Berry Campbell

Berry Campbell Art Gallery in Chelsea, New York

FEATURED PAINTING  Elizabeth Osborne, “The Pond,” Above and Below (2004) via Berry Campbell ()“Elizabeth Osborne: Landsc...
01/22/2025

FEATURED PAINTING

Elizabeth Osborne, “The Pond,” Above and Below (2004) via Berry Campbell ()

“Elizabeth Osborne: Landscape of the Mind’s Eye” through February 1, 2025

As the works in this exhibition demonstrate, Elizabeth Osborne sees “landscape” as a flexible language for exploration and reflection, of both place, its representation, and the convergence of the two. Using landscape as an interactive process to perceive and shape the world around her, Osborne dissolves boundaries between modalities and genres, achieving wholeness by uniting the moment with memory, the specific with the universal, the temporal with the infinite. Walking among her canvases in the present show, a glow emanates that fuses the acts of seeing and feeling. As Robert Cozzolino stated in the catalogue for the exhibition, Elizabeth Osborne: The Color of Light (Pennsylvania Academy of the Fine Arts, 2009), “Osborne’s oeuvre is full of surprises, stylistically inquisitive yet cohesive, hauntingly introspective and complex in its artistic and personal associations.”

ART BASEL HONG KONGDiscover seven trailblazing galleries debuting at Art Basel Hong Kong 2025Hailing from Brazil, Italy,...
01/16/2025

ART BASEL HONG KONG
Discover seven trailblazing galleries debuting at Art Basel Hong Kong 2025
Hailing from Brazil, Italy, or Australia, they are poised to make a splash
By Tara Anne Dalbow


Among the 242 galleries partaking in the 2025 edition of Art Basel Hong Kong, 23 newcomers will showcase a diverse array of not-to-be-missed artists from across the globe. Below, we highlight seven galleries from Brazil, Italy, France, Hong Kong, and the United States that are gearing up for their debut in March.

Berry Campbell (Galleries sector, United States)
When Christine Berry and Martha Campbell opened their New York City gallery, their intention was simply to showcase outstanding art, not necessarily to focus on female artists. Twelve years later, it turns out that the outstanding art happened to be by women, particularly postwar painters who were overlooked in their lifetimes. ‘With a combination of serious research, finely curated exhibitions, and a whole lot of tenacity, we have been able to build artist legacies,’ says Berry. The gallery’s exclusively American program includes Alice Baber, known for her luminous color fields; Lynne Drexler, who created technicolor, mosaic-like paintings; and Bernice Bing, celebrated for her spiritual abstractions. All three artists will be featured in the gallery’s forthcoming Hong Kong presentation.

https://www.artbasel.com/stories/seven-trailblazing-galleries-debuting-at-art-basel-hong-kong-in-2025

“I THINK IT IS IMPORTANT TO CREATE A VISUAL EXPERIENCE THAT IS BOTH IMMEDIATE AND COMPELLING.”Born in Nice, France, in 1...
01/06/2025

“I THINK IT IS IMPORTANT TO CREATE A VISUAL EXPERIENCE THAT IS BOTH IMMEDIATE AND COMPELLING.”

Born in Nice, France, in 1913, Yvonne Patricia Thomas emigrated to the United States with her family in 1925, initially settling in Boston before moving to New York. She briefly attended Cooper Union but turned to commercial work as a fashion illustrator when her family faced financial difficulties during the Great Depression. In 1938, Thomas pursued her passion for art by enrolling at the Art Students League, where she studied under Vaclav Vytacil and Dmitri Romanovsky, and further refined her skills at the Ozenfant School of Fine Art with Amadée Ozenfant.
 
Thomas’s career took a significant turn when she joined the Subjects of the Artists School in 1948, a collaborative environment with leading figures of the American avant-garde, including Willem de Kooning, Jackson Po***ck, and Mark Rothko. This formative experience deepened her commitment to modernist principles. Under the influence of Hans Hofmann, whom she studied with in Provincetown, Massachusetts, in 1950, Thomas embraced a more gestural and expressive style, moving away from her earlier Cubist influences.
 
