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DTSTART;VALUE=DATE:20260212
DTEND;VALUE=DATE:20260315
DTSTAMP:20260427T060627
CREATED:20260210T204450Z
LAST-MODIFIED:20260210T204450Z
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SUMMARY:Lilian Thomas Burwell: The Journey
DESCRIPTION:Berry Campbell is pleased to present Lilian Thomas Burwell: The Journey\, the gallery’s third exhibition of Lilian Thomas Burwell (b. 1927). On view from February 12 through March 14\, 2026\, The Journey examines the evolution of Burwell’s practice\, highlighting her evolution from two-dimensional painting into three-dimensional sculpture. The Journey brings together paintings\, wall sculptures\, and installations spanning the 1960s through the 2000s. Central to the exhibition is Burwell’s monumental installation\, Orison Piece (1982). This 24-piece installation is her largest work and marks a pivotal movement into an immersive environment\, in which sculptural viewers to move through and within. \nThe Journey reflects Burwell’s own articulation of her creative path. Both an artist and an art educator\, Burwell balanced teaching with her own studio practice\, viewing education as inseparable from artistic inquiry. Beginning with abstract painting in the early 1960s\, her work evolved into sculptural forms\, as she cut\, shaped\, and constructed wooden elements with painted canvas stretched over them\, creating works that move from the wall into physical space. Throughout her career\, Burwell has understood art as an evolutionary process rooted in intuition and material exploration\, a means of personal and collective survival as well as hope. \nIn recent years\, Burwell’s work has received renewed critical and institutional attention. In December 2022\, she was featured in the New York Times as the “Tom Brady of Artists\,” recognizing her continued artistic activity at the age of 95. In April 2022\, Burwell received a Lifetime Achievement Award from Howard University\, Washington\, D.C.\, where she was honored alongside Betye Saar and Dr. Alvia Wardlaw. Her work was also included in Magnetic Fields: Expanding American Abstraction\, 1960s to Today\, an intergenerational exhibition of 21 Black women abstract artists that traveled from the Kemper Museum of Contemporary Art\, Kansas City\, to the National Museum of Women in the Arts\, Washington\, D.C.\, and the Museum of Fine Arts\, St. Petersburg\, Florida. \nLilian Thomas Burwell: The Journey opens with a reception on February 12\, 2026\, from 6 to 8 pm and continues through March 14\, 2026. The exhibition is accompanied by a 56-page catalogue featuring an essay by Lilian Thomas Burwell\, originally appearing in her 1997 monograph\, The Journey\, published in conjunction with Hampton University Museum\, Virginia.
URL:https://artinamericaguide.com/event/lilian-thomas-burwell-the-journey/
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:20251120
DTEND;VALUE=DATE:20251221
DTSTAMP:20260427T060627
CREATED:20251201T211256Z
LAST-MODIFIED:20251201T211256Z
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SUMMARY:Ibram Lassaw: From Equinox to Solstice
DESCRIPTION:Berry Campbell is pleased to announce its first exhibition of Ibram Lassaw (1913-2003)\, one of the foremost American abstract sculptors of the twentieth century. Lassaw merged technique and form in his process-based “action sculpture”—considered both a counterpart to and an inventive variation on Abstract Expressionist “action painting.” An early advocate of “truth to materials\,” he is best known for his direct-metal\, open-space welded sculptures in which he united both geometric and biomorphic forms. Lassaw’s enduring passion was to explore relationships between space and matter\, reflecting his abiding belief in universal order and cosmic harmony.
URL:https://artinamericaguide.com/event/ibram-lassaw-from-equinox-to-solstice/
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/New_York:20251009T100000
DTEND;TZID=America/New_York:20251115T180000
DTSTAMP:20260427T060627
CREATED:20250930T190435Z
LAST-MODIFIED:20250930T190435Z
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SUMMARY:Lynne Drexler: A Painted Aria
DESCRIPTION:Berry Campbell is pleased to announce Lynne Drexler: A Painted Aria. On view from October 9 through November 15\, 2025\, the exhibition celebrates one of the most impassioned periods in Drexler’s career\, when her lifelong devotion to music became inseparable from her art.  During the mid-1970s\, Drexler visited the Metropolitan Opera as often as three times a week.  Enraptured by the soaring operas of Wagner and the power of Beethoven\, she transformed sound and drama into color\, rhythm\, and form that reverberate with music itself. This exhibition brings together canvases and works on paper from this pivotal period. \nA Painted Aria presents a lesser-known but deeply personal aspect of Drexler’s oeuvre. During this period\, she shifted from nature-inspired subjects to abstractions driven by her passion for opera. A six-month episode of color blindness at the end of 1969 further shaped her practice\, inspiring a turn toward tonal compositions that redefined the movement and structure of her paintings. She often sketched from a desk at The Metropolitan Opera as the music unfolded around her: “It was just the soaring\, the gloriousness of the music.” Her paintings from this period pulse with rhythm\, motion\, and color.  They convey the drama and intensity of the music and reflect what art historian Gail Levin describes as “musical analogies in painting\,” rooted in her earlier training with Hans Hofmann.  Her brushwork often suggests a synesthesia\, as color and form vibrate in response to sound\, aligning her with figures such as Wassily Kandinsky and Vincent Van Gogh\, both of whom she greatly admired. \nFor Drexler\, opera not only offered aesthetic inspiration but an emotional lifeline. The grandeur and drama of Wagner and Beethoven allowed her to transfer personal challenges into a triumphant artistic language.  As Levin writes in the catalogue\, Drexler’s canvases are “a testament to her strong will to express herself and move beyond the catastrophic events that nearly derailed her journey.” \nThis exhibition builds on Berry Campbell’s 2022 presentation in collaboration with Mnuchin Gallery\, Lynne Drexler: The First Decade\, which surveyed her work created between 1959 and 1969. Now\, Berry Campbell shifts focus to this transformative and underexplored chapter of her career. Featuring approximately twenty works from the 1970s\, including six large-scale canvases\, the exhibition offers a view into Drexler’s heightened sense of drama and how music served as both muse and emotional outlet for the artist. \nLynne Drexler: A Painted Aria will open with a reception Thursday\, October 9\, 2025\, 6 – 8 pm\, and will be accompanied by a catalogue with an essay by Gail Levin\, Ph.D. In conjunction with the exhibition\, Berry Campbell will be hosting The Metropolitan Opera for an evening of performances at our West 26th Street Gallery. Additional details will be announced soon. \nGallery hours are Tuesday through Saturday\, 10 am – 6pm or by appointment. For further information please call at 212.924.2178 or visit our website at www.berrycampbell.com. Press inquiries should be made to Laurel Megalli\, Sutton Communications at laurel@suttoncomms.com or 212.202.3402.
URL:https://artinamericaguide.com/event/lynne-drexler-a-painted-aria/
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/New_York:20250905T080000
DTEND;TZID=America/New_York:20251004T170000
DTSTAMP:20260427T060627
CREATED:20250815T165421Z
LAST-MODIFIED:20250815T165421Z
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SUMMARY:MERCEDES MATTER
DESCRIPTION:Berry Campbell is pleased to announce a landmark retrospective of paintings and works on paper by Mercedes Matter (1913-2001). A painter\, educator\, and a key figure in Abstract Expressionism\, Matter is best known for founding the New York Studio School in 1964\, following the publication of her influential essay\, “What’s Wrong with U.S. Art Schools?” in ARTnews. \nThe exhibition presents works spanning Matter’s career\, from early figurative drawings in Hofmann’s classroom to dynamic large-scale canvases and incisive late charcoals. Together\, they reveal an artist of deep formal command and emotional range\, one whose legacy lies not only in her art\, but in her transformative role as founder of the New York Studio School. As Christina Kee says at the end of her essay for the exhibition: “Her works are an offering of a hard-won painter’s space – a place for giving as she was given to.” \nThe exhibition opens September 5\, 2025\, with a reception from 6 to 8 pm\, and remains on view through October 4\, 2025. \nMatter occupies an extraordinary place in postwar American art. As a founding member of the American Abstract Artists group in 1936\, she was among the earliest champions of abstraction in the United States\, working to further understanding of abstract art in an American art world still resistant to this concept. In the 1940s and ’50s\, Matter was at the heart of the New York School\, one of only three female voting members of “The Club.” As a close friend of Hans Hofmann\, Willem de Kooning\, Arshile Gorky\, Lee Krasner\, and Jackson Pollock\, she was a peer whose intellect\, charisma\, and formidable painting practice earned her equal footing in a movement often dominated by men. She helped shape the conversations around Abstract Expressionism\, while producing paintings and drawings of exceptional rigor and vitality. \nHer work\, which straddles the line between representation and abstraction\, reflects a lifelong investigation into the “picture plane\,” the dynamic space where surface meets depth. Abstracted still lifes\, landscapes\, and figure compositions vibrate with her bold brushstrokes\, saturated color\, and structural intelligence. She absorbed the lessons of her father\, modernist painter Arthur Beecher Carles\, and her mentor Hans Hofmann\, but forged her own path\, one that embraced both the intensity of perception and the freedom of abstract form. \nThe exhibition presents works spanning Matter’s career\, from early figurative drawings in Hofmann’s classroom to dynamic large-scale canvases and incisive late charcoals. Together\, they reveal an artist of deep formal command and emotional range\, one whose legacy lies not only in her art\, but in her transformative role as founder of the New York Studio School. As Christina Kee says at the end of her essay for the exhibition: “Her works are an offering of a hard-won painter’s space – a place for giving as she was given to.” \nThis exhibition marks Matter’s first major solo exhibition in New York since her traveling retrospective which opened at Miskin Gallery\, Baruch College (CUNY) that opened in 2009. In conjunction with the exhibition\, Berry Campbell will publish a fully illustrated 40-page exhibition catalogue featuring an essay by Christina Kee.
