1980s, pulsating orbs from the 1990s, and rhythmic calligraphic swirls from his last decade. Several paintings have never been on public view. Berry Campbell will present the retrospective in a sixteen-page catalogue featuring a poem written as a tribute for Christensen by Billy Collins, the former Poet Laureate of the United States and Christensen’s close friend.Read More >>
July 23, 2015 - Artfix daily
Berry Campbell is pleased to announce its expansion at 530 West 24th Street. The gallery is doubling its size with the addition of 2,000 square-feet of ground floor gallery and exhibition space. Berry Campbell’s growth reflects its established role in Chelsea since its opening in Fall 2013. Berry Campbell joins its 24th Street neighbors—303 Gallery, Andrea Rosen Gallery, Gagosian, Jack Shainman Gallery, Luhring Augustine, Mary Boone Gallery, Marianne Boesky Gallery, Matthew Marks, Metro Pictures, and Unix Gallery—as vital contributors to the flourishing Chelsea art scene, recently made even more vibrant with the May 2015 opening of the new Whitney Museum.Read More >>
July 16, 2015
Berry Campbell is pleased to announce its expansion at 530 West 24th Street. The gallery is doubling its size with the addition of 2,000 square-feet of ground floor gallery and exhibition space. Berry Campbell’s growth reflects its established role in Chelsea since its opening in Fall 2013. Berry Campbell joins its 24th Street neighbors—303 Gallery, Andrea Rosen Gallery, Gagosian, Jack Shainman Gallery, Luhring Augustine, Mary Boone Gallery, Marianne Boesky Gallery, Matthew Marks, Metro Pictures, and Unix Gallery—as vital contributors to the flourishing Chelsea art scene, recently made even more vibrant with the May 2015 opening of the new Whitney Museum.Read More >>
July 16, 2015 - ARTnews by Alex Greenberger
Berry Campbell told ARTnews today that it will expand, filling the entire ground floor of 530 West 24th Street. Currently, the gallery has 1,200 square feet, but, with the new expansion, it will gain 800 more, bringing its total area to 2,000 square feet. Known for showing Abstract Expressionists and postwar artists, Berry Campbell is now part of a larger trend in Chelsea—the rapid expansion of gallery spaces.Read More >>
July 10, 2015 - Hamptons Art Hub
Berry Campbell is pleased to present an exhibition of Artists of the East End at Art Southampton presented at Nova’s Ark Project in Bridgehampton, opening on July 9. Berry Campbell represents an important group of Postwar modern and contemporary artists associated with Long Island’s East End, a gathering place for the New York School beginning in the 1940s. Among these are the estates of Dan Christensen, Perle Fine, Balcomb Greene, Gertrude Greene, Raymond Hendler, Charlotte Park, and Syd Solomon. Contemporary East End artists represented are Eric Dever and Susan Vecsey, both will be debuting new work at the fair.Read More >>
July 10, 2015 - Aaron Price for Ultra Vie
Now ready for it’s fourth season, Art Southampton has already cemented its status as the premier contemporary and modern art fair in the Hamptons. It offers the highest quality of 20th and 21st century masters as well as noteworthy emerging artists....We’ve taken the time to select some of our favourite works on display at the fair.
The artist was a leading abstract painter during his lifetime. He drew from a range of Modernist sources to produce colourful, luminous compositions that featured giant dots, whirling loops and grids. Originally trained in classical, figurative painting, Christensen later sought to transcend stylistic restrictions. He also experimented with a range of different tools and ways of applying paint throughout his career. In highly acclaimed early work he used spray guns to paint over square and looping pieces of tape, and then removed the tape to create swirls and grids of colour with shimmering surface effects. Berry Campbell Gallery represent the artist at Art Southampton.Read More >>
July 7, 2015 - Bruce Helander for the Huffington Post
Art Southampton, directed by Nick Korniloff, who also brings you Art Miami, Art New York and Art Silicon Valley/San Francisco, among others, offers the value and prestige that attracts participation by leading galleries from around the world, making this fair an outstanding international event.
Charlotte Park's important contribution to the Abstract Expressionist movement has been recently acknowledged, and it's about time. Writing in The New York Times, just before Park died in late 2010, Roberta Smith called Park "A natural painter and a gifted colorist." She was overshadowed by the attention given to the work of her husband, James Brooks, even though she painted some of the strongest and most brilliantly colored canvases of her time. (www.berrycampbell.com)Read More >>
June 26, 2015 - Long Island Weekly
Art Southampton, the premier contemporary and modern art fair in the Hamptons, will hold its fourth edition on the grounds of Nova’s Ark Project in Bridgehampton July 9 through 13. The fair will offer high quality works of art from the 20th and 21st centuries, as well as incorporate design and the decorative arts, a new addition this year.
