Berry Campbell

#judithgodwin #obituary #artforum #womenofabstractexpressionism #abex #abstraction #berrycampbell

#frederickjbrown #berrycampbell

Great art dealer showing great artists in the Hamptons!  Syd Solomon included!

 Parrish Art Museum: Artist Stories from the Pandemic featuring Mike Solomon

CHARLOTTE PARK @aslnyc Curated by @william_corwin #Repost @william_corwin ・・・ It’s the Centennial of the 19th Amendment. This past November the #artstudentsleagueofnewyork celebrated its alumnae with the exhibition #postwarwomen which I had the honor of curating. Here are the works in the show (either alumnae of the League or similar institutions like the Academie Julien): #CharlottePark #MerrillWagner #MichaelWest #BlancheLazzell #ElainedeKooning #ReginaBogat #artstudentsleagueofnewyork #19thamendment #19thamendment100thanniversary #suffragecentennial #womensart #art #womenempowerment #womenartists #artgallery #berrycampbell (at The Art Students League of New York) https://www.instagram.com/p/CEEkX-pl1R7/?igshid=oq8rg14gvcpv

SYD SOLOMON MUSEUM EXHIBITION Currently on view @theringling Previously @guild_hall @gcma_sc #Repost @gcma_sc ・・・ Beginning in the 1950's, Abstract Expressionist Syd Solomon (1917-2004) split his time between Long Island, NY, and Sarasota, FL. His work was heavily influenced by his natural environment, including the ocean. His work was exhibited at the Greenville County Museum of Art in 2016 and dancers from the Fine Arts Center of Greenville found inspiration in the layers and movement in his work.⠀ ⠀ #gcma #greenvillesc #yeahthatgreenville #sydsolomon #soloexhibition @fac_greenville @berrycampbell #abstractexpressionism #sarasota #easthampton #abstraction #artanddance #gesture #estaterepresentation #nycart #berrycampbell (at Greenville County Museum of Art) https://www.instagram.com/p/CEA5xsDly5T/?igshid=6apcxu0usqmf

AMY SILLMAN “Letters from Texas” 2003 oil on canvas 40 x 20 1/2 inches “It is Sillman’s handling of paint material that has gained her so much notoriety. The narratives depicted in her work, if decipherable at all, are elusive and necessitate an interpreter or personal guide. This is not unusual in contemporary art; however, Sillman has put together a painterly language that is consistent from piece to piece and seems to reveal, within its code, the secrets to the artist’s most secret fears and delights. The colors are soft, and they transition without great contrast. Subject matter within the work presents itself sparingly, crudely and intuitively, as lines are either painted or scratched out of the ground. The marks are abstract, yet figurative. These paintings, with their pinks and light blues, yellows and warm grays, are soundly emotional works. They lead inward, away from the struggle of intellectual dialog and toward the elegance and spontaneity of gibberish or idle chat; in Sillman’s words, “I have an eye for the beauty of ugliness, awkwardness, isolation.” -Johnny Robertson Glasstire (Texas Visual Art), 2004 #amysillman #sillman #lettersfromtexas #oilpainting #abstracted #expressionism #unt #detroit #bardcollege #sva #whitneybiennial #womenartists #contemporaryart #artgalleries #nycart #chelseagalleries #newinventory #berrycampbell (at Berry Campbell) https://www.instagram.com/p/CD7sNrQFv6p/?igshid=nnkf6ku4czi2

JANICE BIALA “Untitled” 1959, oil on paper, 10 1/2 x 11 1/2 inches. Signed and dated lower right. Provenance: Private Collection, Maryland] Janice Tworkov (1903-2000) changed her name to Biala to differentiate herself from her older brother, Abstract Expressionist Jack Tworkov. The artist-siblings, Jewish immigrants from Poland raised on the Lower East Side, lived divergent lives. Janice Biala moved to France during the interwar period, where she socialized with some of the leading writers and artists in Europe, including Picasso, Matisse, Gertrude Stein, and Brancusi. There she embraced the modernist innovations of synthetic cubism, making quiet cityscapes and interiors that emit the gray light of Paris. Biala's first exhibition was at the Passedoit Gallery in Manhattan in 1936. She exhibited at the Stable Gallery in 1954, 1956 and 1961. In the 1970s and ‘80s she was represented by the Gruenebaum Gallery in New York and in the 1990s by the Kouros Gallery, and is currently represented by Tibor de Nagy, New York. “Biala was a painter of impeccable taste and remarkable intelligence, She had an intuitive feeling for composition and her orchestration of color was, at times, breathtaking." Despite her love of Paris, Biala never gave up her United States citizenship. She was at home everywhere. ”I never have the feeling of nationality or roots,” she once said. ”I always had the feeling that I belong where my easel is.” [See JaniceBiala.org] #janicebiala #biala #womenofabstractexpressionism #abstractexpressionism #abstracted #nycart #paris #provincetown #1950s #stablegallery #womenartists #berrycampbell (at Berry Campbell) https://www.instagram.com/p/CD5RCjdFNHZ/?igshid=17p6cylvf1zaw