URL:https://artinamericaguide.com/event/mercedes-matter/
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/2025/08/DSCF5226_1-2.jpg
ORGANIZER;CN="Berry Campbell":MAILTO:em@berrycampbell.com
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250710T180000
DTEND;TZID=America/New_York:20250710T200000
DTSTAMP:20260427T060627
CREATED:20250626T190058Z
LAST-MODIFIED:20250626T190058Z
UID:113789-1752170400-1752177600@artinamericaguide.com
SUMMARY:Eric Dever: Points of Interest
DESCRIPTION:Berry Campbell Gallery is pleased to announce its fourth exhibition of paintings by contemporary artist Eric Dever. Eric Dever: Points of Interest is an exploration into the temporal dimensions of plant life and the ecological impact of climate change. Dever lives and works in Water Mill\, New York\, and often looks to his studio garden for inspiration. His “points of interest” further extend to Water Mill’s surrounding watershed\, regional travel to arboretums and botanical gardens\, nature reserves\, and notable historic vistas\, reflecting a sustained engagement with natural and cultivated environments. \n  \nEric Dever’s paintings teeter between representation and abstraction balancing these two modalities with ease. In some works\, Dever renders botanical forms in clear frontal depictions that are immediately recognizable; in others\, plant forms dissolve into expansive abstractions that appear to spill over the edge of the canvas. This interplay of styles unfolds across the nineteen works in this exhibition\, many of which are Dever’s largest and most ambitious paintings to date. \n  \nAs Dr. Giovanni Aloi states in the exhibition catalogue: “In Eric Dever’s paintings\, time is neither background nor metaphor: it is substance. Just as the garden stages a choreography of slow unfolding\, Dever’s canvases are accumulations of temporal gestures\, each brushstroke a pulse in the continuum of material and spiritual becomings.” \n  \nEric Dever recently had a painting acquired by the Heckscher Museum of Art\, Huntington\, New York\, which was included in The Rains are Changing Fast: Acquisitions in Context. He was also included in Seeing Red: From Renoir to Warhol at the Nassau County Museum of Art\, Roslyn Harbor\, New York\, along with Parrish Perspectives curated by Alicia Longwell at the Parrish Art Museum\, Water Mill\, New York. Additionally\, Dever has participated in the United States Art and Embassies program loaning paintings to Hong Kong\, Macau\, and Helsinki. Dr. Gail Levin and Margery Gosnell-Qua have written about Dever’s paintings\, and Helen Harrison and Patrick Christiano have interviewed the artist. In recent years\, Dever was the recipient of the Andy Warhol Foundation for the Visual Arts residency in Montauk\, New York. Dever is preparing for a solo exhibition at the Greenville County Museum of Art\, South Carolina\, in 2026. \nEric Dever: Points of Interest is on view from July 3\, 2025 through August 15 with a reception on Thursday\, July 10\, 2025 from 6 to 8 pm. Additionally\, Dever will give a gallery tour as part of Berry Campbell’s participation in the Art Dealers Association (ADAA) Tribeca/Chelsea Gallery Walk on Wednesday\, July 16\, 2025 from 6 to 8 pm.  The talk will begin promptly at 7:15pm.
URL:https://artinamericaguide.com/event/eric-dever-points-of-interest/
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/2025/06/GJM3948-A-Large.jpeg
ORGANIZER;CN="Berry Campbell":MAILTO:em@berrycampbell.com
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250529T180000
DTEND;TZID=America/New_York:20250529T200000
DTSTAMP:20260427T060627
CREATED:20250513T153246Z
LAST-MODIFIED:20250513T153246Z
UID:113269-1748541600-1748548800@artinamericaguide.com
SUMMARY:Lucia Wilcox: LUCIA
DESCRIPTION:Berry Campbell Gallery is thrilled to announce its first exhibition of the work of Lucia Wilcox (1899–1974)\, whose extraordinary life began with her youth in Beirut and unfolded at the center of the Paris and New York art worlds. Lucia Wilcox: LUCIA will focus on her vividly hued and wildly imaginative Surrealist works from 1943 to 1948. Known professionally as “Lucia” (she was married three times)\, she referenced Fauvism\, Primitivism\, and Symbolism\, creating Surrealist compositions that stood apart for their joyous embrace of life\, freedom\, and sensual pleasures.
URL:https://artinamericaguide.com/event/lucia-wilcox-lucia/2025-05-29/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/05/WILC_00057_front_2.jpg
ORGANIZER;CN="Berry Campbell":MAILTO:em@berrycampbell.com
GEO:40.7488193;-74.0052789
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Berry Campbell Gallery 524 W 26th Street New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=524 W 26th Street:geo:-74.0052789,40.7488193
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250522
DTEND;VALUE=DATE:20250629
DTSTAMP:20260427T060627
CREATED:20250513T153245Z
LAST-MODIFIED:20250513T153245Z
UID:113267-1747872000-1751155199@artinamericaguide.com
SUMMARY:Lucia Wilcox: LUCIA
DESCRIPTION:Berry Campbell Gallery is thrilled to announce its first exhibition of the work of Lucia Wilcox (1899–1974)\, whose extraordinary life began with her youth in Beirut and unfolded at the center of the Paris and New York art worlds. Lucia Wilcox: LUCIA will focus on her vividly hued and wildly imaginative Surrealist works from 1943 to 1948. Known professionally as “Lucia” (she was married three times)\, she referenced Fauvism\, Primitivism\, and Symbolism\, creating Surrealist compositions that stood apart for their joyous embrace of life\, freedom\, and sensual pleasures.
URL:https://artinamericaguide.com/event/lucia-wilcox-lucia/2025-05-22/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/05/WILC_00057_front_2.jpg
ORGANIZER;CN="Berry Campbell":MAILTO:em@berrycampbell.com
GEO:40.7488193;-74.0052789
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Berry Campbell Gallery 524 W 26th Street New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=524 W 26th Street:geo:-74.0052789,40.7488193
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250417
DTEND;VALUE=DATE:20250518
DTSTAMP:20260427T060627
CREATED:20250418T104512Z
LAST-MODIFIED:20250418T104512Z
UID:112969-1744848000-1747526399@artinamericaguide.com
SUMMARY:Mary Ann Unger: Across the Bering Strait
DESCRIPTION:Berry Campbell Gallery is thrilled to announce its first exhibition of the work of Mary Ann Unger (1945 – 1998). Organized in conjunction with the Mary Ann Unger Estate\, the exhibition coincides with a renewal of critical interest in the artist and will include a fully illustrated scholarly exhibition catalogue with essays by Glenn Adamson\, Independent Curator and Author\, and Jess Wilcox\, Independent Curator.
URL:https://artinamericaguide.com/event/mary-ann-unger-across-the-bering-strait/2025-04-17/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/04/1992_sculpture_across-the-bering-strait-7-mary-ann-unger_ID-0000-2-copy-scaled.jpeg
ORGANIZER;CN="Berry Campbell":MAILTO:em@berrycampbell.com
GEO:40.7488193;-74.0052789
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Berry Campbell Gallery 524 W 26th Street New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=524 W 26th Street:geo:-74.0052789,40.7488193
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250313T180000
DTEND;TZID=America/New_York:20250412T180000
DTSTAMP:20260427T060627
CREATED:20250227T200136Z
LAST-MODIFIED:20250227T200136Z
UID:112359-1741888800-1744480800@artinamericaguide.com
SUMMARY:Ethel Schwabacher: The Early Sixties
DESCRIPTION:Berry Campbell is pleased to present its second exhibition of works by Ethel Schwabacher (1903-1984). Ethel Schwabacher: The Early Sixties features a selection of paintings and works on paper\, offering a focused exploration of Schwabacher’s artistic production during this pivotal period. Several years ago\, Schwabacher joined the gallery’s roster of women artists whose ambitious\, independent\, and insightful art is essential to a complete historical understanding of the downtown New York art scene from the late 1940s to 1980s. \nThe gallery’s first exhibition of Ethel Schwabacher’s work in 2023 featured paintings from the 1950s. This exhibition highlights Schwabacher’s works from the early 1960s\, a transformative period for the artist in which she transitioned from gestural abstraction to more nuanced exploration of color. This marks a significant evolution in her artistic practice. Many of the works featured have not been on view since they were shown at her 1962 exhibition at Betty Parsons Gallery\, including the large-scale center piece to the show entitled\, Longnook III (1960). Ethel Schwabacher: The Early Sixties focuses on Schwabacher’s unique brand of abstraction\, which is characterized by sweeping broad brushstrokes\, but enhanced with a newfound emphasis on bold\, bright colors. \nPatricia L. Lewy\, writes: “The works on view in the exhibition at the Berry Campbell Gallery\, New York\, in the spring of 2025 mark an exceptional moment in Schwabacher’s artistic formation\, one as distinct from her earlier Abstract Expressionist paintings as they are from her later figurative narratives based on myth and epic poetry. Yet whether working with gesture\, geometry\, or narration\, Schwabacher sought to express her exquisite sensitivity to color and color forms in a visual language that would convert psychic pain—the piercing anguish of personal loss\, abandonment\, and betrayal—into images of calm\, stability\, awe\, and sheer joy.” \nAs part of the resurgence of women artists\, Ethel Schwabacher was one of the twelve artists included in the landmark traveling exhibition Women of Abstract Expressionism organized by the Denver Art Museum in 2016.  She was recently included in Action\, Gesture\, Paint\, at the Whitechapel Gallery in London\, that traveled to the Van Gogh Foundation in Arles\, France\, and the Kunsthalle\, Bielefeld\, Germany. Berry Campbell also presented a solo presentation of Ethel Schwabacher at Frieze Masters London in the Spotlight section curated by Valerie Cassel Oliver\, the Sydney and Frances Lewis Family Curator of Modern and Contemporary Art at the Virginia Museum of Fine Arts. \nBerry Campbell’s exhibition is accompanied by a 32-page fully illustrated catalogue with an essay by Patricia L. Lewy\, Ph.D.\, Director\, Friedel Dzubas Estate Archives. Ethel Schwabacher: The Early Sixties opens with a reception on Thursday\, March 13\, 2025\, 6  – 8 pm and continues through April 12\, 2025. \nGallery hours are Tuesday through Saturday\, 10 am  – 6 pm or by appointment. For further information please call at 212.924.2178 or visit our website at www.berrycampbell.com. Press inquiries should be made to Laurel Megalli\, Sutton Communications at laurel@suttoncomms.com or 212.202.3402.
