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DTSTART;TZID=America/New_York:20250529T180000
DTEND;TZID=America/New_York:20250529T200000
DTSTAMP:20260506T135748
CREATED:20250513T153246Z
LAST-MODIFIED:20250513T153246Z
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SUMMARY:Lucia Wilcox: LUCIA
DESCRIPTION:Berry Campbell Gallery is thrilled to announce its first exhibition of the work of Lucia Wilcox (1899–1974)\, whose extraordinary life began with her youth in Beirut and unfolded at the center of the Paris and New York art worlds. Lucia Wilcox: LUCIA will focus on her vividly hued and wildly imaginative Surrealist works from 1943 to 1948. Known professionally as “Lucia” (she was married three times)\, she referenced Fauvism\, Primitivism\, and Symbolism\, creating Surrealist compositions that stood apart for their joyous embrace of life\, freedom\, and sensual pleasures.
URL:https://artinamericaguide.com/event/lucia-wilcox-lucia/2025-05-29/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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GEO:40.7488193;-74.0052789
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250522
DTEND;VALUE=DATE:20250629
DTSTAMP:20260506T135748
CREATED:20250513T153245Z
LAST-MODIFIED:20250513T153245Z
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SUMMARY:Lucia Wilcox: LUCIA
DESCRIPTION:Berry Campbell Gallery is thrilled to announce its first exhibition of the work of Lucia Wilcox (1899–1974)\, whose extraordinary life began with her youth in Beirut and unfolded at the center of the Paris and New York art worlds. Lucia Wilcox: LUCIA will focus on her vividly hued and wildly imaginative Surrealist works from 1943 to 1948. Known professionally as “Lucia” (she was married three times)\, she referenced Fauvism\, Primitivism\, and Symbolism\, creating Surrealist compositions that stood apart for their joyous embrace of life\, freedom\, and sensual pleasures.
URL:https://artinamericaguide.com/event/lucia-wilcox-lucia/2025-05-22/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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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
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250417
DTEND;VALUE=DATE:20250518
DTSTAMP:20260506T135748
CREATED:20250418T104512Z
LAST-MODIFIED:20250418T104512Z
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SUMMARY:Mary Ann Unger: Across the Bering Strait
DESCRIPTION:Berry Campbell Gallery is thrilled to announce its first exhibition of the work of Mary Ann Unger (1945 – 1998). Organized in conjunction with the Mary Ann Unger Estate\, the exhibition coincides with a renewal of critical interest in the artist and will include a fully illustrated scholarly exhibition catalogue with essays by Glenn Adamson\, Independent Curator and Author\, and Jess Wilcox\, Independent Curator.
URL:https://artinamericaguide.com/event/mary-ann-unger-across-the-bering-strait/2025-04-17/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Berry Campbell":MAILTO:em@berrycampbell.com
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250313T180000
DTEND;TZID=America/New_York:20250412T180000
DTSTAMP:20260506T135748
CREATED:20250227T200136Z
LAST-MODIFIED:20250227T200136Z
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SUMMARY:Ethel Schwabacher: The Early Sixties
DESCRIPTION:Berry Campbell is pleased to present its second exhibition of works by Ethel Schwabacher (1903-1984). Ethel Schwabacher: The Early Sixties features a selection of paintings and works on paper\, offering a focused exploration of Schwabacher’s artistic production during this pivotal period. Several years ago\, Schwabacher joined the gallery’s roster of women artists whose ambitious\, independent\, and insightful art is essential to a complete historical understanding of the downtown New York art scene from the late 1940s to 1980s. \nThe gallery’s first exhibition of Ethel Schwabacher’s work in 2023 featured paintings from the 1950s. This exhibition highlights Schwabacher’s works from the early 1960s\, a transformative period for the artist in which she transitioned from gestural abstraction to more nuanced exploration of color. This marks a significant evolution in her artistic practice. Many of the works featured have not been on view since they were shown at her 1962 exhibition at Betty Parsons Gallery\, including the large-scale center piece to the show entitled\, Longnook III (1960). Ethel Schwabacher: The Early Sixties focuses on Schwabacher’s unique brand of abstraction\, which is characterized by sweeping broad brushstrokes\, but enhanced with a newfound emphasis on bold\, bright colors. \nPatricia L. Lewy\, writes: “The works on view in the exhibition at the Berry Campbell Gallery\, New York\, in the spring of 2025 mark an exceptional moment in Schwabacher’s artistic formation\, one as distinct from her earlier Abstract Expressionist paintings as they are from her later figurative narratives based on myth and epic poetry. Yet whether working with gesture\, geometry\, or narration\, Schwabacher sought to express her exquisite sensitivity to color and color forms in a visual language that would convert psychic pain—the piercing anguish of personal loss\, abandonment\, and betrayal—into images of calm\, stability\, awe\, and sheer joy.” \nAs part of the resurgence of women artists\, Ethel Schwabacher was one of the twelve artists included in the landmark traveling exhibition Women of Abstract Expressionism organized by the Denver Art Museum in 2016.  She was recently included in Action\, Gesture\, Paint\, at the Whitechapel Gallery in London\, that traveled to the Van Gogh Foundation in Arles\, France\, and the Kunsthalle\, Bielefeld\, Germany. Berry Campbell also presented a solo presentation of Ethel Schwabacher at Frieze Masters London in the Spotlight section curated by Valerie Cassel Oliver\, the Sydney and Frances Lewis Family Curator of Modern and Contemporary Art at the Virginia Museum of Fine Arts. \nBerry Campbell’s exhibition is accompanied by a 32-page fully illustrated catalogue with an essay by Patricia L. Lewy\, Ph.D.\, Director\, Friedel Dzubas Estate Archives. Ethel Schwabacher: The Early Sixties opens with a reception on Thursday\, March 13\, 2025\, 6  – 8 pm and continues through April 12\, 2025. \nGallery hours are Tuesday through Saturday\, 10 am  – 6 pm or by appointment. For further information please call at 212.924.2178 or visit our website at www.berrycampbell.com. Press inquiries should be made to Laurel Megalli\, Sutton Communications at laurel@suttoncomms.com or 212.202.3402.
URL:https://artinamericaguide.com/event/ethel-schwabacher-the-early-sixties/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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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
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250206T080000
DTEND;TZID=America/New_York:20250308T170000
DTSTAMP:20260506T135748
CREATED:20250204T163805Z
LAST-MODIFIED:20250204T163805Z
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SUMMARY:Frank Wimberley: Before More After Less
DESCRIPTION:Berry Campbell is pleased to present its third solo exhibition of 99-year-old African American artist\, Frank Wimberley (b. 1926). Based in Corona\, Queens\, and Sag Harbor\, New York\, Frank Wimberley works in a pure abstract style that comes out of the tradition of the Abstract Expressionist painters\, particularly inspired by Willem de Kooning. Expressionism is a key to Wimberley’s work. Throughout decades of varying art trends\, Frank Wimberley has stayed true to his signature style of painterly and thickly textured works. Wimberley has long believed his approach provides the most authentic means of conveying his personal narrative\, paralleling the artistic expression of his close friend and collector\, legendary jazz musician Miles Davis. \n  \nThis exhibition will include paintings\, sculpture\, and collages that range in date from 1969 to his most recent collage from 2025. Featured in this exhibition is a body of work from the 1990s that is distinguished by the artist’s approach of building up textured surfaces using canvas\, sand\, or other materials. These works\, predominantly composed of blacks\, whites\, and earth tones\, evoke a soft poetic quality. Many of these paintings have not been displayed publicly since their original exhibitions at the Cinque Gallery\, June Kelly Gallery\, and Howard University. \n  \nIn recent years\, Wimberley’s work has continued to receive significant recognition. In 2021\, he had a solo exhibition\, at the Arts Center at Duck Creek in East Hampton\, New York\, and was included in Creating Community: Cinque Gallery Artists at the Art Students League\, New York. In 2023\, his art was featured in Collection Highlights: African-American Art at the Greenville County Museum of Art in South Carolina. Currently\, his work is included in Acts of Art and Rebuttal in Greenwich Village\, a group exhibition at the Bertha and Karl Leubsdorf Gallery at Hunter College\, New York\, on view through March 2025. Recently Frank Wimberley was inducted in the Guild Hall Academy of Arts by Eric Fischl. He is in the collections of the Metropolitan Museum of Art\, the Studio Museum in Harlem\, and the Smithsonian Institution of American Art\, among many other institutions. \nFrank Wimberley: Before More After Less is accompanied by a 68-page exhibition catalogue with a biography by Lisa N. Peters\, PhD. Additionally\, the catalogue will include original text by Frank Wimberley about his work in collage written for a group exhibition at Guild Hall in East Hampton\, New York in 1979. The exhibition will open on Thursday\, February 6 and will run through March 8\, 2025 with an opening reception on Saturday\, February 15\, 2025\, 2 – 4pm.
URL:https://artinamericaguide.com/event/frank-wimberley-before-more-after-less/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Berry Campbell":MAILTO:em@berrycampbell.com
GEO:40.7488193;-74.0052789
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250104T140000
DTEND;TZID=America/New_York:20250104T160000
DTSTAMP:20260506T135748
CREATED:20241227T204234Z
LAST-MODIFIED:20241227T204234Z
UID:111302-1735999200-1736006400@artinamericaguide.com
SUMMARY:Elizabeth Osborne: Landscapes of the Mind's Eye
DESCRIPTION:Berry Campbell is pleased to present its second solo exhibition of paintings by Elizabeth Osborne (b. 1936). Elizabeth Osborne: Landscapes of the Mind’s Eye features twenty five paintings and works on paper\, spanning from 1969 to 2024\, offering a comprehensive survey of the artist’s distinctive approach to landscape painting. Combining emotional resonance with formal innovation\, Osborne’s work explores the intersection of memory\, perception\, and the natural world\, merging abstraction and representation to blur the boundaries between the external landscape and the inner self.
URL:https://artinamericaguide.com/event/elizabeth-osborne-landscapes-of-the-minds-eye/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/12/osborne_OSB_00224_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
BEGIN:VEVENT
DTSTART;VALUE=DATE:20241121
DTEND;VALUE=DATE:20241221
DTSTAMP:20260506T135748
CREATED:20241118T183930Z
LAST-MODIFIED:20241118T183930Z
UID:110683-1732147200-1734739199@artinamericaguide.com
SUMMARY:Nanette Carter: Simply Semiotics
DESCRIPTION:Berry Campbell is pleased to present its second solo exhibition of work by Nanette Carter (b. 1954). Nanette Carter: Simply Semiotics is comprised of 24 recent collages that respond to the fraught political\, social\, and cultural issues of the 21st century. Drawing on influences ranging from African American quilt-making to jazz to Abstract Expressionism\, Nanette Carter constructs an intricate and unique visual symphony using Mylar and oil. The exhibition will be accompanied by a 20-page\, fully illustrated catalogue with an essay by Jason Stopa. \nSix series form the basis of this exhibition: The Group\, Destabilizing\, Shifting Perspectives\, Black and White\, Bright Light\, and Afro Sentinels. With a common visual language\, these series respond to the disequilibrium that permeates every corner of our society.  Consequential issues such as climate change\, America’s racial divisions\, the pandemic\, the rise of far right authoritarianism\, and global war are addressed with a mixture of hope and uncertainty. Stopa says in his essay: “The off-kilter presentation of her works combined with the uncanny surfaces and curvilinear forms present us with a complex set of relations\, which in turn\, mirror back to us our own strange predicament.” \nNanette Carter has received many grants\, fellowships\, and awards including most recently in 2021\, The Anonymous was a Woman Award. Carter has two upcoming solo exhibitions at the Montclair Art Museum\, New Jersey\, opening in late 2024 and at the Wexner Center for the Arts\, Columbus\, Ohio opening in 2025. Berry Campbell exclusively represents Nanette Carter. Nanette Carter: Simply Semiotics opens with a reception Thursday\, November 21\, 2024\, 6 – 8 pm\, and continues through December 20\, 2024.