ELAINE DE KOONING “Portrait of Mary King Swayzee,” 1967 oil on canvas 30 x 26 inches. Provenance: Gift from Elaine deKooning to Mary King Swayzee. Mary King Swayzee was an artist and a former art critic for the St. Louis Post-Dispatch. Swayzee was raised in St. Louis, attended Mary Institute (now MICDS), graduated from the Master’s School, Dobbs Ferry, N.Y., in 1947, and from Barnard College, NYC, in 1951 where she majored in art history. After college, she remained for a time in New York, and became part of the downtown New York scene. She studied with a number of influential artists such as Hans Hofmann and Stanley William Hayter. She reveled in the heady mid-century artistic atmosphere of the 1950s where she became acquainted with artists like Elaine de Kooning who would become a lifelong friend. #edek #elainedekooning #dekooning #painter #portraitpainter #abstracted #expressionism #marykingswayzee #artist #artcritic #womenartists #artgalleries #nycart #berrycampbell (at Berry Campbell) https://www.instagram.com/p/CD0DajrFd1Z/?igshid=twftydxkj4tv

ART AND DESIGN @glenngisslerdesign A FRESH PERSPECTIVE Modern furnishings and artwork bring a fresh perspective to this 19th century Brooklyn Heights townhouse Living Room. A lyrical, and luminous painting, “The Till”, 1958 by Walter Darby Barnard from @berrycampbell brings lightness and joyful. The classic 1930’s armchairs in a pale celadon velvet designed by Bjorn Teagarden from @hostlerburrows compliment their spirit of the painting. The classically inspired nesting tables by T.H. Robsjohn-Gibbings bring a dynamic dignity to the setting. Helping to anchor the room in its history is a 19th century Khorassan carpet from @nazmiyal #brooklyn #brooklyntownhouse #midcenturymodern #walterdarbybannard #berrycampbell #bjornteagarden #hostlerburrows #robsjohngibbings #nestingtables #nazmiyalcollection #antiquerugs #antiquerug #glenngisslerdesign #ggdnyc #artinstallation #interiordesignalchemy #artanddesign (at Berry Campbell) https://www.instagram.com/p/CDlpS9slSlN/?igshid=y1rkcfexdml0

IDA KOHLMEYER: ESTATE REPRESENTATION In the 1980s, Kohlmeyer abandoned the grid and allowed geometric shapes to float in watery, atmospheric spaces, again evoking Hofmann’s legacy. In a variation termed the Mythic series, she introduced a new symbolic element in forms suggestive of balls, arrows, and architectural and landscape motifs. She brought together strands of her earlier art in her Circus Series, depicting her distinctive semi-abstract hieroglyphic symbols and signs in complex spatial relationships. She had adopted a new flatness arranging bolder, brighter more clearly defined forms in arrangements that are either open or gridded. Stronger in their patterns, these works have been related to the New York-based Pattern and Decoration movement begun by a group of artists in the early 1970s, including Valerie Jaudon, Joyce Kozloff, Miriam Schapiro, and Kohlmeyer’s friend, Kendall Shaw. [Ida Kohlmeyer “Untitled” (Circus Series) 1983 oil, acrylic, charcoal on canvas 24 x 36 1/8 inches] #idakohlmeyer #kohlmeyer #abstraction #abstractart #womenartists #hieroglyphics #signsandsymbols #circusseries #patternanddecoration #neworleansartist #artgallery #chelseagalleries #nycart #estaterepresentation #berrycampbell (at Berry Campbell) https://www.instagram.com/p/CDh_tEBlZg7/?igshid=1ek2x4sa8nkzm

