VIDEO: Christine Berry on Ida Kohlmeyer: Cloistered
April 24, 2020 - Berry campbell
April 20, 2020 - Andrew Goldstein for Artnet News
Here are eight of the most memorable works from the Dallas Art Fair's virtual edition.
Chelsea dealers Christine Berry and Martha Campbell did not spend quite so much time on the quiddities of the online format, instead relying on old-fashioned connoisseurship, curation, and an eye for sourcing work that looks better over time to put together an excellent display anchored by female artists from the 1950s, ’60s, and ’70s. Some, like Mary Abbott, Perle Fine, Judith Godwin, and Ninth Street Women star Grace Hartigan were undervalued during their lifetime. Others, like Charlotte Park, Sally Michel Avery, and Elaine de Kooning were overshadowed by their artist husbands. One, Betty Parsons, was overshadowed by herself—with her painting career long seen as secondary to her illustrious run as one of New York’s top dealers of Abstract Expressionist art.
This witty painting of a solitary red moth against a brushy blue background plays against the pieties of AbEx orthodoxy, being at once an abstract all-over composition that emphasizes the picture plane and a not-very-abstract-at-all (though Fauvist) portrait of a bug on a wall.
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April 17, 2020 - FAD Magazine
Betty Parsons: The Moth, 1969, at Berry Campbell, New York – price on application
Although known primarily as a gallerist who championed Abstract Expressionism, Betty Parsons (1900-1982) has recently been gaining increased recognition for her own art, including a solo show at Alison Jacques in London. This is certainly a radical way of tackling figure / ground issues, and one which we can now see presents an unimpeachable degree of social distancing.Read More >>
April 7, 2020 - Katie White for Artnet News
9. “Ida Kohlmeyer: Cloistered” at Berry Campbell Gallery
During her lifetime, the New Orleans painter Ida Kohlmeyer won acclaim in her native Louisiana for her abstract, often jubilantly colored canvases that hovered between gridded arrangements of Rothko-esque fields of color (in fact, she counted the AbEx giant as a friend and mentor) and the mark-making lyricism of Cy Twombly.
A much different and little-known set of her early works can be glimpsed in “Cloistered,” a new online exhibition at Berry Campbell. Made in 1968–69, these paintings almost have the appearance of aerial maps of ancient citadels with concentric bands of geometric shapes surrounding a point of central focus. While showing the influences of Georgia O’Keeffe in places and contemporaries like Kenneth Noland in others, the works also speak to the artist’s fascination with interest in Mesoamerican art (which she voraciously collected) and in cultivating a vocabulary of hieroglyphs, emblems, and ritual meaning, which here collide into a feminine vision of Abstract Expressionism.
—Katie WhiteRead More >>
April 3, 2020 - Parrish Art Museum Events
April 2, 2020 - Roberta Smith for the New York Times
March 30, 2020 - Berry Campbell
Forbes Magazine: Add to Your list of '5 Women Artists' at These Museums Around The United States
by Chadd Scott
"Extremely gratifying to see Paul Kasmin Gallery's eye-opening summer show, Painters of the East End reviewed by Erin Kimmel in this month's Art in America . And smiled extra wide that AbEx talent Charlotte Park is written up in the same paragraph as — and holds her own with— Joan Mitchell. 'Park's virtuosic oil and crayon compositions (ca. 1965 and 1967) feature dendrite-like configurations in a palette of bright pinks, yellows and blues that appear frozen mid twist.' Ten years ago Christine Berry, owner of one of the most engaging and provocative galleries in Chelsea, Berry Campbell, thankfully introduced me to the work of Charlotte Park, who died in 2010 at age 92 in Montauk, where she lived and painted. She was the wife of artist James Brooks, supporting his career at the expense of her own, and dear friends and neighbors of Jackson Pollock and Lee Krasner."
View Works by Charlotte Park
Eazel Interactive Exhibition | Yvonne Thomas: Windows and Variations (1963-1965)
Nassau County Museum of Art, Roslyn Harbor, New York
View Works by Susan Vecsey
LINEA: Studio Notes from the Art Students League of New York
Artist Snapshot: Jill Nathanson
What We See, How We See
Through April 2021
Parrish Art Museum, Southampton, New York
View Works by Perle Fine
Curated by William Corwin
The Art Students League, New York
View Works by Joyce Weinstein
March 21, 2020 - Berry Campbell