URL:https://artinamericaguide.com/event/nanette-carter-simply-semiotics/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Berry Campbell":MAILTO:em@berrycampbell.com
GEO:40.7488193;-74.0052789
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240912
DTEND;VALUE=DATE:20241013
DTSTAMP:20260506T135748
CREATED:20240816T211416Z
LAST-MODIFIED:20240816T211416Z
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SUMMARY:Bernice Bing: BINGO
DESCRIPTION:Berry Campbell is proud to present the first New York solo exhibition of Bernice Bing (1936 – 1998)\, a foundational figure among the Bay Area Abstract Expressionists. While she was largely underrecognized during her lifetime\, Bing’s importance has recently been acknowledged on the West Coast through several museum exhibitions. As the exclusive representatives of Bing’s estate\, Berry Campbell mounts a survey of work created between 1961 and 1996\, bringing together seminal large-scale paintings and works on paper\, many which have not been seen for decades. The exhibition is accompanied by a 72-page fully illustrated catalogue featuring an essay by the renowned critic and poet John Yau and a remembrance by Flo Oy Wong\, cofounder of the Asian American Women Artists Association.
URL:https://artinamericaguide.com/event/bernice-bing-bingo/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/08/Bernice-Bing-Image-1-scaled.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
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240627T100000
DTEND;TZID=America/New_York:20240816T180000
DTSTAMP:20260506T135748
CREATED:20240621T134622Z
LAST-MODIFIED:20240621T134622Z
UID:108994-1719482400-1723831200@artinamericaguide.com
SUMMARY:Jill Nathanson: Chord Field
DESCRIPTION:PRESS RELEASE\nFOR IMMEDIATE RELEASE\nBERRY CAMPBELL PRESENTS JILL NATHANSON: CHORD FIELD\nJune 27 – August 16\, 2024 \nNEW YORK\, NEW YORK–Berry Campbell is pleased to present its fourth exhibition of paintings by contemporary Color Field painter\, Jill Nathanson. Using a technique of pouring acrylic polymers\, Nathanson’s paintings are characterized by coloristic inventiveness\, as overlapping layers of translucency create new hues. Her paintings evoke what she calls “color desire\,” as the fluidity of the forms engage us in seeking color resolutions across the pictorial field\, while drawing the viewer to the different spaces these colors occupy as well as the ways in which they attract and repel each other. This exhibition will be comprised of 16 recent paintings by the artist\, including her largest painting to date entitled\, Psalm Harp. \nNathanson became fascinated by Color Field painting when she attended Bennington College in Vermont. She arrived at the school in the mid-1970s\, when it was at the center of Color Field abstraction. Over the last four decades\, Nathanson has deepened her exploration of color dynamics\, seeking to transmit the affective reality of seeing. She courts chaos in her method by 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. \nNathanson was recently included in “Drawn to Color” a permanent collection exhibition at the Museum of Fine Arts\, Houston alongside Helen Frankenthaler\, Mark Rothko\, and Emmi Whitehorse. Additionally\, she was included in “Point of Departure: Abstraction 1958-Present” at the Sheldon Museum of Art\, Lincoln\, Nebraska. Her exhibitions have been reviewed in publications such as ARTnews\, Arts magazine\, The Brooklyn Rail\, The Hudson Review\, and The New York Times among others. Jill Nathanson is represented by Berry Campbell Gallery\, New York. \n“Jill Nathanson: Chord Field” opens with a reception on Thursday\, June 27\, 2024\, from 6 to 8 pm and is accompanied by a 24-page catalogue with an essay by David Rhodes. The exhibition is on view through August 16\, 2024. \nGallery hours are Tuesday through Saturday\, 10 am – 6 pm through July 3rd. Summer hours starting July 8th are Monday through Friday\, 10 am  – 6 pm\, or by appointment. For further information please call the gallery at 212.924.2178 or visit us online at berrycampbell.com. For press inquiries\, please contact berrycampbell@suttoncomms.com. \nABOUT THE GALLERY\nChristine Berry and Martha Campbell opened Berry Campbell Gallery in Chelsea\, New York\, ten years ago. The gallery has a fine-tuned program representing artists of post-war American painting that have been underrepresented or neglected\, particularly the women of Abstract Expressionism. Since its inception\, the gallery has developed a strong on research to bring to light artists overlooked due to age\, race\, gender\, or geography. This unique perspective has been increasingly recognized by curators\, collectors\, and the press. \nIn 2022\, Berry Campbell moved to 524 W 26th Street\, one of the most prestigious blocks in Chelsea. The 9\,000 square foot space was previously inhabited by art world icons such as Paula Cooper Gallery and Robert Miller Gallery.
URL:https://artinamericaguide.com/event/jill-nathanson-chord-field/2024-06-27/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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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
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240530T180000
DTEND;TZID=America/New_York:20240530T200000
DTSTAMP:20260506T135748
CREATED:20240516T203047Z
LAST-MODIFIED:20240516T203047Z
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SUMMARY:Dorothy Dehner: A Retrospective
DESCRIPTION:PRESS RELEASE\nFOR IMMEDIATE RELEASE\nBERRY CAMPBELL PRESENTS DOROTHY DEHNER: A RETROSPECTIVE\nMay 23  – June 22\, 2024 \nNEW YORK\, NEW YORK: Berry Campbell is pleased to present a retrospective of paintings\, drawings\, and sculptures by Dorothy Dehner (1901-1994). Dorothy Dehner: A Retrospective weaves together the story of Dehner’s seventy-year artistic career starting in the 1930s and culminating with several large-scale monumental sculptures from the 1980s and 1990s. This is the first exhibition of this scope and depth on Dehner since a retrospective at the Cleveland Museum of Art\, Ohio\, in 1995. \nThe exhibition begins with an early oil painting of a still life from 1936 and continues with a series iconic ink and watercolor abstract drawings from the 1940s and 1950s using a “wet on wet” technique.  Dorothy Dehner was married to the noted sculptor\, David Smith\, until their divorce in 1950.  While in the marriage\, she felt there could only be one sculptor\, and so it was not until 1952 that she gained the success\, freedom\, and confidence to dare to experiment in new media and her focus shifted entirely to sculpture. This exhibition will feature several early sculptures from the 1950s and 1960s\, mostly created with the lost wax process. \nAn entire gallery will be devoted to her rarely known series of assemblages from the 1970s called I Ching. Louise Nevelson introduced Dehner to John Cage\, whose sounds and theories influenced this body of work. Untitled (I Ching) is totemic in feel\, made from thin wood pieces placed together in rhythmic patterns. Towards the end of her career\, Dehner started working with fabricators to fulfill her dream of making large-scale sculpture. The centerpiece to the exhibition is one the largest she ever created called Prelude and Fugue from 1989\, standing over eight feet tall and eight feet wide made from painted black steel. Demeter’s Harrow (1990) is a large-scale playful sculpture created by connecting geometric forms made from Corten Steel. \nJoan M. Marter\, Ph.D.\, President of the Dorothy Dehner Foundation\, through her research and writing has placed Dehner in the context of other Abstract Expressionists resulting in many recent accolades. In 2023\, Dehner was the feature article in the Woman’s Art Journal\, “Dorothy Dehner and the Women Sculptors Among the Abstract Expressionists\,” which discusses Dehner’s close friendship with Louise Nevelson. Dehner has been included in numerous group exhibitions at the Museum of Modern Art\, New York\, most recently in Making Space: Women Artists and Postwar Abstraction (2017). Dehner’s totemic sculpture “Encounter” is currently on view at the Museum of Modern Art\, New York. \nDehner is situated in the canon of Abstract Expressionist sculptors alongside Nevelson\, Louise Bourgeois\, Herbert Ferber\, Ibram Lassaw\, David Hare\, and David Smith. Her work can be found in the collections of the Museum of Modern Art\, Whitney Museum of American Art\, Metropolitan Museum of Art\, National Museum of Women in the Arts\, Storm King Art Center\, The British Museum\, and Dresden Museum\, among many others. Berry Campbell represents the Dorothy Dehner Foundation. \nDorothy Dehner: A Retrospective is on view at Berry Campbell from May 23 through June 22\, 2024\, with an opening reception on Thursday\, May 30\, 2024\, from 6 to 8 p.m.  The exhibition is accompanied by a 64-page\, fully illustrated catalogue with an introduction by Joan M. Marter\, Ph.D. and a full-length essay by Sophie Lachowsky. The gallery will host a panel discussion led by Dr. Marter on Saturday\, June 1 at 3 p.m. \nGallery hours are Tuesday through Saturday 10 a.m. – 6 p.m. or by request. For further information please call the gallery at 212.924.2178 or visit us online at berrycampbell.com. For press inquiries\, please contact berrycampbell@suttoncomms.com or call 212.202.3402. \nABOUT THE GALLERY\nChristine Berry and Martha Campbell opened Berry Campbell Gallery in Chelsea\, New York\, ten years ago. The gallery has a fine-tuned program representing artists of post-war American painting that have been underrepresented or neglected\, particularly the women of Abstract Expressionism. Since its inception\, the gallery has developed a strong emphasis in research to bring to light artists overlooked due to age\, race\, gender\, or geography. This unique perspective has been increasingly recognized by curators\, collectors\, and the press. \nIn 2022\, Berry Campbell moved to 524 W 26th Street\, one of the most prestigious blocks in Chelsea. The 9\,000 square foot space was previously inhabited by art world icons such as Paula Cooper Gallery and Robert Miller Gallery.
URL:https://artinamericaguide.com/event/dorothy-dehner-a-retrospective/2024-05-30/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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SUMMARY:Dorothy Dehner: A Retrospective
DESCRIPTION:PRESS RELEASE\nFOR IMMEDIATE RELEASE\nBERRY CAMPBELL PRESENTS DOROTHY DEHNER: A RETROSPECTIVE\nMay 23  – June 22\, 2024 \nNEW YORK\, NEW YORK: Berry Campbell is pleased to present a retrospective of paintings\, drawings\, and sculptures by Dorothy Dehner (1901-1994). Dorothy Dehner: A Retrospective weaves together the story of Dehner’s seventy-year artistic career starting in the 1930s and culminating with several large-scale monumental sculptures from the 1980s and 1990s. This is the first exhibition of this scope and depth on Dehner since a retrospective at the Cleveland Museum of Art\, Ohio\, in 1995. \nThe exhibition begins with an early oil painting of a still life from 1936 and continues with a series iconic ink and watercolor abstract drawings from the 1940s and 1950s using a “wet on wet” technique.  Dorothy Dehner was married to the noted sculptor\, David Smith\, until their divorce in 1950.  While in the marriage\, she felt there could only be one sculptor\, and so it was not until 1952 that she gained the success\, freedom\, and confidence to dare to experiment in new media and her focus shifted entirely to sculpture. This exhibition will feature several early sculptures from the 1950s and 1960s\, mostly created with the lost wax process. \nAn entire gallery will be devoted to her rarely known series of assemblages from the 1970s called I Ching. Louise Nevelson introduced Dehner to John Cage\, whose sounds and theories influenced this body of work. Untitled (I Ching) is totemic in feel\, made from thin wood pieces placed together in rhythmic patterns. Towards the end of her career\, Dehner started working with fabricators to fulfill her dream of making large-scale sculpture. The centerpiece to the exhibition is one the largest she ever created called Prelude and Fugue from 1989\, standing over eight feet tall and eight feet wide made from painted black steel. Demeter’s Harrow (1990) is a large-scale playful sculpture created by connecting geometric forms made from Corten Steel. \nJoan M. Marter\, Ph.D.\, President of the Dorothy Dehner Foundation\, through her research and writing has placed Dehner in the context of other Abstract Expressionists resulting in many recent accolades. In 2023\, Dehner was the feature article in the Woman’s Art Journal\, “Dorothy Dehner and the Women Sculptors Among the Abstract Expressionists\,” which discusses Dehner’s close friendship with Louise Nevelson. Dehner has been included in numerous group exhibitions at the Museum of Modern Art\, New York\, most recently in Making Space: Women Artists and Postwar Abstraction (2017). Dehner’s totemic sculpture “Encounter” is currently on view at the Museum of Modern Art\, New York. \nDehner is situated in the canon of Abstract Expressionist sculptors alongside Nevelson\, Louise Bourgeois\, Herbert Ferber\, Ibram Lassaw\, David Hare\, and David Smith. Her work can be found in the collections of the Museum of Modern Art\, Whitney Museum of American Art\, Metropolitan Museum of Art\, National Museum of Women in the Arts\, Storm King Art Center\, The British Museum\, and Dresden Museum\, among many others. Berry Campbell represents the Dorothy Dehner Foundation. \nDorothy Dehner: A Retrospective is on view at Berry Campbell from May 23 through June 22\, 2024\, with an opening reception on Thursday\, May 30\, 2024\, from 6 to 8 p.m.  The exhibition is accompanied by a 64-page\, fully illustrated catalogue with an introduction by Joan M. Marter\, Ph.D. and a full-length essay by Sophie Lachowsky. The gallery will host a panel discussion led by Dr. Marter on Saturday\, June 1 at 3 p.m. \nGallery hours are Tuesday through Saturday 10 a.m. – 6 p.m. or by request. For further information please call the gallery at 212.924.2178 or visit us online at berrycampbell.com. For press inquiries\, please contact berrycampbell@suttoncomms.com or call 212.202.3402. \nABOUT THE GALLERY\nChristine Berry and Martha Campbell opened Berry Campbell Gallery in Chelsea\, New York\, ten years ago. The gallery has a fine-tuned program representing artists of post-war American painting that have been underrepresented or neglected\, particularly the women of Abstract Expressionism. Since its inception\, the gallery has developed a strong emphasis in research to bring to light artists overlooked due to age\, race\, gender\, or geography. This unique perspective has been increasingly recognized by curators\, collectors\, and the press. \nIn 2022\, Berry Campbell moved to 524 W 26th Street\, one of the most prestigious blocks in Chelsea. The 9\,000 square foot space was previously inhabited by art world icons such as Paula Cooper Gallery and Robert Miller Gallery.