URL:https://artinamericaguide.com/event/ethel-schwabacher-the-early-sixties/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/02/DSCF2014_1.jpg
ORGANIZER;CN="Berry Campbell":MAILTO:em@berrycampbell.com
GEO:40.7488193;-74.0052789
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250206T080000
DTEND;TZID=America/New_York:20250308T170000
DTSTAMP:20260427T060627
CREATED:20250204T163805Z
LAST-MODIFIED:20250204T163805Z
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SUMMARY:Frank Wimberley: Before More After Less
DESCRIPTION:Berry Campbell is pleased to present its third solo exhibition of 99-year-old African American artist\, Frank Wimberley (b. 1926). Based in Corona\, Queens\, and Sag Harbor\, New York\, Frank Wimberley works in a pure abstract style that comes out of the tradition of the Abstract Expressionist painters\, particularly inspired by Willem de Kooning. Expressionism is a key to Wimberley’s work. Throughout decades of varying art trends\, Frank Wimberley has stayed true to his signature style of painterly and thickly textured works. Wimberley has long believed his approach provides the most authentic means of conveying his personal narrative\, paralleling the artistic expression of his close friend and collector\, legendary jazz musician Miles Davis. \n  \nThis exhibition will include paintings\, sculpture\, and collages that range in date from 1969 to his most recent collage from 2025. Featured in this exhibition is a body of work from the 1990s that is distinguished by the artist’s approach of building up textured surfaces using canvas\, sand\, or other materials. These works\, predominantly composed of blacks\, whites\, and earth tones\, evoke a soft poetic quality. Many of these paintings have not been displayed publicly since their original exhibitions at the Cinque Gallery\, June Kelly Gallery\, and Howard University. \n  \nIn recent years\, Wimberley’s work has continued to receive significant recognition. In 2021\, he had a solo exhibition\, at the Arts Center at Duck Creek in East Hampton\, New York\, and was included in Creating Community: Cinque Gallery Artists at the Art Students League\, New York. In 2023\, his art was featured in Collection Highlights: African-American Art at the Greenville County Museum of Art in South Carolina. Currently\, his work is included in Acts of Art and Rebuttal in Greenwich Village\, a group exhibition at the Bertha and Karl Leubsdorf Gallery at Hunter College\, New York\, on view through March 2025. Recently Frank Wimberley was inducted in the Guild Hall Academy of Arts by Eric Fischl. He is in the collections of the Metropolitan Museum of Art\, the Studio Museum in Harlem\, and the Smithsonian Institution of American Art\, among many other institutions. \nFrank Wimberley: Before More After Less is accompanied by a 68-page exhibition catalogue with a biography by Lisa N. Peters\, PhD. Additionally\, the catalogue will include original text by Frank Wimberley about his work in collage written for a group exhibition at Guild Hall in East Hampton\, New York in 1979. The exhibition will open on Thursday\, February 6 and will run through March 8\, 2025 with an opening reception on Saturday\, February 15\, 2025\, 2 – 4pm.
URL:https://artinamericaguide.com/event/frank-wimberley-before-more-after-less/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/New_York:20250104T140000
DTEND;TZID=America/New_York:20250104T160000
DTSTAMP:20260427T060627
CREATED:20241227T204234Z
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SUMMARY:Elizabeth Osborne: Landscapes of the Mind's Eye
DESCRIPTION:Berry Campbell is pleased to present its second solo exhibition of paintings by Elizabeth Osborne (b. 1936). Elizabeth Osborne: Landscapes of the Mind’s Eye features twenty five paintings and works on paper\, spanning from 1969 to 2024\, offering a comprehensive survey of the artist’s distinctive approach to landscape painting. Combining emotional resonance with formal innovation\, Osborne’s work explores the intersection of memory\, perception\, and the natural world\, merging abstraction and representation to blur the boundaries between the external landscape and the inner self.
URL:https://artinamericaguide.com/event/elizabeth-osborne-landscapes-of-the-minds-eye/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20241121
DTEND;VALUE=DATE:20241221
DTSTAMP:20260427T060627
CREATED:20241118T183930Z
LAST-MODIFIED:20241118T183930Z
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SUMMARY:Nanette Carter: Simply Semiotics
DESCRIPTION:Berry Campbell is pleased to present its second solo exhibition of work by Nanette Carter (b. 1954). Nanette Carter: Simply Semiotics is comprised of 24 recent collages that respond to the fraught political\, social\, and cultural issues of the 21st century. Drawing on influences ranging from African American quilt-making to jazz to Abstract Expressionism\, Nanette Carter constructs an intricate and unique visual symphony using Mylar and oil. The exhibition will be accompanied by a 20-page\, fully illustrated catalogue with an essay by Jason Stopa. \nSix series form the basis of this exhibition: The Group\, Destabilizing\, Shifting Perspectives\, Black and White\, Bright Light\, and Afro Sentinels. With a common visual language\, these series respond to the disequilibrium that permeates every corner of our society.  Consequential issues such as climate change\, America’s racial divisions\, the pandemic\, the rise of far right authoritarianism\, and global war are addressed with a mixture of hope and uncertainty. Stopa says in his essay: “The off-kilter presentation of her works combined with the uncanny surfaces and curvilinear forms present us with a complex set of relations\, which in turn\, mirror back to us our own strange predicament.” \nNanette Carter has received many grants\, fellowships\, and awards including most recently in 2021\, The Anonymous was a Woman Award. Carter has two upcoming solo exhibitions at the Montclair Art Museum\, New Jersey\, opening in late 2024 and at the Wexner Center for the Arts\, Columbus\, Ohio opening in 2025. Berry Campbell exclusively represents Nanette Carter. Nanette Carter: Simply Semiotics opens with a reception Thursday\, November 21\, 2024\, 6 – 8 pm\, and continues through December 20\, 2024.
URL:https://artinamericaguide.com/event/nanette-carter-simply-semiotics/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20240912
DTEND;VALUE=DATE:20241013
DTSTAMP:20260427T060627
CREATED:20240816T211416Z
LAST-MODIFIED:20240816T211416Z
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SUMMARY:Bernice Bing: BINGO
DESCRIPTION:Berry Campbell is proud to present the first New York solo exhibition of Bernice Bing (1936 – 1998)\, a foundational figure among the Bay Area Abstract Expressionists. While she was largely underrecognized during her lifetime\, Bing’s importance has recently been acknowledged on the West Coast through several museum exhibitions. As the exclusive representatives of Bing’s estate\, Berry Campbell mounts a survey of work created between 1961 and 1996\, bringing together seminal large-scale paintings and works on paper\, many which have not been seen for decades. The exhibition is accompanied by a 72-page fully illustrated catalogue featuring an essay by the renowned critic and poet John Yau and a remembrance by Flo Oy Wong\, cofounder of the Asian American Women Artists Association.
URL:https://artinamericaguide.com/event/bernice-bing-bingo/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240627T100000
DTEND;TZID=America/New_York:20240816T180000
DTSTAMP:20260427T060627
CREATED:20240626T180314Z
LAST-MODIFIED:20240628T142949Z
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SUMMARY:The Imaginary Made Real | Curated by Paul Laster
DESCRIPTION:PRESS RELEASE \nBERRY CAMPBELL PRESENTS: THE IMAGINARY MADE REAL (CURATED BY PAUL LASTER) \nJune 27 – August 16\, 2024 \n  \n“The imaginary is what tends to become real.” ― André Breton \n  \nBerry Campbell is pleased to present The Imaginary Made Real\, curated by Paul Laster. Featuring 31 international contemporary artists\, the exhibition celebrates Surrealism’s centennial anniversary with artworks that approach the dreamlike movement through fresh eyes.  \n  \nThe exhibition loosely explores ways of thinking and working that are figuratively and abstractly related to the surreal while embracing visionary\, spiritual\, and psychological viewpoints. \n  \n“Art is the bridge between the visible and the invisible worlds.” ― Max Ernst \n  \nThe exhibition features work in a variety of sizes and media\, including paintings\, sculptures\, drawings\, photography\, ceramics\, mosaics\, assemblages\, and bronzes. On view in the gallery’s two front spaces\, The Imaginary Made Real can be seen from the street day or night\, making it visible during diverse moments of reverie. \n  \nExhibited artworks include visionary paintings by Italian self-taught artists Vera Girivi and Elisabetta Zangrandi\, as well as David Onri Anderson and Sarah Lee; dreamlike scenarios by Leyla Runzi Cui\, Charles Hascoët\, Valerie Hegarty\, Nir Hod\, Katinka Huang\, Oda Jaune\, Nianxin Li\, Rosa Loy\, Donna Moylan\, GaHee Park\, Erik Parker; collage-like compositions by David Alekhuogie\, Alex Anderson\, Hoda Kashiha\, Yasue Maetake\, Tony Matelli \, Melissa Rios\, and Rhonda Wall; distorted figures by David Baskin\, Saint Clair Cemin\, Amie Dicke\, Thomas Lerooy\, Larissa De Jesús Negrón\, Bony Ramirez; and the abstract realms of Yevgeniya Baras\, Luiza Gottschalk\, and Karla Knight. \n  \n“When you look at a picture\, you may wonder what is imaginary and what is real. Do we talk about the reality of the phenomena or the phenomenon of reality? What is really inside and what is outside? What do we have here: reality or dream? If a dream is a revelation about life in reality\, then life in reality is also a revelation about a dream.” ― René Magritte \n  \nThe Imaginary Made Real opens with a reception Thursday\, June 27\, 2024\, 6 – 8 p.m. and is on view through August 16\, 2024. Gallery hours are Tuesday through Saturday\, 10 a.m. – 6 p.m. through July 3\, 2024. Summer gallery hours begin Monday\, July 8\, 2024\, and 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. \nABOUT THE GALLERY \nChristine Berry and Martha Campbell opened Berry Campbell Gallery in Chelsea\, New York\, ten years ago. The gallery has a fine-tuned program representing artists of post-war American painting that have been underrepresented or neglected\, particularly the women of Abstract Expressionism. Since its inception\, the gallery has developed a strong emphasis in research to bring to light artists overlooked due to age\, race\, gender\, or geography. This unique perspective has been increasingly recognized by curators\, collectors\, and the press. \n  \nIn 2022\, Berry Campbell moved to 524 W 26th Street\, one of the most prestigious blocks in Chelsea. The 9\,000 square foot space was previously inhabited by art world icons such as Paula Cooper Gallery and Robert Miller Gallery.  \nFurther information on the gallery can be found on its website and on Instagram or Facebook.
