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DTSTART;VALUE=DATE:20231122
DTEND;VALUE=DATE:20231223
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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:20260803T141938
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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:20260803T141938
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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:20260803T141938
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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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DTSTART;VALUE=DATE:20230420
DTEND;VALUE=DATE:20230527
DTSTAMP:20260803T141938
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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:20260803T141938
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:20260803T141938
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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:20260803T141938
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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:20260803T141938
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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:20260803T141938
CREATED: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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DTSTART;TZID=America/Halifax:20220428T060000
DTEND;TZID=America/Halifax:20220527T080000
DTSTAMP:20260803T141938
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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:20260803T141938
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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DTSTART;VALUE=DATE:20220106
DTEND;VALUE=DATE:20220206
DTSTAMP:20260803T141938
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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BEGIN:VEVENT
DTSTART;VALUE=DATE:20211014
DTEND;VALUE=DATE:20211114
DTSTAMP:20260803T141938
CREATED:20210927T180727Z
LAST-MODIFIED:20210927T180727Z
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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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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210708
DTEND;VALUE=DATE:20210821
DTSTAMP:20260803T141938
CREATED:20210706T135848Z
LAST-MODIFIED:20210706T135848Z
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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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ORGANIZER;CN="Berry Campbell":MAILTO:em@berrycampbell.com
GEO:40.7488193;-74.0052789
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210603
DTEND;VALUE=DATE:20210703
DTSTAMP:20260803T141938
CREATED:20210524T145502Z
LAST-MODIFIED:20210524T145502Z
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SUMMARY:Edward Zutrau: Mandarin (Paintings from the 1950s)
DESCRIPTION:NEW YORK\, NEW YORK\, May 20\, 2021—Berry Campbell is pleased to present its first exhibition of Edward Zutrau (1922-1993) since announcing the representation of his estate in 2019.  After studying and reviewing this important oeuvre\, the gallery decided to dedicate its first exhibition to his abstract expressionist paintings from the 1950s.  This will be the first exhibition held of Zutrau’s work since his death in 1993.  Edward Zutrau: Mandarin (Paintings from the 1950s) opens at Berry Campbell\, New York\, on June 3\, 2021 and continues through July 2\, 2021.
URL:https://artinamericaguide.com/event/edward-zutrau-mandarin-paintings-from-the-1950s/
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;VALUE=DATE:20210211
DTEND;VALUE=DATE:20210314
DTSTAMP:20260803T141938
CREATED:20210202T182324Z
LAST-MODIFIED:20210202T182324Z
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SUMMARY:Mary Dill Henry: Love Jazz
DESCRIPTION:PRESS RELEASE \nFOR IMMEDIATE RELEASE \nMARY DILL HENRY: LOVE JAZZ OPENS AT BERRY CAMPBELL  \n  \nNEW YORK\, NEW YORK\, JANUARY 27\, 2021—Berry Campbell is pleased to announce a rare exhibition of paintings from 1965 to 1970 by Mary Dill Henry (1913-2009).   In her mid-50s by this time\, Henry created her signature style\, synthesizing past and present art movements into bold and striking compositions.  Oscillating shapes form kinetic patterns and Op Art illusions in works from this time.  Influenced by her studies in the 1940s with the Bauhaus artist\, László Moholy-Nagy\, Henry also maintained the utopian ideals associated with Constructivism\, as well the principle behind the de Stijl movement\, that art and life are inseparable. This is Berry Campbell’s first exhibition of paintings by Mary Dill Henry after announcing exclusive representation in November 2020.  Mary Dill Henry: Love Jazz opens on February 11 and closes on March 13\, 2021. \n  \nAfter traveling to Europe in the early 1960s\, Henry moved to Mendocino\, California\, which was beginning to attract artists. In 1966\, after divorcing her husband\, Wilbur\, Henry began to pursue her passion for art full-time. By the mid-1960s\, her stylistic trajectory coincided with the Op Art movement\, which was at a peak in 1965\, when the Museum of Modern Art opened The Responsive Eye. The show presented works of art “less as objects to be examined than as generators of perceptual response in the eye and mind of the viewer.”