#estaterepresentation

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

JOHN OPPER Vivian Raynor called the works Opper exhibited at the Stable Gallery in 1962, “handsome objects” that afforded “contemplation of color for its own sake.”During the 1960s, Opper assumed a Color Field sensibility, further controlling the gestural quality of his art and playing colors off each other “with the elegance and panache of a master juggler,” as noted by Hilton Kramer in 1979. [John Opper “Brown Dominant” 1968-1970 acrylic on canvas 54 x 48 inches] #johnopper #opper #colorfield #colorpainting #cleveland #clevelandinstituteofart #wpa #americanabstractartists #hofmann #egangallery #stablegallery #abstractart #abstraction #artgallery #nycart #chelseagalleries #modernart #estaterepresentation #berrycampbell (at Berry Campbell) https://www.instagram.com/p/B-n9zBJF-_G/?igshid=5dn5ejhfc3yj

GALLERY OPENING. Berry Campbell is pleased to announce an exhibition of paintings by the renowned Abstract Expressionist painter, Perle Fine (1905-1988) newly acclaimed for her inclusion in the 9th Street Show (1951). This exhibition at Berry Campbell focuses on Perle Fine’s “Accordment Series” (1969-1985) and includes several prominent examples that have not been exhibited since the artist’s 1978 retrospective exhibition at Guild Hall Museum, East Hampton. “Perle Fine: The Accordment Series”will open with a reception on Thursday, February 13, 2020 from 6 to 8 pm and will continue through March 14, 2020. [Perle Fine “Freshening Breeze” c. 1977 acrylic on canvas 38 x 38 inches] #perlefine #fine #accordmentseries #abstractart #womenartists #womenofabstractexpressionism #grid #openingnight #ninthstreetshow #ninthstreetwomen #openingreception #chelseagalleries #thursdaynight #galleryhopping #chelsea #estaterepresentation #berrycampbell (at Berry Campbell) https://www.instagram.com/p/B8fkJXYl5oB/?igshid=1ch6utcm9ugas

CLOISTERED. Save the date. We are pleased to present our first exhibition of works by Ida Kohlmeyer curated from her paintings and sculpture from the late 1960s. “Ida Kohlmeyer: Cloistered” opens on March 19, 2020. [Ida Kohlmeyer “Cloistered No. 9” 1969 oil on canvas 28 x 50 inches] #idakohlmeyer #kohlmeyer #neworleans #womenartists #5womenartists #abstraction #oilpainting #installationart #cloistered #hanshofmann #nycart #chelseagalleries #savthedate #artopening #vipreception #thursdaynights #estaterepresentation #berrycampbell (at Berry Campbell) https://www.instagram.com/p/B8Kjz28l31i/?igshid=dfs68phuveyx

ATMOSPHERIC. In the mid-1950s, Yvonne Thomas loosened the Cubist structures she had used earlier, employing more gestural handling to create works that were more expressively free. The personal quality in these paintings was deemed “American” by Stuart Preston in a review of a three-artist show at Tanager Gallery in 1954, in which Thomas was included. Preston singled out the work of Thomas and Miriam Schapiro, calling both “talented” and “comparatively unknown” artists who distilled “non-specific emotional moods in a language of restless brushwork and fitful color.”Also reviewing the show, Dore Ashton observed the “landscape feeling” in Thomas’s oils and commented: “Hers is a delicate, very subtle intonation, adjusted to atmospheric rather than energetic forces in nature. [Yvonne Thomas “Exploration” 1954 oil on linen 40 x 51 1/2 inches] #yvonnethomas #thomas #9thstreetwomen #9thstreetshow #womenartists #1050s #womenofabstractexpressionism #atmospheric #abstraction #oilpaintings #abstractpaintings #expressionism #brushwork #tanagergallery #artreview #doreashton #estaterepresentation #5womenartists #berrycampbell (at Berry Campbell) https://www.instagram.com/p/B8usMUfF_x-/?igshid=2n4q2kzwbl8d

Berry Campbell is preparing for a November exhibition of Larry Zox paintings from the 1970s. Many of these are from his “Open” series. Learn more about his shift from the more contained geometric works of the 1960s to the more minimal and fluid works of the 1970s. It was 1973 when Larry Zox had a major retrospective @whitneymuseum @berrycampbell [Larry Zox “Untitled” c. 1973 acrylic on canvas 66 x 66 inches] #larryzox #zox #soloexhibition #artinstallation #colorpainting #colorfield #lyricalabstraction #abstractart #abstractpainting #abstractart #iowaartist #nycart #sva #desmoinesartcenter #whitneymuseum #estaterepresentation #berrycampbell (at Berry Campbell) https://www.instagram.com/p/Byl7n_flHjm/?igshid=17785qpgqn7y2

#Repost @lafdoe ・・・ Father and Son ❤️❤️ #edwardavedisian #avefisian #moma #theshapeofshape #amysillman #museumofmodernart #artistcurated #artmuseum #estaterepresentation #berrycampbell (at MoMA The Museum of Modern Art) https://www.instagram.com/p/B4bhntzllVZ/?igshid=35q99yg9z7rb

In the catalogue for his first solo exhibition held at Bennington College in 1962, he stated that he saw his canvases as invitations “for the viewer to participate in events, in the activity of color and the relativity of space.” For Stadler, “space . . . and the freedom of the eye to roam” were essential. He enhanced this experience in his art through “deliberate variations.” [Albert Stadler “Untitled” 1965 acrylic on canvas 62 1/2 x 63 1/4 inches] #albertstadler #stadler #colorpainting #colorfield #bennington #paulfeeley #1960s #nycartist #universityofflorida #gainesville #postpainterlyabstraction #abstraction #abstractart #acrylicpainting #colorandfield #modernart #estaterepresentation #berrycampbell (at Berry Campbell) https://www.instagram.com/p/ByWl7pxlR6l/?igshid=uo1gu5itrz35