Her work gained recognition through the Ninth Street Exhibition of Paintings and Sculpture in 1951 and subsequent shows at Stable Gallery. Thomas’s first solo exhibition was at Hendler Gallery in Philadelphia in 1954, followed by significant exhibitions at Tanager Gallery and other venues throughout the 1950s and 1960s. Her style evolved from Cubist structures to a freer, more gestural approach, which was celebrated in reviews by Stuart Preston and Dore Ashton.

Yvonne Thomas
“High Jack” 1963
Oil on canvas
13 x 18 inches (33 x 46 cm)

VISUAL AIDSPostcards from the Edge Hosted  It’s almost here! Snag your in-person and online preview tickets to be among ...
01/04/2025

VISUAL AIDS
Postcards from the Edge
Hosted

It’s almost here! Snag your in-person and online preview tickets to be among the first to view over 1500 original artworks before our sale goes live! Purchase tickets and more information in our bio and at postcards.visualaids.org

🔹Collector’s Preview: For just $100, this ticket gives early online access (starting at 12pm) and early in-person access (5pm) to the full exhibition on January 24 PLUS access to bid in our annual First Dibs Auction!

🔹Online Preview: Gain early online viewing access to the full sale starting at 5pm EST on January 24 for just $35. No sales, just viewing!

🔹Artist Preview Party: starts at 6:30pm at (524 W 26th St, NYC). Each contributing artist will also have online viewing access starting at 5pm.

🔷ALL sales begin Saturday, January 25 at 10am EST online ONLY at postcards.visualaids.org (even if you’re visiting us during gallery hours). You can shop from anywhere in the world!

🔷All artworks are just $100 and each sale benefits the work we do at Visual AIDS to support artists living with HIV and the legacies of those lost to AIDS.

Spread the word! Bring home artwork! Support Visual AIDS!

IN FOCUS: JOHN OPPER January 5-February 1, 2025Opening Reception: Saturday, January 11, 2025, 2-4pm Berry Campbell is pl...
01/03/2025

IN FOCUS: JOHN OPPER
January 5-February 1, 2025
Opening Reception: Saturday, January 11, 2025, 2-4pm


Berry Campbell is pleased to present a focus exhibition of paintings by John Opper (1908-1994). “In Focus: John Opper” features three paintings spanning three decades of the artist’s career. Opper was active as a painter for over six decades and was an early member of the New York School. Over the course of his career, he evolved from creating abstract gestural works, in which he drew inspiration from the natural world, to a pure form of abstraction. He stated in 1990: “I orchestrate color, line, and shape. My whole purpose is to produce an aesthetic response.” He held the conviction that “art is its own experience. It bespeaks a sublime relationship between the artist and his work.” “In Focus: John Opper” opens Saturday, January 4, 2025 and continues through February 1, 2025.

STARTING STRONG 2025!“Elizabeth Osborne: Landscapes of the Mind’s Eye”January 4 – February 1, 2025Opening Reception, Sat...
01/01/2025

STARTING STRONG 2025!

“Elizabeth Osborne: Landscapes of the Mind’s Eye”
January 4 – February 1, 2025

Opening Reception, Saturday, 1/11/25
2-4pm. Elizabeth Osborne will be in attendance.

Berry Campbell is pleased to present its second solo exhibition of paintings by Elizabeth Osborne (b. 1936). “Elizabeth Osborne: Landscapes of the Mind’s Eye” features twenty five paintings and works on paper, spanning from 1969 to 2024, offering a comprehensive survey of the artist’s distinctive approach to landscape painting. Combining emotional resonance with formal innovation, Osborne’s work explores the intersection of memory, perception, and the natural world, merging abstraction and representation to blur the boundaries between the external landscape and the inner self.