[1] In Mendocino\, December 11 (1965) black and grey lines at both regular intervals and ninety degree angles create an Op Art illusion as shapes and patterns appear to move and fluctuate. In Love Jazz (1965)\, two abstract hearts seem to beat together in rhythmic unison\, in time with the variously striped patterns that both unite and divide them.  By 1967 she was creating her On/Off series\, featuring round-shaped canvases that\, with a touch of humor\, appear to be actual moving targets\, their concentric circles projecting and receding\, with some seeming to be retreating from the canvas itself.  In Euphoric Concentration (1969) its daringly juxtaposed colors arrest the eye with the immediacy of Pop Art. \n  \nMary’s first solo exhibitions were in 1967 and 1968 at the Ampex Corporation\, in Redwood City. In the summer of 1969\, her first gallery show was held at Arleigh Gallery in San Francisco\, featuring her On/Off paintings. The show was widely reviewed. In an article in the San Francisco Examiner\, titled “It Hurts to Look\,” a critic pronounced: “amid her bright designs\, her colors are so fluorescent that they sear the viewer’s retina.” Reflecting the audacity of Henry’s work in the context of the era\, the reviewer\, who found her paintings “uncomfortable to look at” and “trickily restless\,” wondered if they were “good art?”[2] Among the show’s reviews was one by in Artforum in which Palmer D. French stated that Henry’s pairings of large disc shapes were not obvious\, but instead presented “an ingenious and provocative dialogue of syntactical rhythms.”[3] \n  \nIn 1976\, Henry moved to Everett\, Washington\, to be near her daughter Suzanne\, an English professor at Pacific Lutheran University\, and Suzanne’s husband\, John Rahn\, a professor of composition and music theory at the University of Washington.  In 1982\, Mary Dill Henry settled on Whidbey Island\, Washington\, where she lived alone\, deep in the woods\, for the rest of her life. Yet\, at the same time\, she gained a reputation as one of the leading artists in the Pacific Northwest in the Modernist tradition. In a review in Artforum\, Stephanie Snyder described Henry as a “painter’s painter—devoted to daily practice and the slow development of visual concepts over time.”[4]  Since 1980\, seven retrospectives of her art have been held in the region\, including several museum shows. Among many honors\, she received a Flintridge Award for Visual Artists in 2001 and the Twining Humber Award for Lifetime Achievement\, from the Artist Trust\, in Seattle\, in 2006. Her paintings belong to many public collections\, including the Seattle Art Museum; the Frye Art Museum\, Seattle; the Whatcom Museum\, Bellingham\, Washington; the Tacoma Art Museum; the University of Puget Sound\, Tacoma; the Portland Art Museum\, Oregon; the Sheldon Art Museum\, University of Nebraska\, Lincoln; and the Institute of Design\, Chicago\, as well as corporate art collections\, including Microsoft\, Safeco\, Ampex\, Varian Associates\, and Hewlett-Packard. \n[1]“The Responsive Eye\,” press release\, February 1965. http://www.moma.org/pdfs/docs/press_archives/3439/releases/MOMA_1965_0015_14.pdf?2010\, retrieved August 14\, 2020. \n[2]Alexander Fried\, “It Can Hurt to Look\,” San Francisco Examiner\, July 29\, 1969\, p. 31. \n[3]Palmer D. French\, “San Francisco\,” Artforum 8 (October 1968)\, p. 76. \n[4]Stephanie Snyder\,” Mary Henry\,” Artforum International (June 2015)\, https://www.artforum.com/picks/mary-henry-52932\, accessed November 11\, 2020.
URL:https://artinamericaguide.com/event/mary-dill-henry-love-jazz/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20210107
DTEND;VALUE=DATE:20210207
DTSTAMP:20260803T141938
CREATED:20201216T175753Z
LAST-MODIFIED:20201216T175753Z
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SUMMARY:Jill Nathanson: Light Phrase
DESCRIPTION:PRESS RELEASE\nFOR IMMEDIATE RELEASE\nBERRY CAMPBELL GALLERY PRESENTS JILL NATHANSON: LIGHT PHRASENEW YORK\, NEW YORK\, December 11\, 2020—Berry Campbell Gallery is pleased to announce the start of the 2021 season with a solo exhibition of recent work by New York artist\, Jill Nathanson.  Nathanson’s new paintings continue her exploration of color theory.  Combined with her elaborate process of mixing and pouring paints on to wood panel\, Nathanson stands apart from her contemporaries.  In 2015\, Nathanson was one of six artists in Confronting the Canvas: Women of Abstraction at the Museum of Contemporary Art\, Jacksonville\, Florida\, curated by Jaime DeSimone\, an exhibition focused on new\, experimental approaches to the process of painting. The other participants were Keltie Ferris\, Maya Hayuk\, Fran O’Neill\, Jackie Saccoccio\, and Anke Weyer.  Recently\, the Columbia Museum of Art\, South Carolina\, the Museum of Fine Arts\, Houston\, Texas\, and the Sheldon Museum of Art\, Lincoln\, Nebraska\, have all acquired works by Nathanson this year. \nThis is Berry Campbell’s third exhibition of Jill Nathanson’s paintings.  The exhibition will be accompanied by an online catalogue with an essay by New York based artist and independent arts writer\, Christina Kee. Jill Nathanson: Light Phrase is on view from January 7 through February 6\, 2020 at Berry Campbell’s Chelsea\, New York\, location.  Gallery hours are Tuesday through Saturday\, 10 am – 6 pm or by appointment.