URL:https://artinamericaguide.com/event/the-imaginary-made-real-curated-by-paul-laster/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/New_York:20240627T100000
DTEND;TZID=America/New_York:20240816T180000
DTSTAMP:20260427T060627
CREATED:20240621T134622Z
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SUMMARY:Jill Nathanson: Chord Field
DESCRIPTION:PRESS RELEASE\nFOR IMMEDIATE RELEASE\nBERRY CAMPBELL PRESENTS JILL NATHANSON: CHORD FIELD\nJune 27 – August 16\, 2024 \nNEW YORK\, NEW YORK–Berry Campbell is pleased to present its fourth exhibition of paintings by contemporary Color Field painter\, Jill Nathanson. Using a technique of pouring acrylic polymers\, Nathanson’s paintings are characterized by coloristic inventiveness\, as overlapping layers of translucency create new hues. Her paintings evoke what she calls “color desire\,” as the fluidity of the forms engage us in seeking color resolutions across the pictorial field\, while drawing the viewer to the different spaces these colors occupy as well as the ways in which they attract and repel each other. This exhibition will be comprised of 16 recent paintings by the artist\, including her largest painting to date entitled\, Psalm Harp. \nNathanson became fascinated by Color Field painting when she attended Bennington College in Vermont. She arrived at the school in the mid-1970s\, when it was at the center of Color Field abstraction. Over the last four decades\, Nathanson has deepened her exploration of color dynamics\, seeking to transmit the affective reality of seeing. She courts chaos in her method by employing chance\, but she also works methodically—each overlay of color takes a day to dry. For the viewer\, her paintings evoke energies in the body as well as optical experience\, and the physical presence of each painting resists immediate assimilation involving a dynamic\, layered search for unity. \nNathanson was recently included in “Drawn to Color” a permanent collection exhibition at the Museum of Fine Arts\, Houston alongside Helen Frankenthaler\, Mark Rothko\, and Emmi Whitehorse. Additionally\, she was included in “Point of Departure: Abstraction 1958-Present” at the Sheldon Museum of Art\, Lincoln\, Nebraska. Her exhibitions have been reviewed in publications such as ARTnews\, Arts magazine\, The Brooklyn Rail\, The Hudson Review\, and The New York Times among others. Jill Nathanson is represented by Berry Campbell Gallery\, New York. \n“Jill Nathanson: Chord Field” opens with a reception on Thursday\, June 27\, 2024\, from 6 to 8 pm and is accompanied by a 24-page catalogue with an essay by David Rhodes. The exhibition is on view through August 16\, 2024. \nGallery hours are Tuesday through Saturday\, 10 am – 6 pm through July 3rd. Summer hours starting July 8th are Monday through Friday\, 10 am  – 6 pm\, or by appointment. For further information please call the gallery at 212.924.2178 or visit us online at berrycampbell.com. For press inquiries\, please contact berrycampbell@suttoncomms.com. \nABOUT THE GALLERY\nChristine Berry and Martha Campbell opened Berry Campbell Gallery in Chelsea\, New York\, ten years ago. The gallery has a fine-tuned program representing artists of post-war American painting that have been underrepresented or neglected\, particularly the women of Abstract Expressionism. Since its inception\, the gallery has developed a strong on research to bring to light artists overlooked due to age\, race\, gender\, or geography. This unique perspective has been increasingly recognized by curators\, collectors\, and the press. \nIn 2022\, Berry Campbell moved to 524 W 26th Street\, one of the most prestigious blocks in Chelsea. The 9\,000 square foot space was previously inhabited by art world icons such as Paula Cooper Gallery and Robert Miller Gallery.
URL:https://artinamericaguide.com/event/jill-nathanson-chord-field/2024-06-27/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240530T180000
DTEND;TZID=America/New_York:20240530T200000
DTSTAMP:20260427T060627
CREATED:20240516T203047Z
LAST-MODIFIED:20240516T203047Z
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SUMMARY:Dorothy Dehner: A Retrospective
DESCRIPTION:PRESS RELEASE\nFOR IMMEDIATE RELEASE\nBERRY CAMPBELL PRESENTS DOROTHY DEHNER: A RETROSPECTIVE\nMay 23  – June 22\, 2024 \nNEW YORK\, NEW YORK: Berry Campbell is pleased to present a retrospective of paintings\, drawings\, and sculptures by Dorothy Dehner (1901-1994). Dorothy Dehner: A Retrospective weaves together the story of Dehner’s seventy-year artistic career starting in the 1930s and culminating with several large-scale monumental sculptures from the 1980s and 1990s. This is the first exhibition of this scope and depth on Dehner since a retrospective at the Cleveland Museum of Art\, Ohio\, in 1995. \nThe exhibition begins with an early oil painting of a still life from 1936 and continues with a series iconic ink and watercolor abstract drawings from the 1940s and 1950s using a “wet on wet” technique.  Dorothy Dehner was married to the noted sculptor\, David Smith\, until their divorce in 1950.  While in the marriage\, she felt there could only be one sculptor\, and so it was not until 1952 that she gained the success\, freedom\, and confidence to dare to experiment in new media and her focus shifted entirely to sculpture. This exhibition will feature several early sculptures from the 1950s and 1960s\, mostly created with the lost wax process. \nAn entire gallery will be devoted to her rarely known series of assemblages from the 1970s called I Ching. Louise Nevelson introduced Dehner to John Cage\, whose sounds and theories influenced this body of work. Untitled (I Ching) is totemic in feel\, made from thin wood pieces placed together in rhythmic patterns. Towards the end of her career\, Dehner started working with fabricators to fulfill her dream of making large-scale sculpture. The centerpiece to the exhibition is one the largest she ever created called Prelude and Fugue from 1989\, standing over eight feet tall and eight feet wide made from painted black steel. Demeter’s Harrow (1990) is a large-scale playful sculpture created by connecting geometric forms made from Corten Steel. \nJoan M. Marter\, Ph.D.\, President of the Dorothy Dehner Foundation\, through her research and writing has placed Dehner in the context of other Abstract Expressionists resulting in many recent accolades. In 2023\, Dehner was the feature article in the Woman’s Art Journal\, “Dorothy Dehner and the Women Sculptors Among the Abstract Expressionists\,” which discusses Dehner’s close friendship with Louise Nevelson. Dehner has been included in numerous group exhibitions at the Museum of Modern Art\, New York\, most recently in Making Space: Women Artists and Postwar Abstraction (2017). Dehner’s totemic sculpture “Encounter” is currently on view at the Museum of Modern Art\, New York. \nDehner is situated in the canon of Abstract Expressionist sculptors alongside Nevelson\, Louise Bourgeois\, Herbert Ferber\, Ibram Lassaw\, David Hare\, and David Smith. Her work can be found in the collections of the Museum of Modern Art\, Whitney Museum of American Art\, Metropolitan Museum of Art\, National Museum of Women in the Arts\, Storm King Art Center\, The British Museum\, and Dresden Museum\, among many others. Berry Campbell represents the Dorothy Dehner Foundation. \nDorothy Dehner: A Retrospective is on view at Berry Campbell from May 23 through June 22\, 2024\, with an opening reception on Thursday\, May 30\, 2024\, from 6 to 8 p.m.  The exhibition is accompanied by a 64-page\, fully illustrated catalogue with an introduction by Joan M. Marter\, Ph.D. and a full-length essay by Sophie Lachowsky. The gallery will host a panel discussion led by Dr. Marter on Saturday\, June 1 at 3 p.m. \nGallery hours are Tuesday through Saturday 10 a.m. – 6 p.m. or by request. For further information please call the gallery at 212.924.2178 or visit us online at berrycampbell.com. For press inquiries\, please contact berrycampbell@suttoncomms.com or call 212.202.3402. \nABOUT THE GALLERY\nChristine Berry and Martha Campbell opened Berry Campbell Gallery in Chelsea\, New York\, ten years ago. The gallery has a fine-tuned program representing artists of post-war American painting that have been underrepresented or neglected\, particularly the women of Abstract Expressionism. Since its inception\, the gallery has developed a strong emphasis in research to bring to light artists overlooked due to age\, race\, gender\, or geography. This unique perspective has been increasingly recognized by curators\, collectors\, and the press. \nIn 2022\, Berry Campbell moved to 524 W 26th Street\, one of the most prestigious blocks in Chelsea. The 9\,000 square foot space was previously inhabited by art world icons such as Paula Cooper Gallery and Robert Miller Gallery.
URL:https://artinamericaguide.com/event/dorothy-dehner-a-retrospective/2024-05-30/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240523T100000
DTEND;TZID=America/New_York:20240622T180000
DTSTAMP:20260427T060627
CREATED:20240516T203047Z
LAST-MODIFIED:20240516T203047Z
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SUMMARY:Dorothy Dehner: A Retrospective
DESCRIPTION:PRESS RELEASE\nFOR IMMEDIATE RELEASE\nBERRY CAMPBELL PRESENTS DOROTHY DEHNER: A RETROSPECTIVE\nMay 23  – June 22\, 2024 \nNEW YORK\, NEW YORK: Berry Campbell is pleased to present a retrospective of paintings\, drawings\, and sculptures by Dorothy Dehner (1901-1994). Dorothy Dehner: A Retrospective weaves together the story of Dehner’s seventy-year artistic career starting in the 1930s and culminating with several large-scale monumental sculptures from the 1980s and 1990s. This is the first exhibition of this scope and depth on Dehner since a retrospective at the Cleveland Museum of Art\, Ohio\, in 1995. \nThe exhibition begins with an early oil painting of a still life from 1936 and continues with a series iconic ink and watercolor abstract drawings from the 1940s and 1950s using a “wet on wet” technique.  Dorothy Dehner was married to the noted sculptor\, David Smith\, until their divorce in 1950.  While in the marriage\, she felt there could only be one sculptor\, and so it was not until 1952 that she gained the success\, freedom\, and confidence to dare to experiment in new media and her focus shifted entirely to sculpture. This exhibition will feature several early sculptures from the 1950s and 1960s\, mostly created with the lost wax process. \nAn entire gallery will be devoted to her rarely known series of assemblages from the 1970s called I Ching. Louise Nevelson introduced Dehner to John Cage\, whose sounds and theories influenced this body of work. Untitled (I Ching) is totemic in feel\, made from thin wood pieces placed together in rhythmic patterns. Towards the end of her career\, Dehner started working with fabricators to fulfill her dream of making large-scale sculpture. The centerpiece to the exhibition is one the largest she ever created called Prelude and Fugue from 1989\, standing over eight feet tall and eight feet wide made from painted black steel. Demeter’s Harrow (1990) is a large-scale playful sculpture created by connecting geometric forms made from Corten Steel. \nJoan M. Marter\, Ph.D.\, President of the Dorothy Dehner Foundation\, through her research and writing has placed Dehner in the context of other Abstract Expressionists resulting in many recent accolades. In 2023\, Dehner was the feature article in the Woman’s Art Journal\, “Dorothy Dehner and the Women Sculptors Among the Abstract Expressionists\,” which discusses Dehner’s close friendship with Louise Nevelson. Dehner has been included in numerous group exhibitions at the Museum of Modern Art\, New York\, most recently in Making Space: Women Artists and Postwar Abstraction (2017). Dehner’s totemic sculpture “Encounter” is currently on view at the Museum of Modern Art\, New York. \nDehner is situated in the canon of Abstract Expressionist sculptors alongside Nevelson\, Louise Bourgeois\, Herbert Ferber\, Ibram Lassaw\, David Hare\, and David Smith. Her work can be found in the collections of the Museum of Modern Art\, Whitney Museum of American Art\, Metropolitan Museum of Art\, National Museum of Women in the Arts\, Storm King Art Center\, The British Museum\, and Dresden Museum\, among many others. Berry Campbell represents the Dorothy Dehner Foundation. \nDorothy Dehner: A Retrospective is on view at Berry Campbell from May 23 through June 22\, 2024\, with an opening reception on Thursday\, May 30\, 2024\, from 6 to 8 p.m.  The exhibition is accompanied by a 64-page\, fully illustrated catalogue with an introduction by Joan M. Marter\, Ph.D. and a full-length essay by Sophie Lachowsky. The gallery will host a panel discussion led by Dr. Marter on Saturday\, June 1 at 3 p.m. \nGallery hours are Tuesday through Saturday 10 a.m. – 6 p.m. or by request. For further information please call the gallery at 212.924.2178 or visit us online at berrycampbell.com. For press inquiries\, please contact berrycampbell@suttoncomms.com or call 212.202.3402. \nABOUT THE GALLERY\nChristine Berry and Martha Campbell opened Berry Campbell Gallery in Chelsea\, New York\, ten years ago. The gallery has a fine-tuned program representing artists of post-war American painting that have been underrepresented or neglected\, particularly the women of Abstract Expressionism. Since its inception\, the gallery has developed a strong emphasis in research to bring to light artists overlooked due to age\, race\, gender\, or geography. This unique perspective has been increasingly recognized by curators\, collectors\, and the press. \nIn 2022\, Berry Campbell moved to 524 W 26th Street\, one of the most prestigious blocks in Chelsea. The 9\,000 square foot space was previously inhabited by art world icons such as Paula Cooper Gallery and Robert Miller Gallery.