The Berry Campbell Gallery in New York City’s booth will consist entirely of artists who live or have lived on Long Island including former Hofstra University professor and abstract expressionist Perle Fine.Read More >>
June 16, 2015 - Artfix Daily
Nathanson became fascinated by color painting at Bennington College. She arrived at the school in the mid-1970s, when it was at the center of color field abstraction. From Kenneth Noland and Larry Poons, she learned to avoid composing through dark and light tones and to give color an ever-greater role in structuring a painting. Over the last four decades, she has deepened her exploration of color dynamics, seeking to transmit affective realities of seeing. She courts chaos in her method, through employing chance, but she also works methodically—each overlay of color takes a day to dry. For the viewer, her paintings evoke energies in the body as well as optical experience, and the physical presence of each painting resists immediate assimilation, involving a dynamic, layered search for unity.Read More >>
June 11, 2015 - Rachel Will for Blouin Artinfo UK
From blow pipes to aerosol paint to industrial paint compressors, artists have employed a myriad of methods to play with the forces of spray. Gagosian Gallery of London has organized a massive survey of the art form spanning four generations and a variety of mediums featuring more than 50 artists including Paul Klee, Jean-Michael Basquiet, Andy Warhol, Ed Ruscha, Takashi Murakami, Anish Kapoor, and Jeff Koons, among others.
Read More >>
June 10, 2015 - Press Release for Gagosian, London
"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..."Read More >>
June 9, 2015 - Piri Halasz for New York Observer
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.Read More >>
June 5, 2015 - Mary Negro for artcritical.com
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)Read More >>
June 3, 2015 - Phyllis Tuchman for Artforum
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.Read More >>
June 1, 2015 - Piri Halasz for (An Appropriate Distance) FROM THE MAYOR'S DOORSTEP
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.Read More >>
May 10, 2015
May 6, 2015 - Charles Riley for Hamptons Art Hub
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.Read More >>
April 28, 2015 - Press Release from Portland Museum of Art
You Can’t Get There From Here: The 2015 Portland Museum of Art Biennial highlights Maine’s artistic legacies in the making. Curated by Alison Ferris, this year’s Biennial provides a comprehensive overview of the many facets of Maine’s contemporary art scene. The exhibition will be on view through January 3, 2016Read More >>
April 23, 2015 - Bob Keyes for Portland Press Herald
Ken Greenleaf was chosen for a large acrylic-on-canvas geometric painting with shaped supports. When hung, the piece, which is six-feet across, appears to float over the surface of the wall. “I’m happy to be in the Biennial,” Greenleaf said via email. “There hasn’t been much of my new work shown in Maine for a few years, so it will be good to have a good-sized piece in that show.”Read More >>
April 22, 2015
Ann Purcell's Hopscotch #1 (1978) will be featured in the group show “Art in the Making: A New Adaption” exhibiting in the Luther W. Brady Art Gallery at George Washington University. Purcell's painting will be displayed alongside work by Lee Bontecou, Helen Frankenthaler, Charles Pollock, Jackson Pollock, Gene Davis, Georgia Deal, Andrew Hudson, Jules Olitski, Dennis O’Neil and Berthold Josef Schmutzhart.
The exhibition is on view to the public from Wednesday, May 6, 2015 to Friday, July 17, 2015Read More >>
April 18, 2015 - Altoon Sultan via Painters Table
Altoon Sultan blogs about Walter Darby Bannard: Minimal Color Field Paintings, 1958-1965 at Berry Campbell Gallery, New York, through April 18, 2015.
Sultan writes: "Bannard's color is unique and surprising. In the exhibition ... there are pinks and warm reds and cool greens, and all colors confound expectations with their pleasurable seriousness. After all...pink? When I think of a great painter using pink, Philip Guston comes to mind; in his works pink becomes a subversive color. Bannard's pink isn't brash and saturated, but subtle; it looks like a mixed hue. The circle sits solidly in its field, perfectly balanced, slightly above the midpoint of a rectangle slightly taller than square. The pink becomes transcendent."