URL:https://artinamericaguide.com/event/jill-nathanson-light-phrase/
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;VALUE=DATE:20200910
DTEND;VALUE=DATE:20201011
DTSTAMP:20260803T141938
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LAST-MODIFIED:20200821T201148Z
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SUMMARY:Edward Avedisian: Reverberations
DESCRIPTION:Berry Campbell Gallery is pleased to announce Edward Avedisian: Reverberations\, a special exhibition of paintings by renowned Color Field artist\, Edward Avedisian (1936-2007). This exhibition is focused on Avedisian’s paintings from the mid-1960s.  The works from this era were created with new exuberant patterns of movement through color contrasts and buoyant relationships of figure and ground.  Along with his contemporaries\, including Jules Olitski\, Kenneth Noland\, Walter Darby Bannard\, Dan Christensen\, Frank Stella\, and Larry Poons\, Avedisian was instrumental in the exploration of new abstract methods to explore the primacy of optical experience\, breaking from the tactility of Abstract Expressionism. He was included in the landmark exhibitions\, Op Art: The Responsive Eye\, organized by the Museum of Modern Art in 1965\, and Expo 67\, held in Montreal. He showed at the prestigious Hansa (1958-59) and Elkon (1960-75) galleries and participated in four annuals at the Whitney Museum of American Art. His works were prominently featured in Artforum (including the magazine’s cover in January 1969)\, Artnews\, and Arts magazines. Currently on view through October at the Museum of Modern Art is The Shape of Shape\, curated by artist\, Amy Sillman. This exhibition is drawn from the museum’s permanent collection\, highlighting works that have rarely been on view. Sillman chose Edward Avedisian’s painting\, The World Has Gone Surfing\, 1963\, originally gifted to the museum by Andy Warhol. Avedisian: Reverberations opens at Berry Campbell’s Chelsea location September 10\, 2020 and will continue through October 10\, 2020. \n\nImage: Edward Avedisian\, Untitled \, c. 1965 Acrylic on canvas\, 80 x 79 1/2 in. (203.2 x 201.9 cm)
URL:https://artinamericaguide.com/event/edward-avedisian-reverberations/
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:20200709
DTEND;VALUE=DATE:20200822
DTSTAMP:20260803T141938
CREATED:20200623T214047Z
LAST-MODIFIED:20200623T214047Z
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SUMMARY:Susan Vecsey: In Between
DESCRIPTION:Berry Campbell Gallery is pleased to announce a special exhibition of recent paintings by Susan Vecsey. The show title\, In Between\, recognizes the contrasting times in which these paintings were created\, before and during the pandemic\, while also referring to the fine line between abstraction and representation in Vecsey’s work. This exhibition will include fifteen new pieces\, including her most recent exploration in to collage. This is Berry Campbell’s fourth exhibition of Susan Vecsey’s work since announcing her representation in 2014. Concurrent with her exhibition at the gallery\, Vecsey is part of a group exhibition at the Nassau County Museum of Art\, Roslyn Harbor\, New York\, entitled\, blue curated by museum director\, Charles A. Riley II\, Ph.D. In addition to Vecsey\, other artists in the show are Helen Frankenthaler\, Yves Klein\, Paul Klee\, and Henri Matisse. This exhibition opens at Berry Campbell’s Chelsea location on July 9\, 2020 and runs through August 21\, 2020.
