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News: Walter Darby Bannard Reviewed by Piri Halasz, December 11, 2018 - Piri Halasz for From the Mayor's Doorstep

Walter Darby Bannard Reviewed by Piri Halasz

December 11, 2018 - Piri Halasz for From the Mayor's Doorstep

WALTER DARBY BANNARD 

The Darby Bannard at Berry Campbell on West 24th Street show has many more successes, not least because it’s a much bigger show (with nineteen canvases on view).

I counted at least eight paintings that I really related to -- although this show is devoted to a very demanding -- because experimental -- period when the artist was transitioning from his early hard-edged and geometric minimalism to his more mature, free-formed and painterly modernism. 

It is in the nature of experimentation that not every experiment comes off, but as Clement Greenberg once advised Jacob Kainen, in a letter that I’ve never forgotten, the artist must continually take risks if he wants to renew his art (or words to that effect). 

This show appears to stop right about at the moment when Bannard began really ladling on the gel. The two last paintings in the sequence of nineteen here are both embellished with streaks of it.

One of them, “Glass Mountain Fireball” (1975), has a field of fiery reds and oranges, and is embellished with narrow upward squiggly streaks of olive green gel. The effect of such a contrast is spicy and delightful.

One of the most intriguing aspects of this show is the appearance and disappearance of the geometry underlying the free-form. Quite a number of paintings here attempt to juxtapose the two modes, and surprisingly enough, the effect can be very pleasing – or not. 

One of the most pleasing is “Summer Joys No. 2” (1970), with a summery tangle of yellows (lemon & apricot) laid atop vestiges of nine squares in pale tan and pale green.

Another charmer is “China Spring #3” (1969), in lime, mint, khaki and pale peachy pink, embellishing yet diminishing the under-drawing of a large set of tic-tac-toe squares. 

Still, one of the many virtues of this show is that it doesn’t try to establish a straightforward linear progression. 

Rather, it suggests spiral evolution from minimalism to modernism, or what the French call reculer pour mieux sauter – fall back in order to jump further forward.

“Winter’s Traces” (1971) comes early not late in the sequence, yet it is all a symphony of swaying mint, apple green and olive daubs without the slightest hint of underlying squares. 

Two years later, nearly at the end of the sequence, “The Meadow” (1973) is a forthright bright green with decidedly straight vertical lines through the body of the picture, topped with straight horizontal straight lines.

Throughout the show, in fact, the colors are lovely – and loveliest (in my opinion) when not tied down to delineation. One gets this square between the eyes when one walks into the gallery from the street and sees “Peru” (1971) right in front of the door.

Although this is another early one in the sequence, I see no squares at all. But what an exploding galaxy of merry yellow is massed in the center of the canvas, and how loosely yet tellingly it is framed by cloud-like elements of mint green, olive and mauve!

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News: Perle Fine, Judith Godwin, Charlotte Park, and Yvonne Thomas featured in Setareh Gallery's Exhibition

Perle Fine, Judith Godwin, Charlotte Park, and Yvonne Thomas featured in Setareh Gallery's Exhibition "A GESTURE OF CONVICTION"

November 30, 2018 - Berry Campbell

Berry Campbell is pleased to collaborate with SETAREH GALLERY in Düsseldorf to celebrate women in art with the exhibition "GESTURE OF CONVICTION | Women of Abstract Expressionism" open from December 1, 2018 to February 29, 2019.

http://www.setareh-gallery.com/a-gesture-of-conviction.html

Image: © James Brooks and Charlotte Park Foundation

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News: Art meets Art! Art meets Art! Art Shamsky from the 1969 World Champion NY Mets visits Berry Campbell, November 29, 2018 - Berry Campbell

Art meets Art! Art meets Art! Art Shamsky from the 1969 World Champion NY Mets visits Berry Campbell

November 29, 2018 - Berry Campbell

Art Shamsky from the 1969 World Champion NY Mets visited Berry Campbell yesterday!

See now on our Instagram!

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News: Balcomb Greene, Raymond Hendler, and Ann Purcell featured in show room Designed by Garrow Kedigian for Kravet | Lee Jofa | Brunschwig & Fils New York City, November 27, 2018 - Berry Campbell

Balcomb Greene, Raymond Hendler, and Ann Purcell featured in show room Designed by Garrow Kedigian for Kravet | Lee Jofa | Brunschwig & Fils New York City

November 27, 2018 - Berry Campbell

We are so pleased to have been able to work with Garrow Kedigian Interior Design for Kravet | Lee Jofa | Brunschwig & Fils New York City for this fabulous show room! Paintings on loan by Balcomb Greene, Raymond Hendler and Ann Purcell. Please visit the D & D building when you are in the neighborhood!

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News: Frank Stella on Walter Darby Bannard | Institute of Contemporary Arts, Miami: , November 15, 2018 - ICA Miami

Frank Stella on Walter Darby Bannard | Institute of Contemporary Arts, Miami:

November 15, 2018 - ICA Miami

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News: Discussion with Mike Solomon about

Discussion with Mike Solomon about "Syd Solomon: Views from Above" at the Museum of Fine Arts, St. Petersburg

November 10, 2018 - Berry Campbell

Discussion with Mike Solomon about Syd Solomon: Views from Above
Cocktails & Collections
Museum of Fine Arts, St. Petersburg

Thursday, November 15, 2018
5 - 7 PM

RSVP

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News: Susan Vecsey Reviewed in Delicious Line, November 10, 2018 - Maria-Lisa Farmakidis for Delicious Line

Susan Vecsey Reviewed in Delicious Line

November 10, 2018 - Maria-Lisa Farmakidis for Delicious Line

The appearance of effortless beauty is not easy to produce. But this is the aspiration of Susan Vecsey's current show at Berry Campbell, an exhibition of twenty recent paintings, including her largest to date.

The artist has been working on this series of abstractions from nature for over a decade. She pours one layer at a time over a textured Belgian linen, creating subtle variations on the surface. Every next pour is a new layer of calculated risk.

Untitled (Blue/Gold) (all are 2018) is a six-foot square, most of which is a light gray. Across the lower edge, bands of vibrant gold, blue, and blue-black create a wide expanse that envelops the viewer.

The dark blues and deep reds in Untitled (Nocturne) are a new experiment. That composition and Untitled (Nocturne II) extend her range as a colorist, with wide spaces that shimmer with iridescence. 

Vecsey's paintings are entirely concerned with color, light, and surface. They require looking at up close, in person.

More Information

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News: Walter Darby Bannard: Paintings from 1969 to 1975 | Exhibition Catalogue Now Available, November  8, 2018 - Berry Campbell

Walter Darby Bannard: Paintings from 1969 to 1975 | Exhibition Catalogue Now Available

November 8, 2018 - Berry Campbell

We are preparing for our Walter Darby Bannard exhibitionopening on November 15, 2018. Please read our online catalogue to learn more about the artist and his career.

Walter Darby Bannard: Paintings from 1969 to 1975
November 15 - December 21, 2018

Opening Reception
November 15, 2018
6 - 8 PM

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News: Frank Wimberley Exhibited at 55 Walker, November  2, 2018 - Berry Campbell

Frank Wimberley Exhibited at 55 Walker

November 2, 2018 - Berry Campbell

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