April 16, 2015
April 16, 2015 - Jennifer Landes for the East Hampton Star
Christine Berry and Martha Campbell started their gallery 18 months ago after working for several years at Spanierman Modern; both moved on around the time of Ira Spainierman’s retirement. As they pursued other opportunities, they realized they had many connections in the art world in common.Read More >>
April 15, 2015 - Altoon Sultan
When I think of minimalist painting, colors that come to mind are primaries and black, as in Mondrian, red/blue/green as in Ellsworth Kelly, white in Robert Ryman: simple clear colors. Robert Mangold uses some offbeat hues, grays and oranges and lemon yellows. But Walter Darby Bannard's color is unique and surprising. In the exhibition at Berry Campbell Gallery "Walter Darby Bannard: Minimal Color Field Paintings, 1958-1965" there are pinks and warm reds and cool greens, and all colors confound expectations with their pleasurable seriousness.Read More >>
April 8, 2015 - Franklin Einspruch for Artcritical
The majority of what I know about art is owed to two things. The first is making a lot of paintings and drawings. The second is conversations with Walter Darby Bannard.Read More >>
March 17, 2015 - Artfix Daily
Berry Campbell is pleased to announce, Walter Darby Bannard: Minimal Color Field Paintings 1958 - 1965 featuring rare paintings and works on paper from the artist’s early years as a painter in New York and New Jersey. Bannard (b. 1934), a leader in the development of Color Field Painting in the late 1950s, has been committed to color-based and expressionist abstraction for over five decades. The exhibition opens on Thursday, March 19 with a reception from 6pm to 8pm. The artist will be in attendance. The exhibition is accompanied by a twenty page catalogue, including fourteen color illustrations and a brief essay, The Shape of Color, written by Walter Darby Bannard.Read More >>
March 17, 2015 - Jeanette M. Smith, MD for JAMA
Painting in typical fashion with a brush only was seemingly too limited in its scope for the inventive mind of abstract painter Dan Christensen (1942-2007). With tools that included spray guns, rollers, and squeegees, he created pictures of festively tinted looping strips resembling ribbons, mysterious wedges of color, and spheres that were all a-shimmer. His painting processes were fascinating in their own right, and in making the bright pictures that epitomize his body of work he may have had more fun than just about anyone else.Read More >>
March 10, 2015
March 9, 2015
Christine Berry, Eric Dever, and Martha Campbell attend Guild Hall's Academy of the Arts Lifetime Achievement Awards Dinner in NYCRead More >>
February 12, 2015 - Sage Cotignola for Hamptons Art Hub
“PERLE FINE” has a solo exhibition beginning February 12 at Berry Campbell in Chelsea. An Opening Reception takes place from 6 to 8 p.m. The exhibition continues through March 14. Perle Fine was at the forefront of the Abstract Expressionist movement in NYC and East Hampton, NY.Read More >>
February 12, 2015 - Mark Segal
The Berry Campbell Gallery in Chelsea will hold an opening tonight from 6 to 8 of an exhibition of work by Perle Fine, an Abstract Expressionist painter who lived in Springs from 1954 until her death in 1988. The show will remain on view through March 14.Read More >>
February 5, 2015 - ArtFix Daily
Berry Campbell is pleased to announce its first exhibition of the paintings of PERLE FINE (1905-1988). The exhibition will include eighteen important paintings and works on paper from the 1950s through the 1970s, including a several paintings from the “Cool Series,” 1961-1963. Berry Campbell announced its representation of the artist last month. The exhibition will be showcased at Berry Campbell on West 24th Street in Chelsea from February 12 through March 14, 2015.Read More >>
January 6, 2015 - Coca Art Media on Art.sy
Maine-based American artist Ken Greenleaf in his latest body of works explores the dynamics of human perception by experimenting with the relationships between planes, edges and colors. The following interview is conducted with the artist by COCA Art Media regarding the exhibition of Ken Greenleaf’s recent work at Berry Campbell Gallery, New York, from November 20, 2014, to January 3, 2015.Read More >>
December 20, 2014 - Peter Plagens
The exhibition’s modesty and its adherence to an aesthetic that the current art world has largely consigned to the files of “Been there, done that” shouldn’t be off-putting. Mr. Greenleaf’s recent work radiates sincerity, and not the cheap, sentimental kind. He means what he says in these gritty drawings and carefully calibrated paintings, and the show is worth seeing.Read More >>
December 13, 2014 - Meredith Mendelsohn for 1stdibs | Introspective Magazine
One of Miami Art Week's youngest fairs but also one of it most highly sought out, Miami Project 2014 returns with a tightly curated selection of 70 American galleries and a particular focus on contemporary and mixed-media work.Read More >>
December 11, 2014 - Christine Chu
For artnet's 25th anniversary, the company and 100 friends headed to the rooftop of the Gramercy Park Hotel for a festive night with DJ Premier as MC. The legendary rap producer, DJ, and one half of duo, Gang Starr, energized the crowd with tracks from pop stars Beyoncé to The Human League.Read More >>
December 4, 2014 - Mike Solomon
When the adventure fabulist novel, King Solomon’s Mines, was written in 1885 by H. Rider Haggard, it was promoted in London as “The Most Amazing Book Ever Written,” and it became an immediate best seller. Once the contents at The Solomon Archive become known through a documentary film we are producing about my parents, Syd and Annie Solomon, I’m hoping that a similar response may occur. Their story is certainly an amazing one.Read More >>
December 2, 2014 - James Tarmy
Younger collectors are expected to descend on the city.