URL:https://artinamericaguide.com/event/dorothy-dehner-a-retrospective/2024-05-23/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTEND;VALUE=DATE:20240519
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SUMMARY:Alice Baber: Reverse Infinity
DESCRIPTION:New York\, NY\, March 28\, 2024: Alice Baber (b. 1928\, Charleston\, IL; d. 1982\, New York\, NY) was an artist\, curator\, feminist\, and world traveler\, who lived as both an art world insider and an outsider\, never having gained the full acknowledgement she deserved throughout her lifetime. The first largescale exhibition of Alice Baber’s work in over 40 years\, Alice Baber: Reverse Infinity by Berry Campbell Gallery spotlights a long-overlooked Abstract Expressionist and foundational member of New York City’s Downtown scene. The exhibition will feature paintings by the artist created between 1960 and 1981 and will be accompanied by a 68-page catalogue authored by independent curator Dan Cameron\, marking the first major piece of contemporary scholarship dedicated to Baber’s work. \n  \nGallerists Christine Berry and Martha Campbell first learned about Baber over a decade ago while pouring over gallery rosters from the Downtown era\, pursuing information about every artist listed whose name they did not know. The gallery now holds the largest cache of works from the artist and has played an instrumental role in the market’s recent surge of interest in Baber\, taking her work from just $3k to nearly $700k at auction in November last year. \n  \nFeaturing thinned-down oils and acrylics that act like watercolors\, Baber’s work uncovers the pigments hidden in invisible energies\, transliterating the movements of light and air across limitless space. While her paintings convey a spirit of unencumbered whimsy\, Baber’s enduring commitment to technique and rigorous explorations of color theory are the foundations of her work. As her career progressed\, her painterly investigations became more intentional\, shifting from bold\, free-associative watercolor forms toward a more judicious use of value in works that suggest a more complex\, and perhaps even sinister\, subtext. \n  \nAlthough many of the women of Abstract Expressionism have received belated scholarly and critical recognition in recent years\, a preponderance of artists from this era remain unrecognized due to age\, gender\, location\, ability\, or perceived lack of depth. With Alice Baber: Reverse Infinity\, Berry Campbell continues to correct the historical record by facilitating earnest reappraisals of artists whose work deserves serious critical engagement and positioning within art historical canons.
URL:https://artinamericaguide.com/event/alice-baber-reverse-infinity/2024-04-18/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/New_York:20240314T100000
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SUMMARY:Janice Biala: Paintings\, 1946 to 1986
DESCRIPTION:BERRY CAMPBELL PRESENTS Biala: Paintings\, 1946-1986 \nMarch 14 – April 13\, 2024 \nOpening Reception\, Thursday\, March 21\, 2024\, 6 – 8 pm \n  \n“While other artists shout\, Biala’s canvases whisper. The story they tell is of a near century-long love affair with art\, with the act of creating\, with life as an artist. Isn’t it wonderful\, then\, that through her work Biala has invited us to be part of it.” \n– Mary Gabriel\, Author of Ninth Street Women \n                     \nNEW YORK\, NY – Berry Campbell and the Estate of Janice Biala are pleased to announce a major survey of paintings by Janice Biala (1903-2000). The survey featuring over 30 paintings dating from 1946 to 1986\, marks the largest gallery exhibition of Biala’s work mounted in New York City with many works on view for the first time. A fully illustrated 100-page catalogue accompanies the exhibition which includes introduction by Mary Gabriel\, author of “The Ninth Street Women\,” and essay by Jason Andrew\, manager and curator of the Estate of Janice Biala. This historic presentation coincides with the Grey Art Museum’s seminal exhibition “Americans in Paris\, 1946-1962: Artists Working in Postwar France\, 1946-1962\,” opening March 2 in which Biala will be featured. \n  \nOne of the most inventive artists of the 20th Century\, and the painter most closely aligned with the continuation of a transatlantic Modernist dialogue between Paris and New York\, Janice Biala (1903-2000)\, led a legendary life: a painter recognized for her distinctive style that combined the sublime assimilation of the School of Paris and the gestural virtuosity of the New York School of Abstract Expressionism. \n  \nBiala rose from humble yet tumultuous beginnings as a Jewish immigrant from Russian occupied Poland arriving in New York in 1913 settling among the tenements of the Lower East Side. She claimed the name of her birthplace for her own\, going on to make personal and unique contributions to the rise of Modernism both in Paris and New York. \nHaving spent the decade of the 1930s as the last companion to the English novelist\, Ford Madox Ford\, Biala was the perfect representative of American bohemia in 1930s France and her journey as an artist evolved in tandem with the historic events of the 20th century. \nHighlighting this survey is a pivotal group of paintings dating from 1947 to1952. On view for the first time in New York\, these works were painted by Biala upon her triumphant return to Paris in 1947 aboard the de Grasse\, one of the first passenger transatlantic ships to sail from New York to Europe after World War II. Her return was also a joyous one\, “I still find in France all the things I’d hoped for\,” she wrote her brother Jack Tworkov\, “I’d have no use for Paradise if it wasn’t like France.” These works offer an extraordinary opportunity to see Biala’s close connection to European Modernists like Picasso and Matisse\, both of whom she had frequently met. \n  \n“Though her themes of still life and interiors\, landscapes and portraiture remained constant\, her approach to portraying them evolved\,” writes Jason Andrew in essay for the catalogue accompanying the exhibition: \n  \n“Impressionism is a term rarely used in discussing Biala’s work\, but it fits with her sensitivity and narrative. Never liberal with factual description in her paintings\, Biala pulls us in through a balance of subtle truths—the hard edge of a table\, the soft outline of a figure\, the dark shadow of a building. It’s a tender abstraction that feels lived in\, and one which she honed very early on from her mentor Edwin Dickinson and heightened by the vigilant study of the narratives crafted by Ford Madox Ford.” \n  \nThree of the five major paintings included in the 15th annual Salon Les Surindépendants in 1948 are featured in the exhibition. Biala credited this exhibition for bringing the critical attention that would re-establish her reputation\, leading to gallery representation at Galerie Jeanne Bucher and moreover praise from the staunchly critical French press. \n  \n“Le Louvre\,” 1948\, is among this group and one of the first paintings to fully capture the architecture of Biala’s adopted city. A seminal work\, the painting features a view of the city from the Left Bank looking North across the Seine with views of the Louvre and the Jardins des Champs-Élysées. More specifically\, Pavillon de la Trémoille appears on the upper left and the various rooftops that make up the Louvre filling the horizon. Pont de Arts stretches horizontally through the painting’s center left. Framing the composition is an iron railing in the near foreground. \n  \nAlongside this historic group of paintings\, Berry Campbell will present important large-scale works including multi-paneled paintings which bridge American and European traditions—portraying a synthesis of cultures and emotions. As an example\, the two paneled work “Intérieur à grand plans noirs\, blancs\, rose\,” 1972\, on view for the first time\, embraces Biala’s suggestive approach to space. “Here the continuity of reading the painting from left to right is deprioritized in order to offer multiple vignettes—evocative impressions and multiple views of an interior where angles are represented by juxtaposition of color\,” writes Jason Andrew. \n  \n  \nIn the epic three paneled painting “Les Fleurs\,” 1973\, three differing perspectives vie for sovereignty as each offers an individually composed interior with bold and blocked in color—bare of human presence. Here the flourishing potted flowers bring the personality. \n  \nThe exhibition also features a gallery dedicated to Biala’s works on paper and in particular\, her collage work. As the artist noted\, towards the end of the 1950s\, her transatlantic returns from Paris to New York took their toll on her paintings. So\, she turned her attention to collage. Embracing the “immediate effects\,” which “you can’t possibly get in painting\,” Biala embarked on an intense exploration of the medium. The subjects in Biala’s collages range from intimate interiors to the wild and thrilling portrayal of a cassowary. \n  \nABOUT THE ARTIST \nBiala (b. 1903\, Biala\, Poland; d. September 24\, 2000\, Paris\, France) was a Polish-born American painter known in Paris and New York for her sublime assimilation of the School of Paris and the New York School of Abstract Expressionism. During her eight-decade career\, her work was characterized by a modernist reinterpretation of classical themes of landscapes\, still-life\, and portraiture\, animated gesturally with punctuated brush work held fast by her keen eye for observation. \n  \nAs an immigrant arriving from a Russian-occupied Poland to a Jewish tenement house on the Lower East Side in New York in 1913\, Biala\, then Janice Tworkov\, faced a new culture and adolescence at the same time. Decamping to Greenwich Village with her older brother\, Jack Tworkov\, she became immersed in a bohemian life. Like Jack\, Janice was an avid reader\, with “The Three Musketeers​” being her favorite book. She would later tell French novelist and art theorist André Malraux that it was because of Porthos that she became an artist. \n  \nWhile visiting an exhibition of French painting at the Brooklyn Museum in the Spring of 1921\, Janice discovered the work of Cézanne. She enrolled in classes at the Art Students League and the School of the National Academy of Design. In the fall of 1922\, Janice came upon the work of Edwin Dickinson who inspired her\, in the summer of 1923\, to hitchhike to Provincetown to study with him. \n  \nBy late 1920\, Janice was an established artist with a growing reputation. She was a frequent exhibitor at the G.R.D. Studios (NY)\, a gallery that would fuel the careers of many important American artists. She remained at the forefront of the fledgling art colonies of Provincetown\, MA\, and Woodstock\, NY\, generating close friendships with Dickinson and another prominent American artist\, William Zorach. In fact\, it was at the suggestion of Zorach that Janice changed her name to simply Biala\, after the town where she was born\, so as not to confuse her work with that of her brother. \n  \nDuring a fateful trip to Paris in 1930\, Biala met and fell in love with the English novelist Ford Madox Ford. A formidable figure among writers\, artists and the transatlantic intelligentsia\, Ford introduced Biala to the many artists within his circle forging a new Modernism in France including Constantin Brancusi\, Henri Matisse\, Pablo Picasso\, Ezra Pound\, and Gertrude Stein\, among others. Upon Ford’s death in 1939\, she fled Europe under the growing Nazi threat and in a harrowing feat rescued Ford’s personal library and manuscripts while carrying as much of her own work as she could. \n  \nReturning to New York City\, Biala became a fixture among the rising avant-garde artists living and working around Washington Square. She met and married Daniel “Alain” Brustlein\, a noted illustrator for The New Yorker. While her work was represented by galleries rooted in European Modernism\, namely the Bignou Gallery\, she was one of the few women influencing the rising Abstract Expressionist movement in New York. \n  \nIn October 1947\, Biala and Brustlein boarded the French Line’s de Grasse\, one of the first transatlantic ships to sail to Europe after the war. They settled in Paris but almost immediately began traveling throughout Europe\, encountering the histories of cities such as Rome and Pompeii. This was the beginning of a lifetime split between Paris and New York. In 1949\, she was awarded Honorable Mention at the Prix de la Critique in Paris. \n  \nIn April 1950 in New York City\, Biala was one of only three women—the other two were Louise Bourgeois and Hedda Sterne—invited to attend a private and exclusive discussion known as the Artist’s Session at Studio 35. The Whitney Museum of American Art became the first public institution to acquire Biala’s work in 1955. In April 1956\, a feature article\, “Biala Paints a Picture\,” appeared in Art News with photographs by Rudy Burckhardt. A series of exhibitions in the late 1950s celebrated her newfound embrace of collage. \n  \nDuring the 1960s and into the 1970s\, Biala completed many of her largest scale works to date. These include works that incorporate painting and collage\, expanding on the themes of interiors and portraiture. Variations of the open window\, not unlike Matisse’s “Open Window\, Collioure\,” 1905\, also appear this period. Additionally\, a concert of studies and paintings on Diego Velázquez’s “Equestrian Portrait of Elisabeth of France\,” c.1635\, or “Reine Isabella\,” demonstrate Biala’s continued interest in Velázquez and Spain. Lastly\, views of the storied cities of Poitiers in France and Spoletto in Italy are uniquely associated with these decades as is the incorporation of painted collaged elements. In 1966\, she was awarded Honorable Mention 10th Prix International du Gemmail\, and in 1971\, awarded a Bronze Medal from Prix Paul-Louis Weiller from the Institut de France. \n  \nBiala continued to exhibit internationally during the final decades of her life. Major themes dominating the early part of these final decades include large sweeping landscapes featuring the shores of Provincetown or the sea circling Venice. A return to the architecture of Paris appears in a series of major paintings focused on Notre Dame. Themes of interiors as well as a return to compositions inspired by Velázquez dominate these later years. Her work continued to meld abstraction with imagist concerns. Works are described as “intimate\,” “alluring\,” and “secretive.” \n  \nIn June 1989\, The New York Times published “Three Who Were Warmed by the City of Light” by Michael Brenson featuring Biala\, Joan Mitchell and Shirley Jaffe. Upon her death in 2000\, her obituary appeared in The New York Times written by Roberta Smith. Punctuating her stellar career\, Smith remarked\, “[her art] spanned two art capitals and several generations […] belonging to a trans-Atlantic tradition that included French painters like Matisse\, Bonnard and Marquet\, as well as Milton Avery and Edward Hopper.” \n  \nABOUT THE GALLERY \nChristine Berry and Martha Campbell opened Berry Campbell Gallery in Chelsea\, New York\, ten years ago. The gallery has a fine-tuned program representing artists of post-war American painting that have been underrepresented or neglected\, particularly the women of Abstract Expressionism. Since its inception\, the gallery has developed a strong emphasis in research to bring to light artists overlooked due to age\, race\, gender\, or geography. This unique perspective has been increasingly recognized by curators\, collectors\, and the press. \nLast year\, Berry Campbell moved to 524 W 26th Street\, one of the most prestigious blocks in Chelsea. The 9\,000 square foot space was previously inhabited by art world icons such as Paula Cooper Gallery and Robert Miller Gallery. For further information please call at 212.924.2178\, visit our website at berrycampbell.com\, or email at info@berrycampbell.com.
