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

Parrish Art Museum: LIVE FROM THE STUDIO WITH ERIC DEVER

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
Register

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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
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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
blue. 
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

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News: VIDEO NOW AVAILABLE: ARTIST TALK: James Walsh | JAMES WALSH: THE ELEMENTAL at Berry Campbell, New York, March 21, 2020 - Berry Campbell

VIDEO NOW AVAILABLE: ARTIST TALK: James Walsh | JAMES WALSH: THE ELEMENTAL at Berry Campbell, New York

March 21, 2020 - Berry Campbell

In this video, James Walsh gives an artist talk for his exhibition, James Walsh: THE ELEMENTAL.

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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.
 
 
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News: Susan Vecsey | "Blue" at the Nassau County Museum of Art, March 14, 2020

Susan Vecsey | "Blue" at the Nassau County Museum of Art

March 14, 2020

March 14 - July 5, 2020
Nassau County Museum of Art
Roslyn Harbor, New York

What color means more to us than blue? Even among the primaries, the color of the sky and sea commands a privileged place, by far the most popular hue in the spectrum according to surveys on every continent. Blue casts its spell, pushing beyond symbolism to a deeper emotional level, drawing us into its pure and distant mysteries. Every artist goes through a “blue period,” from the Mediterranean blues of Matisse and Yves Klein to the haunting auras of Redon. Blue has been holy to Egyptian, Hindu, Chinese and Western traditions. Its physical sources (cobalt, ultramarine, cerulean, indigo, lapis lazuli, cyan) are a catalogue of valued materials that rival gold itself. As this exhibition exuberantly proves, the power of blue transcends art history. Poets, filmmakers, musicians and designers have tapped its resonant appeal. The most original music in America (home of bluejeans, “democracy in fashion”) is the blues. We are turning the entire museum over to the multi-media exploration of blue in many incarnations. It spans history and geography, from the precious lapis lazuli of antiquity to paintings, photographs, sculpture, ceramics, cyanotypes, and fashion. As Miró said, “This is the color of my dreams.”

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News: Parrish Art Museum | TALK: THE CURATOR’S VIEW: Alicia Longwell on Women Artists in What We See, How We See, February 25, 2020 - Parrish Art Museum

Parrish Art Museum | TALK: THE CURATOR’S VIEW: Alicia Longwell on Women Artists in What We See, How We See

February 25, 2020 - Parrish Art Museum

TALK: THE CURATOR’S VIEW

Alicia Longwell on Women Artists in What We See, How We See 
February 28, 6 pm - 7:30 pm

Alicia Longwell, the Lewis B. and Dorothy Cullman Chief Curator, Art and Education, highlights women artists in this seven-part exhibition that contextualizes the artists’ work through the lens of how they see and interpret the world around them.

VENUE
Parrish Art Museum
279 Montauk Highway, Water Mill, NY 11976 United States 

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