“We’re talking under 30 years old,” said Christine Berry of Berry Campbell gallery in New York. “Their money is across the board. It’s self made; it’s inherited; it’s finance. It’s a new generation of collectors.”
November 30, 2014 - Daniel Kany for Portland Press Herald
While I was in New York to see the Leonard Lauder collection of Cubism at the Metropolitan Museum of Art (it actually surpasses its lofty billing), I saw a pair of shows by Mainers Ken Greenleaf and Dan Mills.
While the Nobleboro-based Greenleaf had a notable early New York City career as a sculptor and has shown at Caldbeck and Aucocisco galleries in Maine, more Mainers probably know him as a serious and insightful art critic. An exhibition of his paintings, drawings and collages is now on view at Berry Campbell Gallery in Chelsea.
November 20, 2014 - Stephanie Troy for Dan's Papers
In an entirely different palette, Susan Vecsey’s “White Main Beach,” East Hampton, 2012, is a scene familiar to anyone who braves the ocean beach on an overcast winter’s day. Bathed in whites, with violet tints in the sky and greenish tints in the sand, Vecsey creates a composition that both goes in toward a vanishing point and comes back at you, through the movement in the clouds. The whole inward/outward motion then takes a vertical and horizontal direction from the crosshatching of the linen, on which White Beach, East Hampton is painted.
November 13, 2014
BERRY CAMPBELL is pleased to announce the representation of the estate of Dan Christensen (1942-2007), a leading figure in the Color Field movement, whose relentless experimentation with new tools and materials made him among the most ambitious abstract and gestural artists of his time. Christensen's exuberant art contributes to the gallery's prominent role as a showcase for established and mid-career artists in the modernist tradition. Berry Campbell looks forward to hosting a solo exhibition of Christensen's paintings in 2015.Read More >>
November 13, 2014
Berry Campbell Gallery is pleased to announce its representation of Abstract Expressionist painter Syd Solomon (1917-2004). A curated solo exhibition of the artist’s work will be featured April 23 – May 23, 2015 at the gallery’s Chelsea location. In December 2014, Berry Campbell will participate in Miami Project (December 2-7) during Miami Art Fair Week. The gallery will present Dancing Mile, an important example of Solomon’s work from 1977.
A painter of vibrant, multilayered paintings, Syd Solomon held important roles in the art communities of East Hampton, New York, and Sarasota, Florida.
November 1, 2014
We are pleased to announce that Ann Purcell received three grants from important and highly respected art organizations this past year. In October 2013, Purcell was awarded a grant from the New York Foundation for the Arts. In February 2014 she received a grant from the Joan Mitchell Foundation. Most recently in October 2014 she won a grant from the Adolph and Esther Gottlieb Foundation.Read More >>
October 31, 2014 - New York Times
October 23, 2014
In 1931, when Mrs. Lorenzo E. Woodhouse dedicated Guild Hall as a cultural center for the community, The New York Times noted that Howard Russell Butler’s portrait of Thomas Moran on exhibit was not a loan but an acquisition. “It marks the beginning of a permanent collection which is proposed to build up in Guild Hall,” the newspaper explained.Read More >>
October 9, 2014
Solomon was born near Uniontown, Pennsylvania in 1917. He had a long and varied training as an artist. He began painting in high school in Wilkes Barre, Pennsylvania, where he was an All-American football player. He studied at the Art Institute of Chicago from 1935 to 1938.Read More >>
October 2, 2014
Berry Campbell is pleased to announce the exclusive representation of the estate of Stephen Pace (1918-2010), an artist whose career spanned the last half of the twentieth century. His oeuvre adds to the gallery’s growing presence as a showcase for the work of established and mid-career artists who carry on the modernist tradition. Berry Campbell’s first exhibition of Pace’s art, featuring abstract expressionist paintings from the 1950s, will open on October 16, 2014.Read More >>
October 2, 2014
Berry Campbell Now Representing the Estate of Syd Solomon (1917-2004).