URL:https://artinamericaguide.com/event/janice-biala-paintings-1946-to-1986/2024-03-14/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/New_York:20240208T100000
DTEND;TZID=America/New_York:20240309T180000
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SUMMARY:Dan Christensen: Calligraphic Stains & Scrapes (Paintings from 1977 to 1984)
DESCRIPTION:Berry Campbell is pleased to present Dan Christensen: Calligraphic Stains & Scrapes (Paintings from 1977 to 1984). The show will run from February 8 – March 9\, 2024. An opening reception will take place February 8 from 6-8pm.
URL:https://artinamericaguide.com/event/dan-christensen-calligraphic-stains-scrapes-paintings-from-1977-to-1984/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/New_York:20240104T100000
DTEND;TZID=America/New_York:20240203T180000
DTSTAMP:20260506T135748
CREATED:20240103T214212Z
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SUMMARY:Perseverance
DESCRIPTION:BERRY CAMPBELL PRESENTS PERSEVERANCE  \nJanuary 4 – February 3\, 2024 \nBerry Campbell is pleased to announce Perseverance\, a curated group exhibition of cross-generational women artists from the gallery’s primary and secondary market programs. This exhibition reflects Berry Campbell’s steadfast dedication to the rediscovery and advancement of women artists and centers on the ongoing aesthetic dialogues between contemporary artists and estates represented by the gallery. \nFeaturing 29 paintings and works on paper\, this exhibition fosters an environment for artwork created across temporal and geographic contexts. Artists included in the exhibition: Mary Abbott (1921-2019); Alice Baber (1928-1982); Janice Biala (1903-2000); Lilian Thomas Burwell (b. 1927); Nanette Carter (b. 1954); Jean Cohen (1928-2012); Elaine de Kooning (1918-1989); Dorothy Dehner (1901-1994); Lynne Drexler (1928-1999); Claire Falkenstein (1908-1997); Perle Fine (1905-1988); Helen Frankenthaler (1928-2011); Sonia Gechtoff (1926-2018); Judith Godwin (1930-2021); Grace Hartigan (1922-2008); Mary Dill Henry (1913-2009); Ida Kohlmeyer (1912-1997); Libbie Mark (1905-1972); Beverly McIver (b. 1962); Emiko Nakano (1925-1990); Jill Nathanson (b. 1955); Elizabeth Osborne (b. 1936); Charlotte Park (1918-2010); Ann Purcell (b. 1941); Ethel Schwabacher (1903-1984); Vivian Springford (1913-2003); Yvonne Thomas (1913-2009); Susan Vecsey (b. 1971); and Joyce Weinstein (b. 1931). \nFor the exhibition checklist\, please email info@berrycampbell.com or visit www.berrycampbell.com. Perseverance opens January 4\, 2024 and is on view through February 3\, 2024. Gallery hours are Tuesday – Saturday\, 10 am – 6 pm or by appointment. \nABOUT THE GALLERY Christine Berry and Martha Campbell opened Berry Campbell Gallery in Chelsea\, New York\, ten years ago. The gallery has a fine-tuned program representing artists of post-war American painting that have been underrepresented or neglected\, particularly the women of Abstract Expressionism. Since its inception\, the gallery has developed a strong emphasis in research to bring to light artists overlooked due to age\, race\, gender\, or geography. This unique perspective has been increasingly recognized by curators\, collectors\, and the press. \nLast year\, Berry Campbell moved to 524 W 26th Street\, one of the most prestigious blocks in Chelsea. The 9\,000 square foot space was previously inhabited by art world icons such as Paula Cooper Gallery and Robert Miller Gallery. \nFor further information please call at 212.924.2178\, visit our website at berrycampbell.com\, or email at info@berrycampbell.com.
URL:https://artinamericaguide.com/event/perseverance/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20231122
DTEND;VALUE=DATE:20231223
DTSTAMP:20260506T135748
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SUMMARY:Larry Zox: Gemini
DESCRIPTION:Berry Campbell proudly presents Gemini\, its third solo exhibition of works by the important Color Field painter\, Larry Zox (1937-2006). The exhibition is accompanied by a 20-page catalogue with an essay by Patricia L Lewy\, Ph.D.\, director of the Friedel Dzubas estate and author of the Friedel Dzubas catalogue raisonné. Gemini\, is comprised of 20 paintings and works on paper from 1963 to 1969 and is on view November 22 – December 22\, 2023. \nZox\, along with Frank Stella and Kenneth Noland\, played a central role in the Color Field movement and helped to define geometric abstract painting in the 1960s. Zox uses the framework of hard-edged painting as a starting point. The recurring motif in Zox’s Gemini series\, a flattened four-pointed star\, serves as a visual tool for contemplating color relationships and tensions. With an expert understanding of color and their relationships to each other\, this star motif can shift from dynamic and daring in one painting to ethereal and contemplative in the other. Zox’s Gemini series boldly positions color as the predominant force: it becomes the subject and the verb propelling the story. \nIn a 1968 review for Artforum\, Emily Wasserman eloquently dissected the Gemini series\, noting\, “the range of coloristic effects which these paintings explore—some vastly more surprising and pleasing than others—points to a vital combination in Zox’s work\, where color is not compromised by the needs of structural organization\, but is\, instead\, coordinated with it.” \nZox began to receive attention in the 1960s\, when he was included in several groundbreaking exhibitions of Color Field and Minimalist art\, including Shape and Structure (1965)\, organized by Henry Geldzahler and Frank Stella for Tibor de Nagy\, New York\, and Systemic Painting (1966)\, organized by Lawrence Alloway for the Guggenheim Museum. In 1973–74\, the Whitney’s solo exhibition of Zox’s work gave recognition to his significance in the art scene of the preceding decade. In the following year\, he was represented in the inaugural exhibition of the Hirshhorn Museum\, which acquired fourteen of his works. \nZox is represented in over one hundred museum collections. In addition to the Hirshhorn\, his work is included in the Museum of Modern Art\, New York; the Whitney Museum of American Art\, New York; the Metropolitan Museum of Art New York; the Guggenheim Museum\, New York; the Tate Modern\, London; the Neues Museum\, Bremen\, Germany; the Museum of Fine Arts\, Boston; the Fogg Art Museum\, Harvard University\, Cambridge\, Massachusetts; the Museum of Fine Arts\, Houston; and the Dallas Museum of Art.
URL:https://artinamericaguide.com/event/larry-zox-gemini/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20231019
DTEND;VALUE=DATE:20231119
DTSTAMP:20260506T135748
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SUMMARY:Judith Godwin: Modern Woman
DESCRIPTION:Berry Campbell is pleased to present Modern Woman\, its third solo show with Abstract Expressionist painter\, Judith Godwin (1930-2021). \nWith twenty-three works on display from 1954 to 1959\, Modern Woman reveals Godwin’s distinct style of Abstract Expressionism\, which synthesizes the feminine with the masculine. Godwin creates a symphony of rhythms as ethereal washes in luminous color vibrate against powerful somber tones. Works from this period draw on the female body\, relationships\, and nature. \nThis exhibition is the first time in over sixty years that a show has been devoted exclusively to Godwin’s works from the 1950s. Over sixty years later\, Modern Woman highlights Godwin’s relevance in today’s world and furthers Berry Campbell’s commitment to advancing the legacies of postwar women artists. \nLike many other women artists of her generation\, Godwin received less attention in the mid and late twentieth century from the press and public than her male counterparts. However\, the steadfast creativity and accomplishments of Godwin and other women of her time have become increasingly acknowledged and given overdue consideration. Among the recent efforts at such restitution was the June to September 2016 groundbreaking exhibition\, Women of Abstract Expressionism\, at the Denver Art Museum. Godwin was among twelve artists in the exhibition\, including Lee Krasner\, Joan Mitchell\, Perle Fine\, and Helen Frankenthaler. Godwin’s art has also been represented in recent solo museum exhibitions and written about in numerous publications.  Her works are on view in Action\, Gesture\, Paint\, Women Artists and Global Abstraction (1940-70) which began at the Whitechapel Gallery\, London and is currently at the Fondation Vincent van Gogh\, Arles. \nModern Woman will feature numerous works that have not been seen by the public in over sixty years\, some since her 1960 exhibition at Betty Parsons Sections Eleven. Spirit – Ode to Martha Graham\, 1956\, not only reveals her reverence for her close friend Graham but also employs delicate washes of oil to suggest fleeting bodily movements. To Ann Barclay\, 1955 dedicated to Godwin’s partner at the time\, uses abstraction as a pure language to explore her most intimate relationship. The use of inky black bars in Night\, 1958 serves to ignite the shimmering gold and white tones from the background\, suggesting a radiance only visible at night. \nBerry Campbell has published a 96-page monograph in conjunction with this exhibition. Aliza Edelman\, editor of the Woman’s Art Journal\, wrote the main essay for monograph\, entitled Modern Women\, Dancing Bodies: Judith Godwin’s Abstract Expressionism in the 1950s\, from which the title of this exhibition is taken.  Contributions to the monograph were made by Gwen Chanzit\, curator emerita at the Denver Art Museum\, and Anthony Korner\, former publisher of Artforum.