URL:https://artinamericaguide.com/event/dorothy-dehner-a-retrospective/2024-05-23/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240418
DTEND;VALUE=DATE:20240519
DTSTAMP:20260427T060627
CREATED:20240411T184521Z
LAST-MODIFIED:20240411T184521Z
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SUMMARY:Alice Baber: Reverse Infinity
DESCRIPTION:New York\, NY\, March 28\, 2024: Alice Baber (b. 1928\, Charleston\, IL; d. 1982\, New York\, NY) was an artist\, curator\, feminist\, and world traveler\, who lived as both an art world insider and an outsider\, never having gained the full acknowledgement she deserved throughout her lifetime. The first largescale exhibition of Alice Baber’s work in over 40 years\, Alice Baber: Reverse Infinity by Berry Campbell Gallery spotlights a long-overlooked Abstract Expressionist and foundational member of New York City’s Downtown scene. The exhibition will feature paintings by the artist created between 1960 and 1981 and will be accompanied by a 68-page catalogue authored by independent curator Dan Cameron\, marking the first major piece of contemporary scholarship dedicated to Baber’s work. \n  \nGallerists Christine Berry and Martha Campbell first learned about Baber over a decade ago while pouring over gallery rosters from the Downtown era\, pursuing information about every artist listed whose name they did not know. The gallery now holds the largest cache of works from the artist and has played an instrumental role in the market’s recent surge of interest in Baber\, taking her work from just $3k to nearly $700k at auction in November last year. \n  \nFeaturing thinned-down oils and acrylics that act like watercolors\, Baber’s work uncovers the pigments hidden in invisible energies\, transliterating the movements of light and air across limitless space. While her paintings convey a spirit of unencumbered whimsy\, Baber’s enduring commitment to technique and rigorous explorations of color theory are the foundations of her work. As her career progressed\, her painterly investigations became more intentional\, shifting from bold\, free-associative watercolor forms toward a more judicious use of value in works that suggest a more complex\, and perhaps even sinister\, subtext. \n  \nAlthough many of the women of Abstract Expressionism have received belated scholarly and critical recognition in recent years\, a preponderance of artists from this era remain unrecognized due to age\, gender\, location\, ability\, or perceived lack of depth. With Alice Baber: Reverse Infinity\, Berry Campbell continues to correct the historical record by facilitating earnest reappraisals of artists whose work deserves serious critical engagement and positioning within art historical canons.
URL:https://artinamericaguide.com/event/alice-baber-reverse-infinity/2024-04-18/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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SUMMARY:Janice Biala: Paintings\, 1946 to 1986
DESCRIPTION:BERRY CAMPBELL PRESENTS Biala: Paintings\, 1946-1986 \nMarch 14 – April 13\, 2024 \nOpening Reception\, Thursday\, March 21\, 2024\, 6 – 8 pm \n  \n“While other artists shout\, Biala’s canvases whisper. The story they tell is of a near century-long love affair with art\, with the act of creating\, with life as an artist. Isn’t it wonderful\, then\, that through her work Biala has invited us to be part of it.” \n– Mary Gabriel\, Author of Ninth Street Women \n                     \nNEW YORK\, NY – Berry Campbell and the Estate of Janice Biala are pleased to announce a major survey of paintings by Janice Biala (1903-2000). The survey featuring over 30 paintings dating from 1946 to 1986\, marks the largest gallery exhibition of Biala’s work mounted in New York City with many works on view for the first time. A fully illustrated 100-page catalogue accompanies the exhibition which includes introduction by Mary Gabriel\, author of “The Ninth Street Women\,” and essay by Jason Andrew\, manager and curator of the Estate of Janice Biala. This historic presentation coincides with the Grey Art Museum’s seminal exhibition “Americans in Paris\, 1946-1962: Artists Working in Postwar France\, 1946-1962\,” opening March 2 in which Biala will be featured. \n  \nOne of the most inventive artists of the 20th Century\, and the painter most closely aligned with the continuation of a transatlantic Modernist dialogue between Paris and New York\, Janice Biala (1903-2000)\, led a legendary life: a painter recognized for her distinctive style that combined the sublime assimilation of the School of Paris and the gestural virtuosity of the New York School of Abstract Expressionism. \n  \nBiala rose from humble yet tumultuous beginnings as a Jewish immigrant from Russian occupied Poland arriving in New York in 1913 settling among the tenements of the Lower East Side. She claimed the name of her birthplace for her own\, going on to make personal and unique contributions to the rise of Modernism both in Paris and New York. \nHaving spent the decade of the 1930s as the last companion to the English novelist\, Ford Madox Ford\, Biala was the perfect representative of American bohemia in 1930s France and her journey as an artist evolved in tandem with the historic events of the 20th century. \nHighlighting this survey is a pivotal group of paintings dating from 1947 to1952. On view for the first time in New York\, these works were painted by Biala upon her triumphant return to Paris in 1947 aboard the de Grasse\, one of the first passenger transatlantic ships to sail from New York to Europe after World War II. Her return was also a joyous one\, “I still find in France all the things I’d hoped for\,” she wrote her brother Jack Tworkov\, “I’d have no use for Paradise if it wasn’t like France.” These works offer an extraordinary opportunity to see Biala’s close connection to European Modernists like Picasso and Matisse\, both of whom she had frequently met. \n  \n“Though her themes of still life and interiors\, landscapes and portraiture remained constant\, her approach to portraying them evolved\,” writes Jason Andrew in essay for the catalogue accompanying the exhibition: \n  \n“Impressionism is a term rarely used in discussing Biala’s work\, but it fits with her sensitivity and narrative. Never liberal with factual description in her paintings\, Biala pulls us in through a balance of subtle truths—the hard edge of a table\, the soft outline of a figure\, the dark shadow of a building. It’s a tender abstraction that feels lived in\, and one which she honed very early on from her mentor Edwin Dickinson and heightened by the vigilant study of the narratives crafted by Ford Madox Ford.” \n  \nThree of the five major paintings included in the 15th annual Salon Les Surindépendants in 1948 are featured in the exhibition. Biala credited this exhibition for bringing the critical attention that would re-establish her reputation\, leading to gallery representation at Galerie Jeanne Bucher and moreover praise from the staunchly critical French press. \n  \n“Le Louvre\,” 1948\, is among this group and one of the first paintings to fully capture the architecture of Biala’s adopted city. A seminal work\, the painting features a view of the city from the Left Bank looking North across the Seine with views of the Louvre and the Jardins des Champs-Élysées. More specifically\, Pavillon de la Trémoille appears on the upper left and the various rooftops that make up the Louvre filling the horizon. Pont de Arts stretches horizontally through the painting’s center left. Framing the composition is an iron railing in the near foreground. \n  \nAlongside this historic group of paintings\, Berry Campbell will present important large-scale works including multi-paneled paintings which bridge American and European traditions—portraying a synthesis of cultures and emotions. As an example\, the two paneled work “Intérieur à grand plans noirs\, blancs\, rose\,” 1972\, on view for the first time\, embraces Biala’s suggestive approach to space. “Here the continuity of reading the painting from left to right is deprioritized in order to offer multiple vignettes—evocative impressions and multiple views of an interior where angles are represented by juxtaposition of color\,” writes Jason Andrew. \n  \n  \nIn the epic three paneled painting “Les Fleurs\,” 1973\, three differing perspectives vie for sovereignty as each offers an individually composed interior with bold and blocked in color—bare of human presence. Here the flourishing potted flowers bring the personality. \n  \nThe exhibition also features a gallery dedicated to Biala’s works on paper and in particular\, her collage work. As the artist noted\, towards the end of the 1950s\, her transatlantic returns from Paris to New York took their toll on her paintings. So\, she turned her attention to collage. Embracing the “immediate effects\,” which “you can’t possibly get in painting\,” Biala embarked on an intense exploration of the medium. The subjects in Biala’s collages range from intimate interiors to the wild and thrilling portrayal of a cassowary. \n  \nABOUT THE ARTIST \nBiala (b. 1903\, Biala\, Poland; d. September 24\, 2000\, Paris\, France) was a Polish-born American painter known in Paris and New York for her sublime assimilation of the School of Paris and the New York School of Abstract Expressionism. During her eight-decade career\, her work was characterized by a modernist reinterpretation of classical themes of landscapes\, still-life\, and portraiture\, animated gesturally with punctuated brush work held fast by her keen eye for observation. \n  \nAs an immigrant arriving from a Russian-occupied Poland to a Jewish tenement house on the Lower East Side in New York in 1913\, Biala\, then Janice Tworkov\, faced a new culture and adolescence at the same time. Decamping