“Elizabeth Osborne: Landscapes of the Mind’s Eye” opens with a reception Saturday, January 11, 2025, 2 – 4pm and continues through February 1, 2025. The exhibition is accompanied by a 20-page, fully illustrated catalogue with an essay by Lisa N. Peters, Ph.D.

Elizabeth Osborne
“Doorway Ireland, Wellivers House,”2002-2004
Oil on canvas
48 × 48 in | 121.9 × 121.9 cm

Liz Osborne in her Philadelphia studio, circa 1969.

HAPPY HOLIDAYS!Berry Campbell is closed through January 2, 2025. View our upcoming exhibitions, past exhibitions, galler...
12/27/2024

HAPPY HOLIDAYS!
Berry Campbell is closed through January 2, 2025.

View our upcoming exhibitions, past exhibitions, gallery tours, and artist talks on our website at www.berrycampbell.com

Happy Holidays from all of us Berry Campbell 🟥
12/25/2024

Happy Holidays from all of us Berry Campbell 🟥

IN FOCUS: COLOR FIELDThrough December 21, 2024WILLIAM PEREHUDOFF (B. 1918 - D. 2013, SASKATOON, SASKATCHEWAN, CANADA)AC-...
12/21/2024

IN FOCUS: COLOR FIELD
Through December 21, 2024


WILLIAM PEREHUDOFF (B. 1918 - D. 2013, SASKATOON, SASKATCHEWAN, CANADA)
AC-85-094, 1985
Acrylic on canvas
74 1/2 x 65 1/2 inches (189.2 x 166.4 cm)
PER-00066

“MY PAINTINGS CARRY NO OTHER MESSAGE BUT THE SURPRISE, SPONTANEITY, AND OPTIMISM OF COLOUR.”

William Perehudoff was a distinguished Canadian painter known for his Color Field work and his deep connection to his Saskatchewan prairie roots. Initially a realist in the 1940s, Perehudoff’s style evolved thanks to varied influences such as Cubism, Mexican muralists, and Abstract Expressionism. By the 1960s, he was renowned for his Color Field paintings, which — often reflecting the expansive prairie light — employed both rigorous musicality and emotional whimsy. 

In Focus: Color FieldThrough December 21, 2024 LARRY ZOX (1937-2006)Untitled (Open Series), c. 1974Acrylic on canvas81 1...
12/17/2024

In Focus: Color Field
Through December 21, 2024


LARRY ZOX (1937-2006)
Untitled (Open Series), c. 1974
Acrylic on canvas
81 1/2 x 92 1/2 inches (207 x 235 cm)

A painter who played a central role in the Color Field discourse of the 1960s and 1970s, Larry Zox is best known for intensely colored geometric abstractions that brim “with arguments about symmetry and its violations.”Zox stated in 1965: “Being contrary is the only way I can get at anything.” To Zox, this position was not necessarily arbitrary, but instead meant “responding to something in an examination of it [such as] using a mechanical format with X number of possibilities.”What he sought was to “get at the specific character and quality of each painting in and for itself,” as James Monte stated in his introductory essay in the catalogue for Zox’s 1973–74 solo exhibition at the Whitney Museum of American Art.Zox also at times used a freer, more intuitive method, while maintaining coloristic autonomy, which became increasingly important to him in his later career.
 
Zox began to receive attention in the 1960s, when he was included in several groundbreaking exhibitions of Color Field and Minimalist art, including “Shape and Structure” (1965), organized by Henry Geldzahler and Frank Stella for Tibor de Nagy, New York, and “Systemic Painting”(1966), organized by Lawrence Alloway for the Guggenheim Museum. In 1973–74, the Whitney’s solo exhibition of Zox’s work gave recognition to his significance in the art scene of the preceding decade. In the following year, he was represented in the inaugural exhibition of the Hirshhorn Museum, which acquired fourteen of his works.