URL:https://artinamericaguide.com/event/judith-godwin-modern-woman/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20230706
DTEND;VALUE=DATE:20230813
DTSTAMP:20260506T135749
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SUMMARY:Susan Vecsey: Day and Night
DESCRIPTION:NEW YORK\, NEW YORK\, June 27\, 2023—Berry Campbell is pleased to present Day and Night\, its fifth solo show with Susan Vecsey. In 15 new oil paintings\, luminous nocturnes set where the sea meets the sky\, Vecsey continues her exploration of the optical sublime. \nLike all her works\, Vecsey’s recent series of poured paintings is inspired by the topography of eastern Long Island\, and the ever-changing effects of light\, air\, and water on human perception. Stained in soft-edge shades of blue\, orange\, gray\, and white\, Vecsey’s soft-edge abstractions hover at the edge of pure form and illusion. \nVecsey arrives at her minimal compositions through an elaborate series of actions that begins with direct observation and ends with risky improvisation. First\, she creates charcoal sketches in the plein air tradition\, recording the landscapes along the shores of eastern Long Island. Then she moves to the studio. \nUsing tactics from artistic influences including the Tonalists and Josef Albers\, she creates pastel and color studies to achieve the precise effect she envisions. Only then does she begin to pour. \nVecsey describes her distinctive process as “working like a watercolorist with liquefied oil paint.” Using large cups\, she pours her carefully calibrated hues directly on a surface of brown linen. There is no room for error. She does one pour a day on each painting\, building the colors in layers and taking into account the surface\, typically raw Belgian linen. She works on several canvases a day; each can take two or three months to complete. \nDay and Night includes ten paintings on linen\, and five on paper\, all made over the last two years. With just a few bands of color\, each composition opens a different window into perception\, showcasing the precision of Vecsey’s strategic tonal combinations–not to mention her dexterity in an unpredictable process. \nLyrical and mesmerizing\, infused with the hazy air of the Atlantic Ocean\, Vecsey’s paintings offer viewers a portal to the earth’s daily show of color and light. In Untitled (Blue Nocturne)\, five shades of the same color unite at a shifting horizon. Untitled (Gray) evokes the movement of air in motion over the sea. Other works depict the mutable effects of light on blue: Untitled (Blue Nocturne)\, 2023\, dominated by its glowing field in the upper register\, and Untitled (Pale Blue). Untitled (Orange Nocturne) captures that moment when the sun dips just below the horizon\, its fading glow permeating the atmosphere. \nDeeper in hue than Vecsey’s earlier works\, the paintings in Day and Night reward close looking\, as Dr. Lisa N. Peters writes in the catalog. “Seeing a show of Vecsey’s paintings is ultimately an experience of the subtleties of light that often pass us by\, making us aware of nuances we would otherwise miss.” \nSusan Vecsey: Day and Night opens on Thursday\, July 6\, 2023 with an opening reception from 6 p.m. – 8 p.m. and runs through August 12\, 2023.  The exhibition is accompanied by a 20-page catalogue with a biography by Lisa N. Peters\, Ph.D. \nABOUT THE GALLERY\nChristine Berry and Martha Campbell opened Berry Campbell Gallery in the heart of Chelsea on the ground floor in 2013. The gallery has a fine-tuned program representing artists of post-war American painting that have been overlooked or neglected\, particularly women of Abstract Expressionism. Since its inception\, the gallery has developed a strong emphasis in research to bring to light artists overlooked due to age\, race\, gender\, or geography. This unique perspective has been increasingly recognized by curators\, collectors\, and the press. \nBerry Campbell has been included and reviewed in publications such as Architectural Digest\, Art & Antiques\, Art in America\, Artforum\, Artnet News\, Artnews\, The Brooklyn Rail\, Huffington Post\, Hyperallergic\, East Hampton Star\, The Financial Times\, Galerie Magazine\, Luxe Magazine\, The New Criterion\, the New York Times\, Vogue\, and Wall Street Journal. \nIn September 2022\, Berry Campbell moved to 524 West 26th Street. The 9\,000-square-foot gallery houses 4\,500 square feet of exhibition space\, including a skylit main gallery and four smaller galleries\, as well as two private viewing areas\, a full-sized library\, executive offices and substantial on-site storage space. Summer gallery hours are Monday – Friday\, 10 a.m. – 6 p.m. or by appointment. For further information please call at 212.924.2178\, visit our website at www.berrycampbell.com\, or email at info@berrycampbell.com.
URL:https://artinamericaguide.com/event/susan-vecsey-day-and-night/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20230601
DTEND;VALUE=DATE:20230702
DTSTAMP:20260506T135749
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SUMMARY:West Coast Women of Abstract Expressionism
DESCRIPTION:PRESS RELEASE \nBERRY CAMPBELL PRESENTS: WEST COAST WOMEN OF ABSTRACT EXPRESSIONISM \nNEW YORK\, NEW YORK\, June 1\, 2023—Furthering Berry Campbell’s focus on women artists working in the 1950s\, we are pleased to present West Coast Women of Abstract Expressionism\, a group exhibition featuring 24 women artists living and working in the San Francisco Bay Area. After World War II\, the avant-garde art world shifted from Paris to New York\, making the downtown scene in New York the center of the Abstract Expressionist movement. Concurrent with the scene in New York\, San Francisco was its parallel on the West Coast as a bohemian enclave. Much like the few recognized women Abstract Expressionists from the East Coast\, only a handful of women artists from the West Coast have broken into the larger art world canon\, most notably Joan Brown\, Jay DeFeo\, Deborah Remington\, and Sonia Gechtoff. These women are a narrow representation of the robust and diverse community living and working on the West Coast in the 1950s. \nWhen speaking of the freedom that the Bay Area scene granted the women artists during the 1950s\, Gechtoff recalled: \nThere was none of that macho bullshit. When I came to New York I was horrified at how the female artists were being disregarded. I think it was different in San Francisco because there were no commercially viable galleries….It gave us permission to be more experimental.[1] \nGround zero for many of the West Coast women was the California School of Fine Arts (CSFA). Professors like Douglas MacAgy\, Doris (Dorr) Bothwell\, and Clyfford Still were active in the New York scene and brought fresh ideas and a renewed energy to the school. Students who passed through CSFA were Ruth Armer\, Bernice Bing\, Lilly Fenichel\, and Emiko Nakano\, among others. Another center was the University of California\, Berkeley with graduates Jay DeFeo\, Claire Falkenstein\, Zoe Longfield\, and Masako Takahashi. \nThis exhibition highlights the work of recognized artists such as Joan Brown\, Jay DeFeo\, Sonia Gechtoff\, and Deborah Remington\, while bringing to light many of the significant artists that have only recently begun to be receive much-deserved research and recognition. Artists featured are Ruth Armer\, Katherine Barieau\, Bernice Bing\, Adelie Landis Bischoff\, Pamela Boden\, Dorr Bothwell\, Joan Brown\, Marie Johnson Calloway\, Jay DeFeo\, Claire Falkenstein\, Lilly Fenichel\, Sonia Gechtoff\, Nancy Genn\, Ynez Johnson\, Zoe Longfield\, Emiko Nakano\, Irene Pattinson\, Margaret Peterson\, Sonya Rapoport\, Deborah Remington\, Frann Spencer Reynolds\, Nell Sinton\, Masako Takahashi\, and Ruth Wall. \nWest Coast Women of Abstract Expressionism opens with a reception Thursday\, June 1\, 2023\, 6 – 8 p.m. and is on view through July 1\, 2023. The exhibition is accompanied by a 46-page catalogue with an essay by Frances Lazare. Gallery hours are Tuesday through Saturday\, 10 a.m. – 6 p.m. or by appointment. For further information please call at 212.924.2178\, visit our website at www.berrycampbell.com\, or email at info@berrycampbell.com.  \nABOUT THE GALLERY \nChristine Berry and Martha Campbell opened Berry Campbell Gallery in the heart of Chelsea on the ground floor in 2013. The gallery has a fine-tuned program representing artists of post-war American painting that have been overlooked or neglected\, particularly women of Abstract Expressionism. Since its inception\, the gallery has developed a strong emphasis in research to bring to light artists overlooked due to age\, race\, gender\, or geography. This unique perspective has been increasingly recognized by curators\, collectors\, and the press. \nBerry Campbell has been included and reviewed in publications such as Architectural Digest\, Art & Antiques\, Art in America\, Artforum\, Artnet News\, Artnews\, The Brooklyn Rail\, Huffington Post\, Hyperallergic\, East Hampton Star\, The Financial Times\, Galerie Magazine\, Luxe Magazine\, The New Criterion\, the New York Times\, Vogue\, and Wall Street Journal. \nIn September 2022\, Berry Campbell moved to 524 West 26th Street. The 9\,000-square-foot gallery houses 4\,500 square feet of exhibition space\, including a skylit main gallery and four smaller galleries\, as well as two private viewing areas\, a full-sized library\, executive offices and substantial on-site storage space. Gallery hours are Tuesday through Saturday\, 10 a.m. – 6 p.m. or by appointment. For further information please call at 212.924.2178\, visit our website at www.berrycampbell.com\, or email at info@berrycampbell.com. \n[1] Sonia Gechtoff quoted in Rosemary Cartens\, “The Divine Dozen: Sonia Gechtoff’s Star Still Shines Brightly\,” June 22\, 2016. https://www.wordsandpaint.com/wildlife-best-stories/divine-dozen-sonia-gechtoff. \n 
URL:https://artinamericaguide.com/event/west-coast-women-of-abstract-expressionism/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20230420
DTEND;VALUE=DATE:20230527
DTSTAMP:20260506T135749
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SUMMARY:Ethel Schwabacher: Woman in Nature (Paintings from the 1950s)
DESCRIPTION:PRESS RELEASE\nFOR IMMEDIATE RELEASE\nBERRY CAMPBELL PRESENTS ETHEL SCHWABACHER: WOMAN IN NATURE (PAINTINGS FROM THE 1950S) \nNEW YORK\, NEW YORK\, April 12\, 2023— Berry Campbell is pleased to present its first exhibition of Abstract Expressionist Ethel Schwabacher (1903-1984). Schwabacher joins the gallery’s stable of women artists whose ambitious\, independent\, and insightful art is essential to a complete historical understanding of the ‘downtown’ art scene in the 1950s. Many of the thirteen works have not been on view since they were shown at one of her five solo exhibitions at Betty Parsons Gallery\, including the large-scale center piece to the show entitled\, Prometheus (1959).  Ethel Schwabacher: Woman in Nature (Paintings from the 1950s) focuses on Schwabacher’s unique brand of abstraction\, which is characterized by both automatic drawing and sweeping brushstrokes that swirl across the surface of the canvas and which explores themes of motherhood\, landscape\, and creativity. \nAs part of the resurgence of women artists\, Ethel Schwabacher was one of the twelve women artists included in the landmark traveling exhibition Women of Abstract Expressionism organized by the Denver Art Museum in 2016.  Concurrently with the Berry Campbell exhibition\, Action! Gesture! Paint! is on view at the Whitechapel Gallery in London featuring 91 international women artists\, including a major Ethel Schwabacher painting from the 1950s. \nBerry Campbell’s exhibition is accompanied by a 26-page catalogue with an essay by Joan M. Marter\, Ph.D. entitled “Woman in Nature.” Ethel Schwabacher: Woman in Nature (Paintings from the 1950s) opens with a reception on Thursday\, April 20\, 2023\, 6 – 8 p.m. and continues through May 26\, 2023. Gallery hours are Tuesday through Saturday\, 10 a.m. – 6 p.m. or by appointment. For further information please call at 212.924.2178\, visit our website at www.berrycampbell.com\, or email at info@berrycampbell.com. \nABOUT THE ARTIST\nEthel Schwabacher (1903-1984) was at the center of the New York art world from the 1940s through the 1960s. She was represented by Betty Parsons Gallery\, the leading showcase for the avant-garde\, where she had five solo exhibitions and was in fourteen group shows. Her friends and acquaintances included leading artists of the era. In addition to painting\, she was a skilled writer and published her first book\, in 1957\, on the life and work of her friend and mentor Arshile Gorky. Her authentic and interpretive account emphasized how Gorky’s Surrealist method\, stressing a “freedom from the purely conscious\,” was of foundational significance to the Abstract Expressionist movement. She also wrote extensively on the nature of art and on the work of other artists\, including the painter John Charles Ford (1929–2014). Schwabacher was featured in Whitney Museum annuals almost every year between 1949 and 1963. Committed to the Civil Rights movement\, she actively opposed segregation in the 1950s and 1960s and expressed the battle for a just humanity as a mythic and epic event in her art. In 1987\, a traveling retrospective of her work was organized by the Zimmerli Art Museum\, Rutgers University. It was curated by the art history professors Greta Berman (Juilliard School) and Mona Hadler (Brooklyn College\, City University of New York)\, both of whom contributed to the show’s catalogue. Schwabacher’s daughter Brenda S. Webster and the poet Judith Emlyn Johnson were the co-editors of a volume containing excerpts from the journal she kept from 1967 to 1980\, Hungry for Light\, published in 1993 by Indiana University Press\, Bloomington. Belonging to the first generation of Abstract Expressionist women artists\, Schwabacher achieved recognition and respect in the New York art world for both her work and her intellect. \nSchwabacher’s works belong to numerous museum collections including the Brooklyn Museum\, New York; the Denver Art Museum\, Colorado; the Jewish Museum\, New York; the Los Angeles County Museum of Art\, California; the Metropolitan Museum of Art\, New York; the Minneapolis Institute of Arts\, Minnesota; the Mint Museum\, North Carolina;  the Philadelphia Museum of Art\, Pennsylvania; San Francisco Museum of Modern Art\, California; Solomon R. Guggenheim Museum\, New York; the Whitney Museum of American Art\, New York\, and the Yale University Art Gallery\, Connecticut. \nABOUT THE GALLERY\nChristine Berry and Martha Campbell opened Berry Campbell Gallery in the heart of Chelsea on the ground floor in 2013. The gallery has a fine-tuned program representing artists of post-war American painting that have been overlooked or neglected\, particularly women of Abstract Expressionism. Since its inception\, the gallery has developed a strong emphasis in research to bring to light artists overlooked due to age\, race\, gender\, or geography. This unique perspective has been increasingly recognized by curators\, collectors\, and the press. \nBerry Campbell has been included and reviewed in publications such as Architectural Digest\, Art & Antiques\, Art in America\, Artforum\, Artnet News\, Artnews\, The Brooklyn Rail\, Huffington Post\, Hyperallergic\, East Hampton Star\, The Financial Times\, Galerie Magazine\, Luxe Magazine\, The New Criterion\, the New York Times\, Vogue\, Wall Street Journal\, and Whitehot Magazine of Contemporary Art. \nIn September 2022\, Berry Campbell moved to 524 West 26th Street. The 9\,000-square-foot gallery houses 4\,500 square feet of exhibition space\, including a skylit main gallery and four smaller galleries\, as well as two private viewing areas\, a full-sized library\, executive offices and substantial on-site storage space. \n 
URL:https://artinamericaguide.com/event/ethel-schwabacher-woman-in-nature-paintings-from-the-1950s/2023-04-20/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20221027
DTEND;VALUE=DATE:20221218
DTSTAMP:20260506T135749
CREATED:20221017T175732Z
LAST-MODIFIED:20221017T175732Z
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SUMMARY:Lynne Drexler: The First Decade (1959-1969)
DESCRIPTION:Berry Campbell Gallery announces Lynne Drexler: The First Decade––a landmark exhibition presented in collaboration with Mnuchin Gallery\, which will survey the seminal paintings Lynne Drexler (1928-1999) created between 1959-1969.