NEW INVENTORY James Brooks “Z” 1951 oil on linen 36 x 54 inches On his return to New York after World War II, Brooks’ work turned toward abstraction. In his first one-man show at the Peridot Gallery in 1950, he presented stained and "dripped" canvases, influenced by his close friend Jackson Pollock, in which stains made on the reverse side of the canvas were used to generate "spontaneous" painted shapes on the front. In 1951, he participated in the historic "Ninth Street Exhibition," an artist-organized show that included the work of Pollock, Hans Hofmann, Franz Kline, Willem de Kooning and Robert Motherwell. In 1956, his work was part of the "Twelve Americans" show at the Museum of Modern Art, as well as the Modern's influential "New American Painting" show in 1959, which traveled through Europe. -New York Times obituary, 1992. #jamesbrooks #abstractexpressionism #abstraction #1950s #stainpaintings #theclub #irascibles #ninthstreetshow #1950s #texasartist #hamptonsartist #nycartist #newinventory #artgallery #artcollector #chelseagalleries #berrycampbell (at Berry Campbell) https://www.instagram.com/p/CDXrIifFf5z/?igshid=1h5rwy585g7z6

Susan Vecsey “Untitled (Cobalt/Indigo)” 2020 oil on canvas 34 x 60 inches. In an essay written for Susan Vecsey’s Greenville County Museum of Art solo exhibition catalogue, Phyllis Tuchman writes: “Vecsey’s abstractions call to mind both Color Field paintings as well as landscapes. They exist somewhere in the middle, neither one nor the other. For starters, instead of working with acrylic pigments and yards of unstretched canvas as a Color Field artist might do, Vecsey executes her evocative pictures the old-fashioned way. To linen surfaces, she applies layers of oil pigments. Depending on the weather, it can take days for each plane of color she has thinned with turpentine to dry. Occasionally, she makes larger works in a diptych format. As it is, to get started, she relies on a few academic basics. She makes small charcoal drawings on the spot; and after that, pastels and color studies before she ever picks up any brushes, sponges, rags, or pour buckets. Then, she improvises. She once said that you need to be, ’ready to accept or reject the unexpected.’” #susanvecsey #vecsey #soloexhibition #oilonlinen #abstraction #abstracted #nycart #barnard #newyorkstudioschool #hamptons #nycart #artgallery #chelseagalleries #womenartists #contemporaryart #berrycampbell (at Berry Campbell) https://www.instagram.com/p/CDSjlB5FTKl/?igshid=ntfzohmkg6t3

Challenge accepted @karnesees ! Let’s collaborate! #womensupportingwomen #femaleempowerment #berrycampbell Photo by @michaelhalsband (at Berry Campbell) https://www.instagram.com/p/CDMlqFAlcM6/?igshid=1wuey80hfs5sy

Susan Vecsey on view in “blue.” @nassaumuseum curated by Museum Director, Dr. Charles A Riley II. Virtual gallery talk by Susan Vecsey on September 10, 2020. [Installation view L to R: #helenfrankenthaler #jeffreygibson #seanscully #susanvecsey] #museumexhibition #nassaucountymuseumofart #artmuseum #groupexhibition #installation #blueperiod #onview #historicbuildings #contemporaryart #artistrepresentation #berrycampbell (at Nassau County Museum of Art) https://www.instagram.com/p/CDK5d6-lwxa/?igshid=1emtpjdtukcmh

Christine Berry & Martha Campbell Gallery Summer Hours: M-F, 10-6 Susan Vecsey: In Between on view through at Berry Campbell through August 21, 2020. #christineberry #marthacampbell #gallerists #artgallery #nycart #chelsea #w24 #groundfloor #womenartdealers #womeninbusiness #berrycampbell (at Berry Campbell) https://www.instagram.com/p/CDIExqjlALm/?igshid=u1t57u05nxtv

COMING IN SEPTEMBER An artist who mixed the hot colors of Pop Art with the cool, more analytical qualities of Color Field painting, Edward Avedisian (1936-2007) was among the leading figures to emerge in the New York art world in the 1960s. Along with his contemporaries, Avedisian was instrumental in the exploration of new abstract methods to explore the primacy of optical experience, breaking from the tactility of Abstract Expressionism. He was included in the landmark exhibitions, “Op Art: The Responsive Eye,” held at the Museum of Modern Art in 1965, and Expo 67, held in Montreal. He showed at the prominent Hansa (1958-59) and Elkon (1960-75) galleries and participated in four annuals at the Whitney Museum of American Art. Through the early 1970s, works such as these “seedlike orbs” and “stripes with splashes” were prominently featured in Artforum (including the magazine’s cover in January 1969), Artnews, and Arts magazines. [Edward Avedisian “Untitled” c. 1965 acrylic on canvas 78 x 78 inches] #EdwardAvedisian #avedisian #abstraction #abstractart #1960s #colorfield #popart #acrylicpainting #artexhibition #soloexhibition #focusshow #hudson #nycart #lowellmass #mfaboston #installationart #chelseagalleries #newyorkartscene #berrycampbell (at Berry Campbell) https://www.instagram.com/p/CDFiFy2lYBp/?igshid=1pcbwd66lhwt8