Can a Virtual Art Fair Deliver? We Went in Search of Great Art in the Dallas Art Fair’s Online Viewing Rooms to Find Out

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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News: Dallas Art Fair from the Sofa, April 17, 2020 - FAD Magazine

Dallas Art Fair from the Sofa

April 17, 2020 - FAD Magazine

Betty ParsonsThe 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.

News: Editors’ Picks: 11 Things Not to Miss in the Virtual Art World This Week | Ida Kohlmeyer: Cloistered, April  7, 2020 - Katie White for Artnet News

Editors’ Picks: 11 Things Not to Miss in the Virtual Art World This Week | Ida Kohlmeyer: Cloistered

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 White

News: Parrish Art Museum: LIVE FROM THE STUDIO WITH ERIC DEVER, April  3, 2020 - Parrish Art Museum Events


April 3, 2020 - Parrish Art Museum Events

Tune in to a series of live streamed workshops with Parrish teaching artists Wednesdays at 11 am!
On April 15, join painter Eric Dever in his studio. Follow along and interact through a live Q&A.
Open to all!

April 15, 2020
11 am
 - 11:45 am

News: Ida Kohlmeyer Exhibition Reviewed in The New York Times by Roberta Smith, April  2, 2020 - Roberta Smith for the New York Times

Ida Kohlmeyer Exhibition Reviewed in The New York Times by Roberta Smith

April 2, 2020 - Roberta Smith for the New York Times

I learned of the artist Ida Kohlmeyer (1912-97) primarily as a teacher at Newcomb College, the women’s college at Tulane University in New Orleans, from one of her former students, the Post-Minimalist shape-shifter Lynda Benglis. In the 1970s Kohlmeyer developed a style of multihued pictographs, usually organized on a grid. Pleasantly derivative, they suggested well-behaved Joan Snyder paintings. Kohlmeyer seemed to be a journeyman artist who kept up with the latest trends; had a good color sense and a solid touch; but who never put the pedal to the metal to find out what she could do that no other artist could.
Then the announcement for “Cloistered,” the first Kohlmeyer exhibition at Berry Campbell, arrived by email and I stood corrected. Pedal and metal had made contact. Kohlmeyer had done something that was way above her usual average, something simple and intense. In 1968 and ’69, she produced a group of symmetrical geometric abstract paintings in a rich, winy palette. Hand drawn, their harsh shapes begin at the center of the painting’s edges, widening into diamond or chevron shapes at the center. They suggest the plans for ancient forts, and appropriately so. Cocooned at the center of this symmetry was softer symbol of vulnerability: a simple circle, or occasionally an ellipse, as in the yolk yellow one that, like the air bubble in a carpenter’s level, forms the living heart of the remarkable “Cloistered,” protected by concentric bands of deep red.

Almost never exhibited, these works may be derivative but they are gloriously so. They’re so full of the work of disparate artists that they become overarching, laying waste to the term. The gallery’s press material invites comparison with the work of Georgia O’Keeffe and Agnes Pelton. That’s fine, but more contemporary references come to mind, like Jasper Johns’s and Kenneth Noland’s targets, Billy Al Bengston’s centered irises and sundry Frank Stella paintings. Then Kohlmeyer’s efforts turn away from the men to evoke the early work of Eva Hesse and Agnes Martin, Judy Chicago’s built-up dinner plates, the dark reliefs of Lee Bontecou. The list could go on.
One of my favorites is an untitled work that features a plushy five-point star in shades of light brown enclosed in a red pentagon that fades to pink. These paintings stunningly sum up a moment when Minimalism was giving way to or being complicated by something more emotionally challenging and implicitly feminine and feminist. They could hang in any museum. There is much more to know about Kohlmeyer, a late-blooming artist who had a successful career even without her best work — the “Cloistered” paintings — whose possibilities she unfortunately chose not to explore. ROBERTA SMITH
News: Berry Campbell Celebrates Women's History Month, March 30, 2020 - Berry Campbell

Berry Campbell Celebrates Women's History Month

March 30, 2020 - Berry Campbell

Berry Campbell Celebrates Women's History Month

Ida Kohlmeyer
VIDEO: Virtual Exhibition Walkthrough

Women of Abstract Expressionism
Inventory Highlights
View Exhibition

Ann Purcell
Upcoming Exhibition: Kali Poems
View Works by Ann Purcell

Judith Godwin
Forbes Magazine: Add to Your list of '5 Women Artists' at These Museums Around The United States
by Chadd Scott

Charlotte Park
Client Testimonial: 
"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." 
-Adam Beckerman
View Works by Charlotte Park 

Yvonne Thomas
Eazel Interactive Exhibition | Yvonne Thomas: Windows and Variations (1963-1965) 

Susan Vecsey
Nassau County Museum of Art, Roslyn Harbor, New York
View Works by Susan Vecsey

Jill Nathanson
LINEA: Studio Notes from the Art Students League of New York
Artist Snapshot: Jill Nathanson 

Perle Fine
What We See, How We See
Through April 2021
Parrish Art Museum, Southampton, New York
View Works by Perle Fine

Joyce Weinstein
Postwar Women
Curated by William Corwin
The Art Students League, New York
View Works by Joyce Weinstein

News: Judith Godwin Studio Visit With the Chrysler Museum of Art, March 21, 2020 - Berry Campbell

Judith Godwin Studio Visit With the Chrysler Museum of Art

March 21, 2020 - Berry Campbell

Dr. Kimberli Gant, Curator of Modern and Contemporary Art, Chrysler Museum, Norfolk, Virginia, visiting Judith Godwin’s studio in
Greenwich Village, New York. Left to right: Martha Campbell, Christine Berry, Kimberli Gant, Judith Godwin.