URL:https://artinamericaguide.com/event/lynne-drexler-the-first-decade-1959-1969/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220915
DTEND;VALUE=DATE:20221016
DTSTAMP:20260506T135749
CREATED:20220820T160154Z
LAST-MODIFIED:20220820T160154Z
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SUMMARY:Eric Dever: To Look at Things in Bloom
DESCRIPTION:PRESS RELEASE\nFOR IMMEDIATE RELEASE\nBERRY CAMPBELL GALLERY PRESENTS ERIC DEVER: TO LOOK AT THINGS IN BLOOM \nNEW YORK\, NEW YORK\, August 16\, 2022 – Berry Campbell is pleased to present its third exhibition of paintings by Eric Dever (b. 1962). Eric Dever: To Look at Things in Bloom will feature 19 recent paintings created in the artist’s Water Mill\, New York\, studio. The name Dever chose for this body of work\, To Look at Things in Bloom\, is adapted from a line of verse in the Loveliest of Trees by the English classical scholar and poet\, A. E. Housman (1859-1936). These paintings continue the artist’s exploration of nature\, inspired by his surroundings from his childhood in Los Angeles to his present-day home in Eastern Long Island. \nIn the exhibition catalogue essay\, Gail Levin writes: “Not surprisingly\, Dever’s new pictures do not seek to replicate nature\, but instead vibrate between representation and abstraction\, a kind of rhythmic dance expressing both what he later recalls in his mind’s eye and\, simultaneously\, how exhilarated he feels while he loses himself in nature. He relies upon self-discipline or self-study\, some of which he has absorbed from Patanjali’s Yoga Sutras.  Yet Dever’s very personal observations of nature reflect in part his own journey from Los Angeles\, where he was born in 1962\, and grew up\, to New York City\, where he received his Master of Arts degree in painting at New York University in 1988.” \nEric Dever was the recipient of a 2020 Warhol Foundation/Nature Conservancy-Montauk Project Artist residency and was the 2021/2022 Artist in Residence at the Parrish Art Museum\, Water Mill\, New York.  In 2022\, his painting\, October 10th\, was chosen for the Art in Embassies Program for the United States Embassy Residence in Helsinki\, Finland. In January 2022\, Dever gave a lecture\, Nature into Art\, at the Pollock-Krasner House and Study Center\, East Hampton\, New York.  Recently the Heckscher Museum of Art\, Huntington\, New York\, acquired a painting for its permanent collection. \nEric Dever: To Look at Things in Bloom will open with a reception on Thursday\, September 15\, 2022\, 6 – 8 p.m. at Berry Campbell’s 530 W 24th Street location and continues through October 15\, 2022.  This exhibition is accompanied by a 16-page catalogue with an essay by Gail Levin\, Ph.D.\, distinguished professor at Baruch College and the Graduate Center of the City University of New York.  She is the author of Lee Krasner: A Biography and other books. \nABOUT THE GALLERY\nChristine Berry and Martha Campbell opened Berry Campbell Gallery in the heart of Chelsea on the ground floor in 2013. The gallery has a fine-tuned program representing artists of post-war American painting that have been overlooked or neglected\, particularly women of Abstract Expressionism. Since its inception\, the gallery has developed a strong emphasis in research to bring to light artists overlooked due to race\, gender\, or geography. This unique perspective has been increasingly recognized by curators\, collectors\, and the press. \nBerry Campbell has been included and reviewed in publications such as Architectural Digest\, Art & Antiques\, Art in America\, Artforum\, ArtNews\, The Brooklyn Rail\, Huffington Post\, Hyperallergic\, East Hampton Star\, Luxe Magazine\, The New Criterion\, The New York Times\, Vogue\, Wall Street Journal\, and Whitehot Magazine of Contemporary Art. \nBerry Campbell is located in the heart of the Chelsea Art District at 530 West 24th Street\, New York\, NY 10011 and will be moving to a new location at 524 West 26th Street in September 2022. We will inaugurate our new space with a retrospective exhibition of paintings by Elizabeth Osborne\, opening with a reception on Thursday\, September 8\, 2022\, 6 – 8 pm. \nThe final exhibition at our current 530 West 24th Street gallery will feature recent paintings by Eric Dever. The opening reception is Thursday\, September 15\, 2022\, 6 – 8 pm.
URL:https://artinamericaguide.com/event/eric-dever-to-look-at-things-in-bloom/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20220909T180000
DTEND;TZID=America/Halifax:20221015T180000
DTSTAMP:20260506T135749
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SUMMARY:Berry Campbell Exhibition\, Elizabeth Osborne: A Retrospective
DESCRIPTION:Press Release\nBerry Campbell Gallery Presents Elizabeth Osborne | A Retrospective  \nBerry Campbell is pleased to present its first Exhibition of paintings and works on paper by Elizabeth Osborne (b. 1936). Elizabeth Osborne | A Retrospective will feature over thirty paintings and works on paper spanning the artist’s career from 1966 to 2021. The exhibition will be accompanied by a 20-page catalogue with an essay written by Robert Cozzolino\, Patrick and Aimee Butler Curator of Paintings\, at the Minneapolis Museum of Art. \nCozzolino writes in this catalogue: “A ghostly figure looking out from a doorway…vividly clothed\, sensuous figures posed in sparse rooms; land and sky betraying no brush strokes\, horizons to infinity; supernaturally precise still lifes that stop time; charged explorations of the painter’s studio\, the past asserting itself in mirrors; vivid bands of light and color echoing the sounds of the cosmos. Few artists of Elizabeth Osborne’s generation have explored as wide a range of subject matter. Driven by curiosity and an unwillingness to repeat herself\, Osborne has frequently shifted working methods to support new directions. Born and raised in Philadelphia\, Osborne has been the center of its art world\, a critical figure integral to the city’s cultural identity as an educator and as an innovator in her studio. Her art bears the impact of her time in Philadelphia but transcends place\, running with multiple streams of modernism and post-war painting.” \nOsborne earned her BFA from the University of Pennsylvania in 1959 while also attending the Pennsylvania Academy of Fine Arts\, Philadelphia. In the 1950s\, professors at PAFA were both stylistically progressive and conservative\, and Osborne absorbed and employed this dichotomy by mastering their rigorous techniques\, while incorporating avant-garde approaches to paint application. Inspired by contemporaries such as Francis Bacon and Nathan Oliveira\, Osborne found affinity in their alternative to Abstract Expressionism. At the same time\, traumatic losses she endured from her childhood and into her teens continued to reappear throughout her career. Cozzolino observes her grief as present in unexpected ways; ” as figured who seem to be mirages\, objects intimately observed but separated from one another as though unknowable.” \nIn 1972\, Osborne has her first solo exhibition at Mariam Locks’ gallery\, a relationship that would last for fifty years. In works for this show\, Osborne laid canvas on her studio floor\, observing the tenets of Color Field art by pouring paint directly onto unprimed canvas. Unlike her New York and Washington-based contemporaries however\, abstraction was never the goal\, and she instead created crisp\, clear and clean landscapes in assertive colors. “A lot of new and exciting things came together in these paintings\,” she explained. “I was working on a larger scale than ever before in a new medium which was thrilling to use and had a great range. I put aside brushes and oils and worked on unprimed canvas. I wasn’t feeling constrained by [PAFA’s] point of view towards light and form and took liberties with my subject matter. The approach allowed me the freedom to take these forms\, rocks\, vegetation\, water\, mountains\, and push them towards abstraction. It moved me more into that realm than ever before.” \nThroughout the following decades\, Osborne’s exhibitions continued to sell out. Yet she never allowed herself or her work complacency. She used the fluidity of paint to create large scale figurative acrylics and oils in the mid-1970s\, and later developed a technique using watercolor\, in which luminosity and precision are unparalleled. By 2009\, she abandoned place\, figure\, and terrain\, creating abstractions that bring “representation to the brink of dissolution.” Color is presented “as light\, as space\, as itself.” By the mid-2000s\, she returned to the figure with solitary depictions of family and friends\, some of whom have departed. In these works\, she incorporates backgrounds that refer back to her recent abstractions. Osborne shows how she remains “interested in getting very exciting sort of range of paint\, and using thin and heavy areas\, and getting a certain psychological impact with the figure itself. A kind of haunting figure. Something that people will remember and think about. \nElisabeth Osborne | A Retrospective will be the inaugural exhibition at Berry Campbell’s 524 W 26th Street location. The exhibition opens with a reception Thursday\, September 8\, 2022\, 6-8pm. and continues through October 15\, 2022.
