Frank Wimberley (b. 1926)
Over the course of a career that has lasted more than fifty years, Frank Wimberley has felt abstract painting to be a continuous adventure. The artist is a well-known presence in the art scene on the East End of Long Island and an important figure in African-American art since the 1960s. Acclaimed for his dynamic, multi-layered, and sophisticated paintings, Wimberley is among the leading contemporary artists to continue in the Abstract Expressionist tradition. What has always excited him is to take the theme or feeling from the very first stroke he lays down and follow it to its particular conclusion, “very much like creating the controlled accident.” His improvisational method is akin to jazz, an important part of his life and a theme in his art. Despite the spogntaneity of his process, Wimberley makes each decision deliberately, respectful of what emerges and where it is going; he enjoys the surprise of arriving at definitions that seem to come to life on their own. Similarly, his works engage the viewer in their strong physicality and unpredictability as well as in their insights into the ways that pictorial experiences are perceived and understood. Read Full Biography
Eric Dever (b. 1962)
Over the last decade, Eric Dever has pursued intensely focused investigations into methods and materials, creating works which gradually have evolved into sensitively executed and intimate works of art. Dever was born in Los Angeles, California and received his Bachelors degree from California Lutheran University, Thousand Oaks. He moved to the East Coast to study at New York University where he received his Master of Arts.
For more than a decade, Eric Dever purposefully redacted color, using a limited palette: white for four years, white and black for two years, followed by white, black and red. “I found myself taking cues from flowers as they blossomed and color entered my paintings.” However, instead of exploring just one color at a time, Dever embraced the entire spectrum. Initially he used mostly mixed tints, but with this epiphany of color, he began creating new mixed hues. Read Full Biography
Ann Purcell (b. 1941)
For Ann Purcell, a nationally recognized artist, whose abstract work is represented in museums across the United States, process is a critical factor. The gestural and alive qualities of her paintings, collages, and works on paper reflect her use of process as a means of expression and exploration, as she works within tensions of paradox, ambiguity, duality, and contradiction. Her method is related to dance—an important form for her beginning in her childhood—as well as to music, while she draws on her thorough grounding in European and American Expressionist traditions. The breadth of art history is also an important source for Purcell; she states that “one of the things that is so wonderful about art is that art history is an endless resource—one cannot consume it all. There are thousands of years of art to mine and find a challenging and supportive foundation for the artist.” In the catalogue for a solo exhibition of Purcell’s work at the Corcoran Gallery, Washington, D.C. (1976), the museum’s chief curator Jane Livingston noted Purcell’s “fluidity with a vast range of idioms.” Livingston wrote: “Purcell is among the most disciplined and prolific artists I have encountered: the number of fresh, sometimes startlingly brutal, sometimes exquisitely refined works she manages to create in the continually ongoing process of her production is proportionately remarkable.” Read Full Biography
Ken Greenleaf (b. 1945)
An artist whose work is embedded in a philosophical and theoretical framework, Ken Greenleaf is a committed modernist, working in the minimalist tradition. In recent years, his emphasis has been on creating streamlined paintings on shaped supports and paper collages, in which he continues the engagement with relations between shapes and materials that has been the central focus of his art. While comprised of geometric forms, Greenleaf’s art has a freeform aspect, forcing us to mentally organize what we’re seeing into “ideas.” He perceives the edges of his shaped surfaces, the color of his raw canvases, and the borders of his painted areas as “direct essays in understanding how we apprehend what we see and how we recognize what is real.” The tension between flatness and the feeling of and desire for illusion in Greenleaf’s art brings us to a place between raw sensation and the conceptual, which is ultimately a metaphysical one. Greenleaf, whose art has been shown widely at galleries and museums since the early 1970s, is represented by Berry Campbell Gallery, New York. Read Full Biography
Ken Greenleaf on Ida Kohlmeyer, Cloistered #5, 1968:
The suggestion was to pick a work from the inventory, which turned into a long ramble through the work so many good painters - Darby Bannard’s inventive knowledge, Dan Christensen’s pure talent, Stanley Boxer’s surface and Joyce Weinstein’s deliberating marks. So many. But I settled on Ida Kohlmeyer’s Cloistered #5. It is what it is, almost completely abstract and un-referential. It has a solid presence that declares its own existence, and I’ve come to value that.
In her reduction of painting to its physical essence, Jill Nathanson belongs to the Color Field legacy, but her immersive and sensual paintings stand in a category of their own. Consisting of unusual hues of overlapping layers of variable translucency, they create emotionally nuanced experiences with yet enough tension to engage our contemplation. Empirical Empyrean, the title of one of her paintings her second exhibition at Berry Campbell, suggests the fine line on which her work rests. Read Full Biography
Joyce Weinstein (b. 1931)
An artist who has received critical acclaim nationally and internationally since the early 1950s, Weinstein is distinguished by her dual commitment to the trajectories of abstraction and plein-air painting. The works on view, inspired by her surroundings in rural Columbia County, New York, demonstrate this convergence. Rendered in oil, washes, impasto, and contrasts of hue and texture, the works represent what Weinstein describes as “another kind of landscape painting, more ‘real’ than literal interpretations.” Read Full Biography
James Walsh (b. 1954)
Jim's style is something more like an anti-style. A Walsh is recognizable by its dramatic paint effects, usually with one or two veritable tidal waves of acrylic paint on an otherwise placid ocean of color. But formal commonalities end there. The only rule in play is continual reinvention from work to work. This means that color can vary widely, from acidic primaries to foggy neutrals. The applications range from gigantic brushwork to fluid pours. Surface effects include deliberate application of flat color next to mysterious laminations formed by transparent acrylic bases flecked with liquid paint.
It's a truism that reproduction doesn't do justice to good painting, but it's especially apt in Jim's case, as his canvases sometimes have crests of paint several inches thick adorning areas that have been stained, glazed, or scraped down to the cotton. Though hung on the wall and meant to be viewed from the front, many of them have a depth of six or eight inches. Crucial, though, is that Jim is employing the entire depth. Read Full Biography
Susan Vecsey (b. 1971)
Susan Vecsey was born in New Jersey and currently lives and works in both New York City and East Hampton, New York. She earned her Bachelor of Arts from Barnard College, Columbia University, New York and her Master of Fine Arts from the New York Studio School of Drawing, Painting and Sculpture, studying under Graham Nickson. In 2012, Vecsey was a visiting artist at the American Academy in Rome.
Vecsey had a solo museum exhibition at the Greenville County Museum, South Carolina, in 2017 that was accompanied by an exhibition catalogue with an essay by Phyllis Tuchman. “Unlike, say, Fairfield Porter, another East End artist, Vecsey is less involved with the here and now. She’s not recording the details of daily life. She’s reminding you of places where you have been. With swooping curves, extended horizon lines, and a mix of tonal colors, Vecsey’s compelling images have the character of memories, recollections, reveries. You’re revisiting sites of pleasure and wonderment.” Read Full Biography
Mike Solomon (b. 1956)
Mike Solomon has exhibited widely throughout the United States at museums, galleries, and art fairs. In recent years, Solomon was included in the important exhibition, “Art of Our Time” curated by Matthew McLendon at the John and Mable Ringling Museum of Art, Sarasota, Florida and “Defining Abstraction” curated by Mark Ormond at the Ringling College of Art and Design and had a solo installation exhibition at the Greenville County Museum, South Carolina in February, 2019. Read Full Biography