An Abstract Expressionist painter of vibrant, multilayered paintings, Syd Solomon held important roles in the art communities of Sarasota, Florida, and East Hampton, New York.Read More >>
September 30, 2014
Berry Campbell paintings featured at the new LOWY showroom including, Gertrude Greene, Ken Greenleaf, Syd Solomon and William PerehudoffRead More >>
September 9, 2014
SENSORY IMPACT: American Abstract Artists
Panel discussion moderated by Professor, Max Weintraub.
Wednesday, September 17, 2014, 5:30 to 9:00 PM at the Morgan Stanley Global Headquarters, Purchase, New York.
The Panel includes Alice Adams, Christine Berry, Phillis Ideal, Stephen Maine, and Stephen Westfall.Read More >> Download Article (PDF)
August 27, 2014 - Piri Halasz
I have long maintained that abstraction is the most radical art form we have – newer in its ambiguous essence than all the smart little toys that have come along since--such as video, installations and performance. In all of these toys, the representational and/or recognizable are reinstated, which to me is a step back from the true frontier.
But of course, abstraction is tough—not easily assimilated. That is why, despite all of its distinguished history and its many talented practitioners, it is still a minority art form.
On the other hand, you might never guess this essentially beleaguered status from the hundreds of folks who have been streaming through the Chelsea gallery of Berry Campbell, this newest and brightest HQ for quality abstraction.
August 1, 2014 - Meredith Coleman, Mood of Living
Growing up in Los Angeles and now living in Water Mill, NY, Eric Dever, an artist, analyzes and experiments with material and hues, as well as stillness and movement.
In his recent collection of compelling works, Dever’s paintings break through what is stationary and radiate in liberating motion. As Dever says himself, “…while the grid still resides within, each painting emerges into free shapes and tactile surfaces.” Like a rose, which was the inspiring origin of these artworks, the creations flourish.
Eric Dever discovers the intriguing varieties of texture and embraces the boundless possibilities of the extraordinary spectrum of color.
July 30, 2014 - Universal Studios
Eric Dever's paintings are in the new James Brown biopic produced by Mick Jagger for Universal Pictures. The movie opens on Friday, August 8 2014. Stop by the gallery to see his paintings in person.Read More >>
July 10, 2014 - East Hampton Star
An exhibition of paintings by Eric Dever, who lives and works in Water Mill, will open today at the Berry Campbell Gallery in Chelsea and run through Aug. 9. Mr. Dever has pursued intensely focused investigations into the methods and materials of painting for more than a decade. In the past his compositions were largely geometric, including concentric circles graded from dark to light and variations on the grid. His most recent work has broadened into free shapes and tactile surfaces, the starting point for which was a rose in his garden that he deconstructed.Read More >>
July 2, 2014 - Berry Campbell Gallery Press Release
NEW YORK, NEW YORK, July 10, 2014. Berry Campbell is pleased to announce an exhibition of paintings by Eric Dever and Jodie Manasevit. The opening reception will be held on Thursday, July 10 from 6 to 8 pm.Read More >>
June 24, 2014 - Piri Halasz
Berry Campbell is playing host to two solo exhibitions, companionably sharing the same space as the paintings in them alternate along the walls (through July 3).
Both artists are recent graduates (if that’s the word I want) of Spanierman Modern. They have chosen to move to the Chelsea gallery opened just last year by two (likewise) Spanierman grads, Christine Berry and Martha Campbell.
Of the two artists on view at Berry Campbell, Susan Vecsey may be more familiar to the art world at the moment, having been included in Spanierman group shows since 2009, and having had a solo exhibition there in 2010.
June 24, 2014 - Piri Halasz
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).
June 21, 2014 - Franklin Einspruch
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.” 
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.