URL:https://artinamericaguide.com/event/berry-campbell-exhibition-elizabeth-osborne-a-retrospective/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220908
DTEND;VALUE=DATE:20221016
DTSTAMP:20260506T135749
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SUMMARY:Elizabeth Osborne: A Retrospective
DESCRIPTION:PRESS RELEASE\nFOR IMMEDIATE RELEASE\nBERRY CAMPBELL GALLERY PRESENTS ELIZABETH OSBORNE | A RETROSPECTIVE \nNEW YORK\, NEW YORK\, August 16\, 2022–Berry Campbell is pleased to present its first exhibition of paintings and works on paper by Elizabeth Osborne (b. 1936). Elizabeth Osborne | A Retrospective will feature over thirty paintings and works on paper spanning the artist’s career from 1966 to 2021.  The exhibition will be accompanied by a 20-page catalogue with an essay written by Robert Cozzolino\, Patrick and Aimee Butler Curator of Paintings\, at the Minneapolis Institute of Art. \nCozzolino writes in the catalogue: “A ghostly figure looking out from a doorway…vividly clothed\, sensuous figures posed in sparse rooms; land and sky betraying no brushstrokes\, horizons to infinity; supernaturally precise still lifes that stop time; charged explorations of the painter’s studio\, the past asserting itself in mirrors; vivid bands of light and color echoing the sounds of the cosmos. Few artists of Elizabeth Osborne’s generation have explored as wide a range of subject matter. Driven by curiosity and an unwillingness to repeat herself\, Osborne has frequently shifted working methods to support new directions. Born and raised in Philadelphia\, Osborne has been at the center of its art world\, a critical figure integral to the city’s cultural identity as an educator and as an innovator in her studio. Her art bears the impact of her time in Philadelphia but transcends place\, running with multiple streams of modernism and post-war painting.” \nOsborne earned her BFA from the University of Pennsylvania in 1959 while also attending the Pennsylvania Academy of Fine Arts\, Philadelphia. In the 1950s\, professors at PAFA were both stylistically progressive and conservative\, and Osborne absorbed and employed this dichotomy by mastering their rigorous techniques\, while incorporating avant-garde approaches to paint application.  Inspired by contemporaries such as Francis Bacon and Nathan Oliveira\, Osborne found affinity in their alternative to Abstract Expressionism.  At the same time\, traumatic losses she endured from her childhood and into her teens continued to reappear throughout her career.  Cozzolino observes her grief as present in unexpected ways: “as figures who seem to be mirages\, objects intimately observed but separated from one another as though unknowable.” \nIn 1972\, Osborne had her first solo exhibition at Marian Locks’ gallery\, a relationship that would last for fifty years.  In works for this show\, Osborne laid canvas on the studio floor\, observing the tenets of Color Field art by pouring paint directly onto unprimed canvas.  Unlike her New York and Washington-based contemporaries however\, abstraction was never the goal\, and she instead created crisp\, clear and clean landscapes in assertive colors.  “A lot of new and exciting things came together in these paintings\,” she explained. “I was working on a larger scale than ever before in a new medium which was thrilling to use and had a great range. I put aside brushes and oils and worked on unprimed canvas. I wasn’t feeling constrained by [PAFA’s] point of view towards light and form and took liberties with my subject matter. The approach allowed me the freedom to take these forms\, rocks\, vegetation\, water\, mountains\, and push them towards abstraction. It moved me more into that realm than ever before.” [1] \nThroughout the following decades\, Osborne’s exhibitions continued to sell out.  Yet she never allowed herself or her work complacency. She used the fluidity of paint to create large scale figurative acrylics and oils in the mid-1970s\, and later developed a technique using watercolor\, in which luminosity and precision are unparalleled.  By 2009\, she abandoned place\, figure\, and terrain\, creating abstractions that bring “representation to the brink of dissolution.” Color is presented “as light\, as space\, as itself.” By the mid-2000s\, she returned to the figure with solitary depictions of family and friends\, some of whom have departed.  In these works\, she incorporates backgrounds that refer back to her recent abstractions.  Osborne shows how she remains “interested in getting a very exciting sort of range of paint\, and using thin and heavy areas\, and getting a certain psychological impact with the figure itself. A kind of haunting figure. Something that people really will remember and think about.”[2] \nElizabeth Osborne | A Retrospective will be the inaugural exhibition at Berry Campbell’s 524 W 26th Street location. The exhibition opens with a reception Thursday\, September 8\, 2022\, 6 – 8 p.m. and continues through October 15\, 2022. \nABOUT THE GALLERY\nChristine Berry and Martha Campbell opened Berry Campbell Gallery in the heart of Chelsea on the ground floor in 2013. The gallery has a fine-tuned program representing artists of post-war American painting that have been overlooked or neglected\, particularly women of Abstract Expressionism. Since its inception\, the gallery has developed a strong emphasis in research to bring to light artists overlooked due to race\, gender\, or geography. This unique perspective has been increasingly recognized by curators\, collectors\, and the press. \nBerry Campbell has been included and reviewed in publications such as Architectural Digest\, Art & Antiques\, Art in America\, Artforum\, ArtNews\, The Brooklyn Rail\, Huffington Post\, Hyperallergic\, East Hampton Star\, Luxe Magazine\, The New Criterion\, The New York Times\, Vogue\, Wall Street Journal\, and Whitehot Magazine of Contemporary Art. \nBerry Campbell is located in the heart of the Chelsea Art District at 530 West 24th Street\, New York\, NY 10011 and will be moving to a new location at 524 West 26th Street in September 2022. We will inaugurate our new space with a retrospective exhibition of paintings by Elizabeth Osborne\, opening with a reception on Thursday\, September 8\, 2022\, 6 – 8 pm. \nThe final exhibition at our current 530 West 24th Street gallery is Eric Dever: To Look at Things in Bloom. The opening reception is Thursday\, September 15\, 2022\, 6 – 8 pm. \n[1] Author interview with Elizabeth Osborne\, conducted on July 17\, 2006\, in Philadelphia.\n[2] Oral history interview with Elizabeth Osborne\, 1991 May 24. Archives of American Art\, Smithsonian Institution.
URL:https://artinamericaguide.com/event/elizabeth-osborne-a-retrospective/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20220811T110000
DTEND;TZID=America/Halifax:20220814T180000
DTSTAMP:20260506T135749
CREATED:20220808T165739Z
LAST-MODIFIED:20220808T165739Z
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SUMMARY:Berry Campbell Pop-Up at Ashawagh Hall\, East Hampton
DESCRIPTION:Berry Campbell Gallery is pleased to present its second exhibition at the historic Ashawagh Hall in Springs\, East Hampton\, New York. Community is a group exhibition featuring works by local contemporary artists and historic artists represented by Berry Campbell\, including Alice Baber\, Nanette Carter\, Dan Christensen\, Eric Dever\, Perle Fine\, Raymond Hendler\, John Opper\, Charlotte Park\, Mike Solomon\, Syd Solomon\, Susan Vecsey\, Frank Wimberley\, and Larry Zox. Additional works by Mary Abbott\, Elaine de Kooning\, Grace Hartigan\, Betty Parsons\, Hedda Sterne\, and Lucia Wilcox will be on view. \nAshawagh Hall is located at 780 Springs Fireplace Road in Springs\, East Hampton\, just a few steps from Jackson Pollock and Lee Krasner’s former home (now the Pollock-Krasner House and Study Center). Springs is known as a long-standing artist community\, considered an artistic center for Abstract Expressionist artists like Jackson Pollock\, Lee Krasner\, James Brooks\, Charlotte Park\, Perle Fine\, Willem de Kooning\, Elaine de Kooning\, and Ibram Lassaw. \nCommunity will be on view from Thursday\, August 11 through Sunday\, August 14\, 2022. Ashawagh Hall will be open with special hours: Thursday\, 11 am – 7 pm; Friday\, 11 am – 7 pm; Saturday\, 11 am – 7 pm; Sunday\, 12 pm – 6 pm. For further information\, please call 212.924.2178 or email info@berrycampbell.com. \nABOUT BERRY CAMPBELL \nChristine Berry and Martha Campbell opened Berry Campbell Gallery in the heart of Chelsea on the ground floor in 2013. The gallery has a fine-tuned program representing artists of post-war American painting that have been overlooked or neglected\, particularly women of Abstract Expressionism. Since its inception\, the gallery has developed a strong emphasis in research to bring to light artists overlooked due to race\, gender\, or geography. This unique perspective has been increasingly recognized by curators\, collectors\, and the press. \nBerry Campbell has been included and reviewed in publications such as Architectural Digest\, Art & Antiques\, Art in America\, Artforum\, ArtNews\, The Brooklyn Rail\, Huffington Post\, Hyperallergic\, East Hampton Star\, Luxe Magazine\, The New Criterion\, The New York Times\, Vogue\, Wall Street Journal\, and Whitehot Magazine of Contemporary Art. \nBerry Campbell is located in the heart of the Chelsea Art District at 530 West 24th Street\, New York\, NY 10011 and will be moving to a new location at 524 West 26th Street in September 2022. We will inaugurate our new space with a retrospective exhibition of paintings by Elizabeth Osborne\, opening with a reception on Thursday\, September 8\, 2022\, 6 – 8 pm. \nThe final exhibition at our current 530 West 24th Street gallery will feature recent paintings by Eric Dever. The opening reception is Thursday\, September 15\, 2022\, 6 – 8 pm.
