BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Art in America Guide - ECPv6.7.0//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-ORIGINAL-URL:https://artinamericaguide.com
X-WR-CALDESC:Events for Art in America Guide
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/Halifax
BEGIN:DAYLIGHT
TZOFFSETFROM:-0400
TZOFFSETTO:-0300
TZNAME:ADT
DTSTART:20200308T060000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0300
TZOFFSETTO:-0400
TZNAME:AST
DTSTART:20201101T050000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200226
DTEND;VALUE=DATE:20200501
DTSTAMP:20260804T222349
CREATED:20200221T160222Z
LAST-MODIFIED:20200414T194854Z
UID:65502-1582675200-1588291199@artinamericaguide.com
SUMMARY:Viewing Room | Betty Parsons: Heated Sky
DESCRIPTION:Alexander Gray Associates presents its second exhibition of works by Betty Parsons (1900–1982)\, Heated Sky. The paintings and works on paper from the height of Parsons’ engagement with abstraction from the 1960s to mid-1970s foreground the artist’s attunement to nature and the landscape. Parsons’ keen observation of the natural world was the ground for compositional methods ranging from loose biomorphism to geometric order\, always featuring a dynamic sense of color. \n\nExhibition Walkthrough \n\nExhibition video voiced by Rachel Vorsanger\, Collection and Research Manager\, Betty Parsons and William P. Rayner Foundation. \n\nInspired by a visit to the 1913 Armory Show in New York\, Parsons determined to become an artist from a young age\, undertaking training in figurative sculpture and later watercolor. In 1947\, one year after founding the Betty Parsons Gallery\, she made her first abstract painting\, thereby initiating a transformative new direction that would engage her for the next 35 years. \nThe completion of Parsons’ light-filled studio in Southold\, NY\, in 1960 ushered in a decade of work characterized by a simplification of form and color. Designed by architect and artist Tony Smith and overlooking the Long Island Sound\, it fast became the artist’s regular weekend retreat and the site of concentrated art-making. In paintings such as Pasture (1963)\, Parsons combined a monochromatic field of color with free-floating island-like shapes in colors both analogous and complementary. Works from later in the decade introduced line-based compositions as featured in the graphic immediacy of Early Morning (1967)\, with its rhythmic repetition of gold and red stripes interwoven with white\, black\, and gray. Alongside her paintings\, Parsons filled numerous sketchbooks and notebooks with spontaneous observations. Gouaches such as the red\, gold\, and blue Heated Sky (1976) feature highly saturated color and Parsons’ harnessing of the medium’s speed and fluency. \nCounting many of the period’s leading painters among her former and current gallery artists\, Parsons was immersed in the languages of abstract painting. Her own work\, however\, was rooted in the marriage of her powers of observation and interpretation. As she described in an interview with Lawrence Alloway in 1968\, “When I start a painting I try to become a blank and only let an emotion come into me. If I say\, for instance\, I have an idea that I want to paint an atmosphere that I see out of the window\, I try to become a blank when it comes to choice of forms and colors. I go up to the canvas with a brush and suddenly decide and I pick out a gray or brown or whatever the atmosphere is and put it on very spontaneously. That color introduces an idea for another color\, and I go on from there.” \nThe exhibition will be accompanied by a fully-illustrated catalogue\, featuring a new essay by art historian Elizabeth Buhe and an introduction by Rachel Vorsanger\, Collection and Research Manager for the Betty Parsons Foundation. \n\nImage:\nBetty Parsons\nPasture\, 1963\nAcrylic on canvas\n25h x 30w in (63.50h x 76.20w cm)
URL:https://artinamericaguide.com/event/betty-parsons-heated-sky/
LOCATION:Alexander Gray Associates\, 510 W 26th St\, New York\, New York\, 10001\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2020/02/BettyParsons.jpg
GEO:40.7498437;-74.0035881
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Alexander Gray Associates 510 W 26th St New York New York 10001 United States;X-APPLE-RADIUS=500;X-TITLE=510 W 26th St:geo:-74.0035881,40.7498437
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200507
DTEND;VALUE=DATE:20200608
DTSTAMP:20260804T222349
CREATED:20200506T154621Z
LAST-MODIFIED:20200506T154621Z
UID:67559-1588809600-1591574399@artinamericaguide.com
SUMMARY:Artist's Choice: Interconnected
DESCRIPTION: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 opens digitally May 6\, 2020. \n  \nThe choices were 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.”
URL:https://artinamericaguide.com/event/artists-choice-interconnected/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2020/05/dekooning_EDEK_00013_f.jpg
ORGANIZER;CN="Berry Campbell":MAILTO:em@berrycampbell.com
GEO:40.7488193;-74.0052789
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Berry Campbell Gallery 524 W 26th Street New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=524 W 26th Street:geo:-74.0052789,40.7488193
END:VEVENT
END:VCALENDAR