to Greenwich Village with her older brother\, Jack Tworkov\, she became immersed in a bohemian life. Like Jack\, Janice was an avid reader\, with “The Three Musketeers​” being her favorite book. She would later tell French novelist and art theorist André Malraux that it was because of Porthos that she became an artist. \n  \nWhile visiting an exhibition of French painting at the Brooklyn Museum in the Spring of 1921\, Janice discovered the work of Cézanne. She enrolled in classes at the Art Students League and the School of the National Academy of Design. In the fall of 1922\, Janice came upon the work of Edwin Dickinson who inspired her\, in the summer of 1923\, to hitchhike to Provincetown to study with him. \n  \nBy late 1920\, Janice was an established artist with a growing reputation. She was a frequent exhibitor at the G.R.D. Studios (NY)\, a gallery that would fuel the careers of many important American artists. She remained at the forefront of the fledgling art colonies of Provincetown\, MA\, and Woodstock\, NY\, generating close friendships with Dickinson and another prominent American artist\, William Zorach. In fact\, it was at the suggestion of Zorach that Janice changed her name to simply Biala\, after the town where she was born\, so as not to confuse her work with that of her brother. \n  \nDuring a fateful trip to Paris in 1930\, Biala met and fell in love with the English novelist Ford Madox Ford. A formidable figure among writers\, artists and the transatlantic intelligentsia\, Ford introduced Biala to the many artists within his circle forging a new Modernism in France including Constantin Brancusi\, Henri Matisse\, Pablo Picasso\, Ezra Pound\, and Gertrude Stein\, among others. Upon Ford’s death in 1939\, she fled Europe under the growing Nazi threat and in a harrowing feat rescued Ford’s personal library and manuscripts while carrying as much of her own work as she could. \n  \nReturning to New York City\, Biala became a fixture among the rising avant-garde artists living and working around Washington Square. She met and married Daniel “Alain” Brustlein\, a noted illustrator for The New Yorker. While her work was represented by galleries rooted in European Modernism\, namely the Bignou Gallery\, she was one of the few women influencing the rising Abstract Expressionist movement in New York. \n  \nIn October 1947\, Biala and Brustlein boarded the French Line’s de Grasse\, one of the first transatlantic ships to sail to Europe after the war. They settled in Paris but almost immediately began traveling throughout Europe\, encountering the histories of cities such as Rome and Pompeii. This was the beginning of a lifetime split between Paris and New York. In 1949\, she was awarded Honorable Mention at the Prix de la Critique in Paris. \n  \nIn April 1950 in New York City\, Biala was one of only three women—the other two were Louise Bourgeois and Hedda Sterne—invited to attend a private and exclusive discussion known as the Artist’s Session at Studio 35. The Whitney Museum of American Art became the first public institution to acquire Biala’s work in 1955. In April 1956\, a feature article\, “Biala Paints a Picture\,” appeared in Art News with photographs by Rudy Burckhardt. A series of exhibitions in the late 1950s celebrated her newfound embrace of collage. \n  \nDuring the 1960s and into the 1970s\, Biala completed many of her largest scale works to date. These include works that incorporate painting and collage\, expanding on the themes of interiors and portraiture. Variations of the open window\, not unlike Matisse’s “Open Window\, Collioure\,” 1905\, also appear this period. Additionally\, a concert of studies and paintings on Diego Velázquez’s “Equestrian Portrait of Elisabeth of France\,” c.1635\, or “Reine Isabella\,” demonstrate Biala’s continued interest in Velázquez and Spain. Lastly\, views of the storied cities of Poitiers in France and Spoletto in Italy are uniquely associated with these decades as is the incorporation of painted collaged elements. In 1966\, she was awarded Honorable Mention 10th Prix International du Gemmail\, and in 1971\, awarded a Bronze Medal from Prix Paul-Louis Weiller from the Institut de France. \n  \nBiala continued to exhibit internationally during the final decades of her life. Major themes dominating the early part of these final decades include large sweeping landscapes featuring the shores of Provincetown or the sea circling Venice. A return to the architecture of Paris appears in a series of major paintings focused on Notre Dame. Themes of interiors as well as a return to compositions inspired by Velázquez dominate these later years. Her work continued to meld abstraction with imagist concerns. Works are described as “intimate\,” “alluring\,” and “secretive.” \n  \nIn June 1989\, The New York Times published “Three Who Were Warmed by the City of Light” by Michael Brenson featuring Biala\, Joan Mitchell and Shirley Jaffe. Upon her death in 2000\, her obituary appeared in The New York Times written by Roberta Smith. Punctuating her stellar career\, Smith remarked\, “[her art] spanned two art capitals and several generations […] belonging to a trans-Atlantic tradition that included French painters like Matisse\, Bonnard and Marquet\, as well as Milton Avery and Edward Hopper.” \n  \nABOUT THE GALLERY \nChristine Berry and Martha Campbell opened Berry Campbell Gallery in Chelsea\, New York\, ten years ago. The gallery has a fine-tuned program representing artists of post-war American painting that have been underrepresented or neglected\, particularly the women of Abstract Expressionism. Since its inception\, the gallery has developed a strong emphasis in research to bring to light artists overlooked due to age\, race\, gender\, or geography. This unique perspective has been increasingly recognized by curators\, collectors\, and the press. \nLast year\, Berry Campbell moved to 524 W 26th Street\, one of the most prestigious blocks in Chelsea. The 9\,000 square foot space was previously inhabited by art world icons such as Paula Cooper Gallery and Robert Miller Gallery. For further information please call at 212.924.2178\, visit our website at berrycampbell.com\, or email at info@berrycampbell.com.
URL:https://artinamericaguide.com/event/janice-biala-paintings-1946-to-1986/2024-03-14/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/New_York:20240208T100000
DTEND;TZID=America/New_York:20240309T180000
DTSTAMP:20260427T060627
CREATED:20240206T153133Z
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SUMMARY:Dan Christensen: Calligraphic Stains & Scrapes (Paintings from 1977 to 1984)
DESCRIPTION:Berry Campbell is pleased to present Dan Christensen: Calligraphic Stains & Scrapes (Paintings from 1977 to 1984). The show will run from February 8 – March 9\, 2024. An opening reception will take place February 8 from 6-8pm.
URL:https://artinamericaguide.com/event/dan-christensen-calligraphic-stains-scrapes-paintings-from-1977-to-1984/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/New_York:20240104T100000
DTEND;TZID=America/New_York:20240203T180000
DTSTAMP:20260427T060627
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SUMMARY:Perseverance
DESCRIPTION:BERRY CAMPBELL PRESENTS PERSEVERANCE  \nJanuary 4 – February 3\, 2024 \nBerry Campbell is pleased to announce Perseverance\, a curated group exhibition of cross-generational women artists from the gallery’s primary and secondary market programs. This exhibition reflects Berry Campbell’s steadfast dedication to the rediscovery and advancement of women artists and centers on the ongoing aesthetic dialogues between contemporary artists and estates represented by the gallery. \nFeaturing 29 paintings and works on paper\, this exhibition fosters an environment for artwork created across temporal and geographic contexts. Artists included in the exhibition: Mary Abbott (1921-2019); Alice Baber (1928-1982); Janice Biala (1903-2000); Lilian Thomas Burwell (b. 1927); Nanette Carter (b. 1954); Jean Cohen (1928-2012); Elaine de Kooning (1918-1989); Dorothy Dehner (1901-1994); Lynne Drexler (1928-1999); Claire Falkenstein (1908-1997); Perle Fine (1905-1988); Helen Frankenthaler (1928-2011); Sonia Gechtoff (1926-2018); Judith Godwin (1930-2021); Grace Hartigan (1922-2008); Mary Dill Henry (1913-2009); Ida Kohlmeyer (1912-1997); Libbie Mark (1905-1972); Beverly McIver (b. 1962); Emiko Nakano (1925-1990); Jill Nathanson (b. 1955); Elizabeth Osborne (b. 1936); Charlotte Park (1918-2010); Ann Purcell (b. 1941); Ethel Schwabacher (1903-1984); Vivian Springford (1913-2003); Yvonne Thomas (1913-2009); Susan Vecsey (b. 1971); and Joyce Weinstein (b. 1931). \nFor the exhibition checklist\, please email info@berrycampbell.com or visit www.berrycampbell.com. Perseverance opens January 4\, 2024 and is on view through February 3\, 2024. Gallery hours are Tuesday – Saturday\, 10 am – 6 pm or by appointment. \nABOUT THE GALLERY Christine Berry and Martha Campbell opened Berry Campbell Gallery in Chelsea\, New York\, ten years ago. The gallery has a fine-tuned program representing artists of post-war American painting that have been underrepresented or neglected\, particularly the women of Abstract Expressionism. Since its inception\, the gallery has developed a strong emphasis in research to bring to light artists overlooked due to age\, race\, gender\, or geography. This unique perspective has been increasingly recognized by curators\, collectors\, and the press. \nLast year\, Berry Campbell moved to 524 W 26th Street\, one of the most prestigious blocks in Chelsea. The 9\,000 square foot space was previously inhabited by art world icons such as Paula Cooper Gallery and Robert Miller Gallery. \nFor further information please call at 212.924.2178\, visit our website at berrycampbell.com\, or email at info@berrycampbell.com.