URL:https://artinamericaguide.com/event/berry-campbell-pop-up-at-ashawagh-hall-east-hampton/
LOCATION:Ashawagh Hall\, 780 Springs Fireplace Rd\, East Hampton\, NY\, NY\, 11937\, United States
CATEGORIES:Exhibition,Pop up
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220428T060000
DTEND;TZID=America/Halifax:20220527T080000
DTSTAMP:20260506T135749
CREATED:20220324T205009Z
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SUMMARY:Shape Shifting
DESCRIPTION:Berry Campbell is pleased present its first\nsolo exhibition of work by Nanette Carter (b. 1954) since announcing representation in\n2021. Nanette Carter creates collages\, constructions\, and installations that recall the\nlineage of African American quilt-making\, while drawing on jazz\, Japanese prints\, Russian\nConstructivism\, Abstract Expressionism\, and other sources. She describes herself as a\n“builder\, fascinated by the act of bringing pieces together to create a work of art\,” while\nnoting that “building is one of civilizations’ oldest endeavors.” Carter’s shaped collages\,\nproduced in multimedia on Mylar\, are evocative of concepts in the African American\nabstract art tradition.\nShape Shifting will debut Nanette Carter’s most recent works including several large-scale\nwall collages. The exhibition is accompanied by a 16-page catalogue with an essay by\nAdrienne L. Childs\, Ph.D. The opening reception will be Thursday\, April 28\, 2022\, from 6pm\nto 8pm. The exhibition continues through May 27\, 2022
URL:https://artinamericaguide.com/event/shape-shifting/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220317
DTEND;VALUE=DATE:20220424
DTSTAMP:20260506T135749
CREATED:20220302T205601Z
LAST-MODIFIED:20220302T205601Z
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SUMMARY:Charlotte Park: Works on Paper from the 1950s
DESCRIPTION:PRESS RELEASE \nFOR IMMEDIATE RELEASE \nCHARLOTTE PARK | WORKS ON PAPER FROM THE 1950s OPENS AT BERRY CAMPBELL \n  \nNEW YORK\, NEW YORK\, February 26\, 2022—Berry Campbell is pleased to announce its second solo show of works by Charlotte Park (1918-2010)\, focusing on her work on paper from 1950 to 1959.   For Charlotte Park\, working with paper afforded her a wide means of inquiry.  In the early 1950s\, Park worked in a monochrome palette\, which liberated her to focus on form.  By the mid-1950s however\, she reintroduced color into her art\, evolving a lyrical style\, in which suggestions of the natural world appeared to pulsate with organic life.  Throughout the decade\, Park united painting and drawing\, forming a vocabulary featuring clustered loops\, black curvilinear forms that both define and liberate\, and tensed and sensual anatomical suggestions.   Figurative elements seem to taunt and loom in her art but are either suppressed or diffused.  In the late 1950s\, Park explored collage\, concurrently with her contemporaries Lee Krasner and Conrad Marca-Relli.  For these works\, she drew passages of color from her earlier paintings and works on paper\, setting them in to new contexts.  Berry Campbell represents the Estate of Charlotte Park.  The exhibition opens March 12 and continues through April 23\, 2022. \n  \nBorn in Concord\, Massachusetts\, Park studied from 1935 to 1939 at the Yale School of Fine Art.  She met James Brooks while working at the Office of Strategic Services in Washington\, D.C. during World War II.  The two moved to New York City in 1945\, where Park studied privately with the Australian artist Wallace Harrison.  Brooks and Park soon became part of the circle of Jackson Pollock and his wife Lee Krasner. They rented a studio space that had been occupied by Pollock and joined Pollock and Krasner\, along with other young artists working in new styles\, in establishing studios on Long Island. They stayed first in Montauk\, but after their studio was destroyed by a hurricane in 1954\, they moved to a cottage in Springs\, East Hampton\, which became their full-time residence. \n  \nIn the 1950s\, Park exhibited her work broadly.  She participated in her first group exhibition in 1952 at the Peridot Gallery\, New York.  In 1953\, her work was included in the Whitney Museum of American Art’s painting annual and at Tanager Gallery’s annual exhibition.  From 1954 to 1958 she exhibited in the Stable Gallery’s annual show\, a continuation of the 1951 Ninth Street Show.  Her first solo show was at Tanager Gallery in 1957. In deference to her husband\, however\, she began to withdraw from the art world in the 1960s\, a position many women artists took during this time.  Charlotte Park did not exhibit her work publicly again until 1973 when a solo show of her art was held at the Elaine Benson Gallery in Bridgehampton\, New York. In the twenty years that followed\, she was included in numerous exhibitions on Long Island and in New York City. She was also represented in Seventeen Abstract Artists of East Hampton: The Pollock Years\, 1946-1956\, held in 1979 at the American Cultural Center of the United States Embassy in Paris. In 2003\, Park’s art was featured\, along with that of Dan Christensen and Allan Wexler in the exhibition\, Three East End Artists\, held at the Parrish Art Museum\, Southampton.  In 2013\, the Pollock-Krasner House and Study Center held a solo exhibition of her work. \n  \nLike many women of the Abstract Expressionist movement\, Charlotte Park’s important contributions have only recently been acknowledged.  Park was a steadfast and passionate artist for almost eighty years\, but it was not until a 2010 exhibition at Spanierman Gallery\, New York that Charlotte Park’s paintings and works on paper began to receive a flurry of critical praise.  Writing in the New York Times just before Park died in late 2010\, Roberta Smith called Park “a natural painter and a gifted colorist” who “is as good as several of the artists – both men and women – in the Museum of Modern Art’s current tribute to the movement.”  Overshadowed by the attention given to the work of her husband\, James Brooks\, Park kept a low profile over the course of her career while painting some the strongest and most brilliantly colored canvases of her time.  As Robert Pincus-Witten wrote about her in Artforum in 2011\, “The case of Charlotte Park is exemplary; hers was a major gift all but stifled by a happily embraced domesticity and by the critical bullying of a brutally doctrinaire art world.” Her art is a strong case against the idea prevalent from the 1950s onward that women were incapable of the muscularity and confidence necessary to be action painters. \n  \nIn addition to solo and group shows at Berry Campbell\, New York\, Park’s paintings have been included in a number of museum and gallery exhibitions in recent years\, including Setareh Gallery\, Düsseldorf\, Germany (2018-2019); Columbia Museum of Art\, South Carolina (2019); Kasmin Gallery\, New York (2019); Art Student’s League\, New York (2019); and Parrish Art Museum\, Water Mill\, New York (2021)\, among many others. Park’s work is included in the collections of American University\, Washington D.C.; Columbia Museum of Art\, South Carolina; Guild Hall\, East Hampton\, New York; Parrish Museum of Art\, Water Mill\, New York; Whitney Museum of American Art\, New York; Telfair Museums\, Savannah\, Georgia; and the Yale University Art Gallery\, New Haven\, Connecticut. \n  \nABOUT THE GALLERY\nChristine Berry and Martha Campbell opened Berry Campbell Gallery in the heart of Chelsea on the ground floor in 2013. The gallery has a fine-tuned program representing artists of post-war American painting that have been overlooked or neglected\, particularly women of Abstract Expressionism. Since its inception\, the gallery has developed a strong emphasis in research to bring to light artists overlooked due to race\, gender\, or geography. This unique perspective has been increasingly recognized by curators\, collectors\, and the press. \n  \nBerry Campbell has been included and reviewed in publications such as Architectural Digest\, Art & Antiques\, Art in America\, Artforum\, ArtNews\, The Brooklyn Rail\, Huffington Post\, Hyperallergic\, East Hampton Star\, Luxe Magazine\, The New Criterion\, The New York Times\, Vogue\, Wall Street Journal\, and Whitehot Magazine of Contemporary Art.
URL:https://artinamericaguide.com/event/charlotte-park-works-on-paper-from-the-1950s/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220106
DTEND;VALUE=DATE:20220206
DTSTAMP:20260506T135749
CREATED:20211216T183815Z
LAST-MODIFIED:20211216T183815Z
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SUMMARY:Syd Solomon: Concealed and Revealed
DESCRIPTION:PRESS RELEASE \nFOR IMMEDIATE RELEASE \nSYD SOLOMON: CONCEALED AND REVEALED OPENS AT BERRY CAMPBELL GALLERY \n  \nNEW YORK\, NEW YORK\, DECEMBER 11\, 2022—Berry Campbell is pleased to be the final venue 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 in December of 2019 at The John and Mable Ringling Museum of Art\, Sarasota\, Florida\, and was on view through January 2021.  This special exhibition opens at Berry Campbell on January 6\, 2022 and continues through February 5\, 2022. \n  \nSyd Solomon: Concealed and Revealed consists of 16 paintings and works on paper sourced from the Estate of Syd Solomon. Newly discovered materials from the Solomon Archive 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 furthers the understanding of Syd Solomon’s life and work. \n  \nFollowing the attack on Pearl Harbor\, Syd Solomon voluntarily joined the War effort as a camouflage expert in the United States Army (1941-1945). His camouflage designs were used during the Normandy invasion and in the African campaign and his camouflage instruction manuals were distributed throughout the U.S. 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. \nSolomon 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. \nSyd 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 Emeriti of the Museum of Art\, Fort Lauderdale\, Florida and the Boca Raton Museum of Art\, Boca Raton\, 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. \n  \nBerry Campbell is open Tuesday – Saturday\, 10:00 am to 6:00 pm or by appointment.  To visit the exhibition virtually\, please visit: https://www.youtube.com/watch?v=0f1b8wRQhsw. To purchase the exhibition catalogue\, please email: info@berrycampbell.com. \n  \nABOUT THE GALLERY \nChristine 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. \n  \nBoth art dealers have developed a strong emphasis on research and networking with artists and scholars. 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. \nHighlighting 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.” \n  \nIn addition to Perle Fine\, Judith Godwin\, and Yvonne Thomas\, artists whose work is represented by the gallery include Edward Avedisian\, Walter Darby Bannard\, Stanley Boxer\, Frederick J. Brown\, Lilian Thomas Burwell\, Nanette Carter\, Dan Christensen\, Eric Dever\, Lynne Mapp Drexler\, John Goodyear\, Ken Greenleaf\, Raymond Hendler\, Mary Dill Henry\, Ida Kohlmeyer\, Jill Nathanson\, John Opper\, Elizabeth Osborne\, Stephen Pace\, Charlotte Park\, William Perehudoff\, Ann Purcell\, Mike Solomon\, Syd Solomon\, Albert Stadler\, 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); 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.” \n  \nCollaboration 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. \n  \nBerry Campbell is located in the heart of the Chelsea Art District at 530 West 24th Street\, Ground Floor\, New York\, NY 10011. For further information\, contact us at 212.924.2178\, info@berrycampbell.com or www.berrycampbell.com.
URL:https://artinamericaguide.com/event/syd-solomon-concealed-and-revealed/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20211014
DTEND;VALUE=DATE:20211114
DTSTAMP:20260506T135749
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SUMMARY:Ken Greenleaf: Recent Work
DESCRIPTION:PRESS RELEASE \nFOR IMMEDIATE RELEASE \nBERRY CAMPBELL PRESENTS KEN GREENLEAF: RECENT WORK \n  \nNEW YORK\, NEW YORK\, SEPTEMBER 22\, 2021—Berry Campbell is pleased to present Ken Greenleaf: Recent Work. This special exhibition will feature sixteen new paintings and wall sculptures from the artist’s three new series. Ken Greenleaf is a committed modernist working in the minimalist tradition whose work is embedded in a philosophical and theoretical framework. Most recently\, Greenleaf’s artistic practice has been comprised of three series: Noise Signal\, 3-Body\, and streamlined shaped canvas paintings. Through his work\, Greenleaf continues the engagement with relations between shapes and materials that have been the central focus of his art. While comprised of geometric forms\, Greenleaf’s art has a freeform aspect\, forcing us to mentally organize what we’re seeing into “ideas.” He perceives the edges of his shaped surfaces\, the color of his raw canvases\, and the borders of his painted areas as “direct essays in understanding how we apprehend what we see and how we recognize what is real.” The tension between flatness and the feeling of and desire for illusion in Greenleaf’s art brings us to a place between raw sensation and the conceptual\, which is ultimately a metaphysical one. \n  \nGreenleaf\, whose art has been shown widely at galleries and museums since the early 1970s\, was recently included in Here and There at Cove Street Arts\, Portland\, Maine\, curated by David Row. The exhibition featured sixteen artists who demonstrate and continue the longstanding connection between the art worlds of New York and Maine\, including Katherine Bradford\, Yvonne Jacquette\, Cecily Kahn\, Clair Seidl\, and Don Voisine. \n  \nKen Greenleaf: Recent Work will open with a reception on Thursday\, October 14\, 2021 from 6 to 8 pm. The exhibition continues through November 13\, 2021. This exhibition will be accompanied by a 16-page catalogue with an essay by art critic and historian\, Phyllis Tuchman. Gallery hours are Tuesday – Saturday\, 10 am – 6 pm or by appointment. \n  \nABOUT THE GALLERY \nChristine Berry and Martha Campbell opened Berry Campbell Gallery in the heart of Chelsea on the ground floor in 2013.  The gallery has a fine-tuned program representing artists of post-war American painting that have been over-looked or neglected\, particularly women of Abstract Expressionism.  Since its inception\, the gallery has developed a strong emphasis in research to bring to light artists overlooked due to race\, gender or geography. This unique perspective has been increasingly recognized by curators\, collectors\, and the press.  In March of this year\, Roberta Smith reviewed Ida Kohlmeyer: Cloistered for the New York Times.  This rare group of paintings from the artist’s estate had not been on view together since they were created in the late 1960s. \nBerry and Campbell share a curatorial vision that continues with its contemporary program.  Recently the Museum of Fine Arts\, Houston acquired works by abstract painter\, Jill Nathanson.  Harry Cooper\, senior curator and head of Modern art at the National Gallery of Art\, Washington\, D.C. chose a painting by Judith Godwin from the 1950s to hang in their Abstract Expressionist galleries.  Works by Frank Wimberley were acquired by the Studio Museum in Harlem\, New York and the Smithsonian Museum of American Art\, Washington\, D.C. \nBerry Campbell has been included and reviewed in publications such as the Wall Street Journal\, Artforum\, Art & Antiques\, The Brooklyn Rail\, the Huffington Post\, Hyperallergic\, East Hampton Star\, Artcritical\, and the New Criterion\, the New York Times\, and Whitehot Magazine of Contemporary Art. \nNot only did the program expand\, but in 2015\, the gallery physically expanded\, doubling its size to 2\,000 square feet.  Furthering the ideals of the program\, the gallery recently added the estates of Frederick J. Brown and Mary Dill Henry to its roster. Berry Campbell is located at 530 W 24th Street in the heart of Chelsea\, New York\, on the ground floor.  The gallery is open to the public Tuesday through Saturday\, 10:00 am to 6:00 pm or by appointment.
URL:https://artinamericaguide.com/event/ken-greenleaf-recent-work/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20210708
DTEND;VALUE=DATE:20210821
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SUMMARY:Raymond Hendler: Raymond by Raymond (Paintings 1957-1967)
DESCRIPTION:Berry Campbell is pleased to announce its fourth exhibition of paintings by Raymond Hendler (1923-1998). Raymond Hendler: Raymond by Raymond (Paintings 1957-1967) features paintings created between 1957 and 1967\, a transitional period for Hendler in which the artist moved away from an Abstract Expressionist mode and employed a more stylized line\, producing distinct shapes and symbols. The exhibition is accompanied by a 16-page catalogue with an essay written by Phyllis Braff. Raymond Hendler: Raymond by Raymond (Paintings 1957-1967) opens July 8\, 2021 and continues through August 20\, 2021. Gallery summer hours are Monday – Friday\, 10 am – 6 pm.
URL:https://artinamericaguide.com/event/raymond-hendler-raymond-by-raymond-paintings-1957-1967/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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