June 5, 2014 - Artdaily.com
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]
Copyright © artdaily.org
May 17, 2014 - Architectural Digest
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:Read More >>
May 6, 2014 - Karin Lipson for the New York Times
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.Read More >>
May 5, 2014 - Artdaily
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]
Copyright © artdaily.org
April 24, 2014 - Berry Campbell Gallery
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.Read More >> Download Article (PDF)
April 1, 2014
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.Read More >>
March 26, 2014 - Berry Campbell Gallery
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.Read More >>
March 20, 2014 - Alexis Petrosky for Artnet
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.Read More >>
March 7, 2014 - Piri Halasz for Artcritical
In the 1960s they called it “color-field painting” and after 1970, it was increasingly called “modernism,” by which time it attracted less attention. But the artists kept at it. Now, to judge from four overlapping exhibitions of this later period, there may be fresh interest in what they did. “Walter Darby Bannard: Dragon Water,” at Berry Campbell, is up through March 15. Although Bannard was known in the early ‘60s for minimalist paintings, by the 1970s he had shifted to modernism, reveling in its succulent surfaces and offbeat colors. This show is all from the 70s. As is evident from “Pakistani,” he could convey a swinging, curtain-like motion with colors both radiant and restrained: mauve, purple, pale-to-vibrant orange and pale, almost citric lime-yellow. PIRI HALASZRead More >>
March 6, 2014 - Frank and Gertrude Kaiser Art Gallery at Molloy College
The Frank and Gertrude Kaiser Art Gallery at Molloy College is proud to partner with Berry Campbell Gallery in Chelsea to exhibit Edwin Ruda: The Band Paintings, including paintings and works on paper from 1969 to 1972. Through the efforts and generosity of Christine Berry and Martha Campbell, the Kaiser Art Gallery has been fortunate enough to travel the Ruda exhibition.Read More >>
March 4, 2014 - Piri Halasz
Walter Darby Bannard is a hedonist, and proud of it. He believes that the role of art is to give pleasure. It’s not meant to be an intellectual exercise, or political propaganda, or even an illustration of something that it’s not (though he has plenty of room in his lexicon for representational painters, past and present, whose work pleasures the eye, regardless of what else it may or may not do).Read More >>
February 25, 2014 - Berry Campbell Gallery
February 25, 2014, New York, New York -- Edwin Ruda passed away at age 91. Ruda was born in New York City in 1922 and grew up in the East Bronx. He graduated from Cornell University in 1947, having interrupted his studies to enlist in the navy during World War II. In 1949 he received a Master of Arts from Columbia University and spent the following decade studying in Mexico City, teaching at the University of Texas, and completing a Master of Fine Arts at University of Illinois, Urbana-Champaign.Read More >>
February 20, 2014 - Press Release
Washington Art Matters II: 1940s-1980s, opened Saturday, Jan. 25 through Sunday, March 16, is a second opportunity to revisit Washington DC’s most celebrated artists of the 20th century.Read More >>
February 19, 2014 - Artfix Daily
NEW YORK, NEW YORK, February 11, 2014 – Berry Campbell is pleased to announce, Walter Darby Bannard: Dragon Water, featuring sixteen paintings from the 1970s. Bannard, a leader in the development of Color Field Painting in the late 1950s, has been committed to color-based and expressionist abstraction for over five decades. During his undergraduate years at Princeton University, he joined fellow students, the painter Frank Stella and the critic and art historian Michael Fried, in conversations that expanded aesthetic definitions and led to an emphasis on opticality as the defining feature of pictorial art.Read More >>
January 6, 2014
Berry Campbell is pleased to announce Edwin Ruda: The Band Paintings, including sixteen paintings and works on paper from 1969 to 1972.
Unafraid to step beyond stylistic boundaries, Edwin Ruda consistently probed the incongruities and connections between minimalism and the geometric and lyrical modes of abstraction. Ruda’s “band” paintings embody his efforts to reconcile these two divergent forms. The result is an elegant, radiant body of work. Loosening the flow of his paint, Ruda introduced pure and translucent bands of colors that are rarely part of minimalist statements. He then worked through the resulting contradictions without allowing structure or formlessness to dominate.
November 27, 2013 - Britta Konau
A true "boomerang," Ken Greenleaf grew up in Damariscotta and returned to Maine after having lived in New York for 20 years. He has had solo and group shows at various New York galleries, including Tibor de Nagy, and in 1994 participated in a two-person show at the Farnsworth Art Museum with Dozier Bell, who is now his wife.Read More >> Download Article (PDF)