URL:https://artinamericaguide.com/event/perseverance/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20231122
DTEND;VALUE=DATE:20231223
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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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DTSTART;VALUE=DATE:20231019
DTEND;VALUE=DATE:20231119
DTSTAMP:20260427T060627
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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:20230908
DTEND;VALUE=DATE:20231015
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SUMMARY:Yvonne Thomas: Complexed Squares
DESCRIPTION:Berry Campbell is pleased to present Complexed Squares\, its third exhibition with Yvonne Thomas (1913-2009). \nWith seventeen paintings from 1963 to 1976\, Complexed Squares highlights a decisive phase in the French-born painter’s career\, as she moved beyond Abstract Expressionism to develop a distinctive personal style that resonated with artistic currents of the ‘60s. \nA regular on New York’s art scene\, Thomas was best known for her lyrical\, gestural abstractions that followed the teachings of her professors and mentors\, principally Robert Motherwell and Hans Hofmann. \nIn Complexed Squares\, we see her exploring a new painterly vocabulary–using systems to determine her series of repeating geometric forms\, switching from oil to acrylic\, deploying her intensive hues to stage playful optical illusions. \nWhen Berry Campbell exhibited the artist’s paintings from 1963-65 in 2019\, New York Times co–chief art critic Roberta Smith described Thomas’s “modest but radiant proto-Minimalist” works as “perhaps the best in her career.” \nThe current show takes its title from Complexed Squares\, the artist’s 1964 painting that announces a new direction for Thomas. Traditionally an oil painter\, she switched to acrylic. \nWorking on a horizontal canvas nearly four feet long\, she painted criss-crossed swathes of translucent\, vibrant color\, creating varying tones and variations where they meet. It’s the signature geometric form of Hofmann\, activated with the exuberant palette and illusionistic sensibility of Pop and Op art. The squares are “complexed\,” Dr. Lisa Peters writes in the exhibition catalog\, because the shapes are “implied\, revealed\, and the unintentional result of overlapped color.” \n(In the ‘60s\, when “square” generally meant uncool\, the punning title might have suggested other meanings as well.) \nIn other paintings from 1964\, Thomas draws from European art histories in her color experiments\, evoking stained glass and the sumptuous effects of religious painting. In Transition\, a shimmering golden ground is the backdrop for an ethereal gathering of squares that float and recede according to their hue and saturation. For Squares\, Thomas chose a surface blend of cobalt and ultramarine blue–the one that Raphael used in his Madonnas to signify Heaven–achieving the effect with her new chosen medium\, acrylic. \nThe exhibition continues with Thomas’s next series\, a group of horizontal canvases that suggest arches\, columns\, windows and other architectural forms. In these mostly untitled works from 1969 to ’76\, painted in a minimal palette\, Thomas’s shapes use their kinetic energy to trick the eye\, causing viewers to question their vision. “Forms that appear solid and three-dimensional suddenly seem to become windows\,” Dr. Peters writes in her catalog essay. “Positive becomes negative space and vice versa. Some oblongs rise up before us as solid shapes—roadblocks or columns; others are portals in which the motion of the world is beyond our reach.” \nBorn in Nice\, Thomas emigrated to the United States with her family in 1925\, living in New England before settling in New York. She first studied painting at Cooper Union\, dropping out in 1931 when the Depression threatened her parents’ livelihood\, and putting art on hold to become a successful fashion illustrator. \nIn 1936\, she resumed her artistic education. She studied at the Art Students League with Vaclav Vytlacil\, a student of Hofmann\, and then at the Ozenfant School of Fine Art\, founded by the French Cubist Amédée Ozenfant. In 1948\, she met her most influential teachers. Her friend Patricia Matta introduced her to the Subjects of the Artist School\, where many of the best-known Abstract Expressionist painters were based. Thomas enrolled as a student during the one year of the school’s operation\, from 1948–49. When Motherwell took over\, she continued to work with him closely as she developed her own style. Then\, starting in 1950\, she studied with Hofmann at his Provincetown school and later in New York. He helped her nurture her lifelong explorations of color. \nBy then\, Thomas was a well-known figure in the downtown art community. Thomas lived with her husband\, Leonard\, in Greenwich Village with their two daughters. They entertained often with friends including Duchamp (another French transplant)\, Elaine de Kooning\, Ad Reinhardt\, Fay Lansner\, and many others. Thomas joined “the Club\,” the legendary gathering of Abstract Expressionists initiated in 1948.  She participated in 5 Stable Gallery annual exhibitions from 1953 through 1956. \nThomas was soon exhibiting regularly. In April 1960\, she had a solo show at Esther Stuttman’s New York gallery. Donald Judd was one admirer\, praising Thomas’s joyous lyricism in his Arts magazine review. “The paint and the canvas are identified with one another\, continued into each other\, and the consequent speed and thinness of the surface engender the clarity and singleness of the poetry\,” he wrote. \nThe Complexed Squares attracted critical attention as well\, as Thomas debuted her new abstractions in a solo 1964 show at the Newport Art Museum in and in two 1965 exhibitions at Rose Fried Gallery in New York. Writing in ARTnews\, a critic praised Thomas’s “impressive recent abstractions in which several squares of roughly equal size are lined up\, shifted and maneuvered into position by means of color. . . ..These may be ideologically related to Hofmann\, but they are sufficiently different from his absolute squares of color to achieve uniqueness.” \nIn recent years\, Thomas’s earlier work has been part of the surge of interest in women Abstract Expressionist painters. In 2016\, her paintings Cyclops (1955) and Transmutation (1956) were included in the Denver Art Museum’s groundbreaking exhibition Women of Abstract Expressionism. \nThree of Thomas’ paintings are featured in the traveling exhibition Action\, Gesture\, Paint that opened at London’s Whitechapel Gallery and is now on view at Fondation Vincent van Gogh\, Arles\, France and in 2021\, the National Gallery of Art in Washington\, D.C.\, acquired Thomas’s Portrait (1956). \nComplexed Squares features just one chapter in a long career of artistic reinvention by Thomas. In 1993\, when the Aspen Art Museum surveyed the career to date of the artist\, who spent many years in the area\, critic John Yau celebrated her defiant rejection of boundaries and categories. Her ability to draw on O’Keeffe’s modernism\, Abstract Expressionism\, and Minimalism “forces us to rethink definitions of each style\,” he writes. \nWhat’s consistent is the impact her art has on the viewer\, Yau adds. “Thomas uses abstraction to challenge our need to recognize both what we see in art and the way we look at the world.”
URL:https://artinamericaguide.com/event/yvonne-thomas-complexed-squares/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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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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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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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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SUMMARY:Yvonne Pickering Carter: Linear Variation Series
DESCRIPTION:PRESS RELEASE \nFOR IMMEDIATE RELEASE \nBERRY CAMPBELL PRESENTS YVONNE PICKERING CARTER: LINEAR VARIATION SERIES \n  \nNEW YORK\, NEW YORK\, March 6\, 2023— Berry Campbell is pleased to present its first exhibition of Washington\, D.C. based\, multi-media artist\, Yvonne Pickering Carter (b. 1939).  In 2022\, the story of Carter’s “comeback” was featured in an article in the New Yorker\, after she was included in a group exhibition of women abstract artists at Hunter Dunbar Projects\, New York.[i] While Carter has been creating and exhibiting for over six decades\, Berry Campbell is pleased to present this re-examination of Yvonne Pickering Carter’s work with her first solo exhibition in New York City. \n  \nBerry Campbell’s exhibition will examine part of Carter’s Linear Variation series\, a group of paintings from the 1970s. In this group of paintings\, Carter creates painterly white backdrops with brightly colored lines and veils rhythmically echoing her body’s cadence through the painting’s surface. While the works at times recall her Color Field contemporaries like Helen Frankenthaler and her Washington Color School contemporaries like Morris Louis\, they also embrace the presence and action of the artist’s hand and body\, giving a sense of immediacy and vitality to this body of work and previewing her performance work of the 1980s. \n  \nYvonne Pickering Carter: Linear Variation Series opens with a reception on Thursday\, March 16\, 2023\, 6 – 8 p.m. and continues through April 15\, 2023. The exhibition is accompanied by a 16-page exhibition catalogue. \n  \nABOUT THE ARTIST\nDeeply involved in multi-media art making throughout her life\, Yvonne Pickering Carter at times has been a sculptor\, painter\, performance artist\, dancer\, and poet. In a career devoted to investigations of limits and connections\, she has often broken-down definitional barriers between media through explorations of possibilities and consequences. Carter received her BA (1962) and MFA (1968) from Howard University. In 1971\, she became associate professor of art and mass media at the University of the District of Columbia\, where she subsequently assumed the position of the chair of the university’s Department of Mass Media\, Communication\, and Fine Arts. From the early 1970s through the 2000s\, Carter actively exhibited her work in solo and group exhibitions\, often along with other leading African American artists of the era\, including Loïs Mailou Jones (with whom she studied)\, as well as Lilian Thomas Burwell\, Sam Gilliam\, Howardena Pindell\, Charles White\, Shirley Woodson\, Joseph Holston\, William T. Williams\, and Alma Thomas (one of her dearest friends). In 2004\, after becoming professor emeritus\, Carter retired to Charleston\, South Carolina\, where in 2006\, she opened the Gallery Cornelia\, named for her grandmother. There she showcased African American art and contemporary women artists. Carter’s work belongs to several public collections\, including the Gibbes Museum of Art\, Charleston\, South Carolina; the North Carolina Museum of Art\, Raleigh; the University of the District of Columbia; and the Pennsylvania Academy of the Fine Arts\, Philadelphia. \nCarter has always transformed her surroundings into artistic environments. This was the case in her home on Wadmalaw Island\, South Carolina. Built by her father\, the large home had been hers since the beginning of the new millennium. In 2019\, as an octogenarian she planned to relocate to Washington\, D.C. to live near her daughter. When the movers arrived to pack her belongings\, they were astounded by the art covering the walls. They alerted the Charleston gallerist Joanna White\, who offered to show it. Word spread\, and in spring 2022\, Carter was included in the exhibition\, Ninth Street and Beyond: 70 Years of Women in Abstraction\, held at Hunter Dunbar Projects\, New York. The story of Carter’s “comeback” was featured in an article in the New Yorker on May 23\, 2022.