URL:https://artinamericaguide.com/event/susan-vecsey-in-between/
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:20200507
DTEND;VALUE=DATE:20200608
DTSTAMP:20260803T141938
CREATED:20200506T154621Z
LAST-MODIFIED:20200506T154621Z
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SUMMARY:Artist's Choice: Interconnected
DESCRIPTION:Berry Campbell is pleased to announce Artist’s Choice: Interconnected\, an exclusive online exhibition of works from gallery’s inventory chosen by Berry Campbell’s represented contemporary artists. Eric Dever\, Judith Godwin\, Ken Greenleaf\, Jill Nathanson\, Ann Purcell\, Mike Solomon\, Susan Vecsey\, James Walsh\, Joyce Weinstein\, and Frank Wimberley have thoughtfully selected one work from our gallery inventory that they associate with their own creative process and artistic journey. This artist-curated exhibition is an inquiry into the lines of influence and connections within our Berry Campbell artist community. Artist’s Choice: Interconnected opens digitally May 6\, 2020. \n  \nThe choices were sometimes expected\, and at other times\, surprising.  Some artists were inspired by a painting from an artist they had never met\, and others paid tribute to old friends or mentors.  Judith Godwin recalls good times with her old friend and art dealer\, Betty Parsons.  James Walsh remembers a painting by Walter Darby Bannard from a 1981 show at Knoedler Gallery.  Mike Solomon pays homage to the perseverance of abstract painter and dear friend\, Frank Wimberley saying: “The quiet intermingling of his experience\, with the purity of painting\, gives his abstractions an authenticity and delicacy that is profound to witness.”  Ken Greenleaf favorite is Cloistered #5 (1968) by Ida Kohlmeyer\, delighting in the pure abstraction.  Jill Nathanson picked a color-field forerunner\, Dan Christensen.  Ann Purcell admitted to being picky but found true inspiration after visiting our Yvonne Thomas show repeatedly.  Eric Dever ruminates about Charlotte Park: “Like a favorite poem\, novel or even film\, a painting can be a touchstone\, something one returns to with certain regularity; perhaps a gauge of some kind\, beginning with personal happiness on the occasion of discovery and new revelation as our lives unfold.”  Joyce Weinstein finds parallels with John Opper.  Susan Vecsey loves the ‘stillness and movement’ of Elaine de Kooning’s Six Horses\, Blue Wall (1987).  No coincidence that Vecsey lives down the road from the Elaine de Kooning house in the Hamptons. Frank Wimberley recalls of Herman Cherry: “He was one of the East End artists who wished to me to succeed.”
URL:https://artinamericaguide.com/event/artists-choice-interconnected/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20200319T100000
DTEND;TZID=America/Halifax:20200702T180000
DTSTAMP:20260803T141938
CREATED:20200319T191235Z
LAST-MODIFIED:20200617T203624Z
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SUMMARY:Ida Kohlmeyer: Cloistered
DESCRIPTION:Berry Campbell is pleased to announce a rare exhibition of paintings and sculpture by Ida Kohlmeyer (1912-1997) from the late 1960s. While known for her unique hieroglyphic painting and sculpture from her later career\, Kohlmeyer’s work in Berry Campbell’s current exhibition introduces an organic geometry\, recalling the work of Georgia O’Keeffe\, Agnes Pelton\, and Hilma af Klint.  This is Berry Campbell’s first exhibition of Ida Kohlmeyer since the announcement of the representation of her estate in 2019.  Ida Kohlmeyer: Cloistered will open March 19\, 2020 and will continue through May 23\, 2020.
URL:https://artinamericaguide.com/event/ida-kohlmeyer-cloistered-2/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20200109T100000
DTEND;TZID=America/Halifax:20200208T180000
DTSTAMP:20260803T141938
CREATED:20191217T221556Z
LAST-MODIFIED:20200117T183709Z
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SUMMARY:James Walsh: THE ELEMENTAL
DESCRIPTION:Berry Campbell is pleased to announce an exhibition of recent paintings by James Walsh (b. 1954). An abstract painter who has been an active member of the New York art scene since the early 1980s. Following in the Modernist tradition\, Walsh relentlessly explores the properties and limits of paint and the results of his inquiry are spectacularly wide ranging. Experimenting with innovative acrylic formulas\, Walsh produces large masses of pigment that project outward from the surface of the canvas\, creating unusual forms in high relief. In some works\, the paint is sculptural and three-dimensional\, while in others\, it rises from richly treated surfaces. Although Walsh makes specific compositional choices\, the spontaneous appearance gives his paintings a feeling of the accidental. JAMES WALSH: THE ELEMENTAL opens with a reception on Thursday\, January 9\, 2020 from 6 to 8 pm and will continue through February 8\, 2020.
URL:https://artinamericaguide.com/event/james-walsh-the-elemental/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20191114T100000
DTEND;TZID=America/Halifax:20191220T180000
DTSTAMP:20260803T141938
CREATED:20191105T174728Z
LAST-MODIFIED:20191105T174728Z
UID:61204-1573725600-1576864800@artinamericaguide.com
SUMMARY:Larry Zox: Open Series (1972 - 1975)
DESCRIPTION:NEW YORK\, NEW YORK\, November 2\, 2019—Berry Campbell Gallery is pleased to announce an important exhibition of paintings by legendary Color Field painter\, Larry Zox.  This historic exhibition is focused on his Open Series\, painted from 1972 to 1975\, with several examples that have not been on public display since his retrospective at the Whitney Museum of Art (1973-4). This exhibition is accompanied by an eight page brochure with an essay written by Donald Kuspit\, one of America’s most distinguishd art critics.  The exhibition will open with a reception on Thursday\, November 14\, 2019 from 6 to 8 pm and continues through December 20\, 2019.
URL:https://artinamericaguide.com/event/larry-zox-open-series-1972-1975/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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END:VEVENT
END:VCALENDAR