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DTSTART;VALUE=DATE:20210603
DTEND;VALUE=DATE:20210703
DTSTAMP:20260804T175913
CREATED: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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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210211
DTEND;VALUE=DATE:20210314
DTSTAMP:20260804T175913
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
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2021/02/henry_MHEN_00116_f.jpg
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DTSTART;VALUE=DATE:20210107
DTEND;VALUE=DATE:20210207
DTSTAMP:20260804T175913
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:20260804T175913
CREATED:20200821T142621Z
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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ORGANIZER;CN="Berry Campbell":MAILTO:em@berrycampbell.com
GEO:40.7488193;-74.0052789
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20200709
DTEND;VALUE=DATE:20200822
DTSTAMP:20260804T175913
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
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2020/06/VEC-00208-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
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20200507
DTEND;VALUE=DATE:20200608
DTSTAMP:20260804T175913
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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ORGANIZER;CN="Berry Campbell":MAILTO:em@berrycampbell.com
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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
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20200319T100000
DTEND;TZID=America/Halifax:20200702T180000
DTSTAMP:20260804T175913
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
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2020/03/KOH-00001.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
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20200109T100000
DTEND;TZID=America/Halifax:20200208T180000
DTSTAMP:20260804T175913
CREATED:20191217T221556Z
LAST-MODIFIED:20200117T183709Z
UID:62721-1578564000-1581184800@artinamericaguide.com
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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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
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20191114T100000
DTEND;TZID=America/Halifax:20191220T180000
DTSTAMP:20260804T175913
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
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/11/ZOX-00064.jpg
ORGANIZER;CN="Berry Campbell":MAILTO:em@berrycampbell.com
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