[ii] Carter’s inclusion in the Ninth Street show—which featured works by such artists as Lynda Benglis\, Louise Bourgeois\, Elaine de Kooning\, Perle Fine\, Helen Frankenthaler\, Eva Hesse\, Joan Mitchell\, Elizabeth Murray\, Barbara Chase-Riboud\, Dorothea Rockburne\, and Alma Thomas—indicates the need to situate her art in a historical context at the intersections of her artistic identity as an African American\, a woman\, an abstractionist\, and a multi-media innovator. \nBorn in 1939 in Washington\, D.C. to Esther and Lorenzo Irving Pickering\, Yvonne—the second of eight children—grew up in Charleston\, where her family shared their home with her paternal grandparents\, Charles and Cornelia Pickering. Yvonne’s father\, a dentist\, was a skilled carpenter\, and he taught her to construct furniture. She recalls: “He sent me for an Allen wrench when I was about 11\, and I didn’t know what it was\, but from then on\, I knew every tool.”[iii] At Howard University\, Carter was inspired by James A. Porter\, who initiated the field of African American art history\, along with James Wells\, David Driskell\, and Loïs Mailou Jones. Along with Jones\, she studied with Lila Asher. Carter also completed work in interior design at the Traphagen School of Design\, New York. \nIn 1971\, after receiving her BA and MFA from Howard\, Carter established her teaching career\, starting out as assistant professor of art\, design\, printmaking\, and painting at the University of the District of Columbia. Throughout the 1970s\, Carter exhibited extensively. In 1972\, Carter participated in National Exhibition: Black Artists\, held at Smith-Mason Gallery in Washington\, D.C. Her first solo exhibition was held in October 1973 at the James A. Porter Gallery\, Howard University. In June-July 1976\, when Carter was featured in a three-artist show with Kitty Klaidman and Polly Craft\, at the Fendrick Gallery\, Washington\, D.C.\, a reviewer described her watercolors as “lyrical abstract works” with “floating Frankenthaler-like lines and forms.”[iv] In October 1976\, a solo show of Carter’s watercolors was held at the Ware Center\, Lincoln University\, Pennsylvania. \nIn 1978\, Carter along with seventy-five black women artists including Lilian Thomas Burwell\, Mavis Pusey\, Betye Saar\, and Alma Thomas\, were invited to participate in Contemporary Afro-American Women Artists\, organized by the Corcoran Gallery of Art and the Renwick Gallery\, Washington\, D.C. The show was planned to coincide with the 1979 meeting of the College Art Association (CAA) in Washington\, D.C.; however\, the exhibition never received funding and was cancelled. A paired down exhibition was planned in its place in the basement of the Martin Luther King Jr. Memorial Library. The exhibition\, Black Women in the Visual Arts: A Tribute to Lois Mailou Jones\, was well received but as Jacqueline Trescott of the Washington Post wrote: “The exhibit of 21 local artists…was not considered a complete victory by some but an example of how black women artists are given second-class treatment.”[v] \nWhile maintaining her teaching job and her presence in Washington\, D.C.\, in 1976\, Carter completed the transformation of a Charleston funeral parlor into a studio and home she shared with her then-husband. With knowledge she had derived from her father\, she became the contractor for the renovation of the space\, and she established her studio in the casket foundry. There she gathered mannequins that she began to drape in brilliant\, complex costumes that she used in works she referred to as “paintings\,” made of “moiré\, netting\, painted canvas remnants\, ribbons\, and tulle instead of paint and paper.” At the same time\, Carter considered these works to be performance pieces\, related to the dance courses she took at Howard. “There was something about movement that was important to me\,” Carter stated.[vi] It was a logical progression that led her to use painting as garment. \nIn 2004\, Carter retired and left Washington\, D.C. to return to Charleston\, and in 2006\, she opened the Gallery Cornelia\, converting her father’s old dentist’s office into a 600-foot exhibition space. She stated that on coming home\, all she wanted to do was “plant\, cut grass\, and make paintings.\,”[vii] She exhibited her Pincone series at the gallery in 2007\, but subsequently she remained out of the public arena until the move in 2019 that brought her into the limelight. \n  \n—Lisa N. Peters\, Ph.D. \n© Berry Campbell\, New York \n \n[i] Emma Allen\, “How Some Movers Rediscovered a Neglected Abstractionist\,” New Yorker 38 (May 23\, 2022). \n[ii]  Allen\, “How Some Movers Rediscovered a Neglected Abstractionist.” \n[iii] Lee Fleming\, “Life After Death” An Abandoned Funeral Parlor is Reborn as an Artist’s Home and Studio\,” Washington Post\, February 4\, 1999\, p. T12. \n[iv] Jo Ann Lewis\, Washington Post\, July 1\, 1976\, Yvonne Pickering Carter archives. \n[v] Rebecca K. Vandiver\, “Off the Wall\, into the Archive Black Feminist Curatorial Practices of the 1970s\,” Archives of American Art Journal 55\, no. 2 (Fall 2016): 26-45\, https://www.jstor.org/stable/ \n10.2307/26566605. \n[vi] Terry Bain\, “Yvonne Pickering Carter\,” in St. James Guide to Black Artists\, ed.\, Thomas Riggs (New York: Schomburg Center for Research in Black Culture\, 1997)\, p. 99. \n[vii] Jack McCray\, “A Day at the ‘Office’; Family Ties: Woman Opens Art Gallery at Father’s Former Dental Practice\,” Post and Courier (Charleston\, S.C.)\, July 23\, 2006\, p. F1.
URL:https://artinamericaguide.com/event/yvonne-pickering-carter-linear-variation-series/
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:20230105
DTEND;VALUE=DATE:20230205
DTSTAMP:20260427T060627
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LAST-MODIFIED:20221227T204136Z
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SUMMARY:Mary Dill Henry: The Gardens (Paintings from the 1980s)
DESCRIPTION:PRESS RELEASE \nFOR IMMEDIATE RELEASE \nBERRY CAMPBELL GALLERY PRESENTS MARY DILL HENRY: THE GARDENS (Paintings from the 1980s) \n  \nNEW YORK\, NEW YORK\, December 21\, 2022– Berry Campbell is pleased to announce Mary Dill Henry: The Gardens (Paintings from the 1980s)\, the second solo exhibition of work by Mary Dill Henry (1913-2009). The exhibition will feature a curated selection of paintings and works on paper from 1984 to 1989. This work was inspired by her love of gardens\, either those she visited abroad or the English garden she cultivated in her backyard. The exhibition will be accompanied by a 20-page catalogue with an essay by Lisa N. Peters\, Ph.D. \n  \nIn 1982\, Mary Dill Henry settled on Whidbey Island\, Washington\, where she lived alone\, deep in the woods\, for the rest of her life. There she transformed her remote surroundings into an English-style picturesque garden and remodeled a woodshed into a studio. During this time\, her work became increasingly more influenced by her travels\, most notably the gardens of England\, Scotland\, where she took garden tours\, as well as Spain\, France\, Italy\, and several countries in the Middle East. In a number of works\, she referenced these gardens\, including the Moghul gardens of Persia\, the gardens of Moorish Spain\, and Claude Monet’s Giverny. \n  \nThe Gardens paintings are the embodiment of Henry’s career as an artist. Henry maintained the utopian ideals associated with Constructivism\, as well the principle behind the de Stijl movement\, that art and life are inseparable. She described her career path as one in which\, out of the world’s “chaotic visual feast\,” she came to perceive the geometry of all life\, from its infinitesimally and small parts to the structure of the universe.” She eliminated non-essentials to achieve a beauty of form that transcends the ordinary and speak to the viewer with energy and insight\, while her sense of humor often comes through. \n  \nFor Henry\, her journey to artistic freedom was long sought. Born Mary Marguerite Dill on March 19\, 1913 in Sonoma\, California\, Henry graduated from the California College of Arts and Crafts\, Oakland\, and later taught applied arts at Iowa State University\, Ames. She married Wilbur Henry in 1940 and while her husband was in the military\, she took her mother and daughter to Chicago\, where she studied at the Institute of Design under Lazlo Maholy-Nagy. In 1946\, she received her Masters in Fine Art. She recalled that Moholy-Nagy was “so vital” and “exuded magnetism\,” commenting: “[He] made you see what abstract non-objective painters were getting at.”1 Of his tutelage\, she stated: “He was amazing. He talked about art that wasn’t what you saw\, but what you believed. It was like a whole new world opened up for me.”2 \n  \nShortly before Moholy-Nagy’s death from leukemia in November of that year\, he invited Mary to join the Institute’s faculty as an associate professor. She was the first woman to be given such an offer. However\, like many women of her generation who yielded to their husbands’ ambitions\, when her husband Wilbur—who had attained a Masters in biology from Harvard University—was hired to work in malaria research and control with the Department of Health in Arkansas\, she moved with him first to Bauxite\, and later to Helena. \n  \nIn 1949\, the Henrys moved back to California\, where she worked in a commercial art design firm and in 1955\, started Architectural Arts\, a business specializing in large-scale murals and mosaics. In 1960\, with $8000 she had earned\, Mary purchased a large Victorian house in Mendocino—a coastal town about 150 miles north of San Francisco—and began a process of gradually fixing it up. In 1962–63\, an unexpected family windfall enabled her to spend a full year in Europe “to look at art in as many museums and galleries as possible.” At the time\, she “thought a lot about the whole thing and decided to drop my whole way of living in Los Altos Hills and to move to Mendocino and concentrate on painting.”3 In 1966\, she divorced Wilbur and finally pursued her passion for art full time. \nHenry showed consistently through the 1960s and the 1970s\, with reviews in major publications like the San Francisco Examiner and Artforum. In the years that followed\, seven retrospectives of her art have been held in the Pacific Northwest and solo exhibitions of Henry’s work occurred almost yearly. From 1992 to 2000\, she showed in the annuals of the American Abstract Artists (formed in 1936). In 2004\, her work was featured in the exhibition\, Northwest Matriarchs of Modernism: Twelve Proto-feminists from Oregon and Washington\, organized by Marylhurst University in Oregon. The exhibition traveled to several museum venues. Her paintings now 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. In 2022\, the Minneapolis Institute of Art acquired a large scale work from 1968 by Henry. For Henry\, such renown has long been overdue. \n  \nMary Dill Henry: The Gardens (Paintings from the 1980s) will open January 5\, 2023 and continue through February 4\, 2023. There will be an opening reception on Thursday\, January 5\, 2023 from 6 p.m. to 8 p.m. \n  \nBerry Campbell is located at 524 W 26th Street\, New York\, NY\, 10001. Gallery Hours are Tuesday – Saturday\, 10 a.m. – 6 p.m. or by appointment. info@berrycampbell.com or 212.924.2178. \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 age\, 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\, 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. \n  \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  \n  \n1 Quoted in “Slender\, Quiet Freeland Artist Produces Bold\, Powerful Murals\,” South Whidbey Record\, September 24\, 1985\, p. 6 \n2 Quoted in Sheila Farr\, “Mary Henry: 93 Years of Life and Art\,” Seattle Times\, February 23\, 2007. \n3 Undated holograph\, Mary Henry Archives. \n  \n 
URL:https://artinamericaguide.com/event/mary-dill-henry-the-gardens-paintings-from-the-1980s/
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:20260427T060627
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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