IN CONVERSATION Nanette Carter talks about her current show “Simply Semiotics” at Berry Campbell and her upcoming solo e...
12/11/2024

IN CONVERSATION
Nanette Carter talks about her current show “Simply Semiotics” at Berry Campbell and her upcoming solo exhibitions at the Montclair Art Museum in New Jersey and the Wexner Center in Ohio. Learn about her unique process and how she decided to work directly on the wall.


3pm at
Saturday, December 14, 2024
RSVP at [email protected]

NANETTE CARTER Simply SemioticsThrough December 20, 2024 Berry Campbell is pleased to present its second solo exhibition...
12/10/2024

NANETTE CARTER
Simply Semiotics
Through December 20, 2024


Berry Campbell is pleased to present its second solo exhibition of work by Nanette Carter (b. 1954). Nanette Carter: Simply Semiotics is comprised of 24 recent collages that respond to the fraught political, social, and cultural issues of the 21st century. Drawing on influences ranging from African American quilt-making to jazz to Abstract Expressionism, Nanette Carter constructs an intricate and unique visual symphony using Mylar and oil. The exhibition will be accompanied by a 20-page, fully illustrated catalogue with an essay by Jason Stopa.

Six series form the basis of this exhibition: The Group, Destabilizing, Shifting Perspectives, Black and White, Bright Light, and Afro Sentinels. With a common visual language, these series respond to the disequilibrium that permeates every corner of our society. Consequential issues such as climate change, America’s racial divisions, the pandemic, the rise of far right authoritarianism, and global war are addressed with a mixture of hope and uncertainty. Stopa says in his essay: “The off-kilter presentation of her works combined with the uncanny surfaces and curvilinear forms present us with a complex set of relations, which in turn, mirror back to us our own strange predicament.”

Nanette Carter has received many grants, fellowships, and awards including most recently in 2021, The Anonymous was a Woman Award. Carter has two upcoming solo exhibitions at the Montclair Art Museum, New Jersey, opening in late 2024 and at the Wexner Center for the Arts, Columbus, Ohio opening in 2025.

Join us for a conversation with the artist Saturday, December 14, 2024 at 3pm.

Art Basel x Berry Campbell“Women of Abstract Expressionism”Galleries | Booth J2  “For a long time everybody refuses and ...
12/09/2024

Art Basel x Berry Campbell
“Women of Abstract Expressionism”
Galleries | Booth J2


“For a long time everybody refuses and then almost without pause almost everyone accepts. In the history of the refused in the arts and literature the rapidity of the change is always startling.”
– Gertrude Stein

BAER FAXT LIVEWednesday, December 4th at 1 PM EST, join us here on Instagram for a brand new edition of The Baer Faxt Li...
12/03/2024

BAER FAXT LIVE
Wednesday, December 4th at 1 PM EST, join us here on Instagram for a brand new edition of The Baer Faxt Live from Art Basel Miami Beach, sponsored by BitGo. Tune in as we stream hourly conversations with host Josh Baer and our esteemed guests:

1:00: Bridget Finn Director, Art Basel Miami Beach
2:00: Judd Grossman, Founder and Managing Partner of Grossman LLP 
3:00: Christine Berry .berrycampbell, Co-Founder, Berry Campbell Gallery

With the New York auctions in the rearview and a busy 2024 drawing to a close, the art world heads to Miami Beach for one last hurrah. Join us as we learn what’s on the minds of some of the art world’s leading figures as we look forward to the year ahead. This is one broadcast you won’t want to miss! Head over to our profile and tap the bell icon to be notified the moment we go live. 

Image credits:
Slide 2: Courtesy Art Basel.
Slide 3: Courtesy Grossman LLP.
Slide 4: Courtesy Berry Campbell. Photo by Blaine Davis

Sign up

ART BASEL MIAMI BEACHBerry Campbell Galleries | Booth J2December 4-8, 2024📍Miami Beach Convention Center  Berry Campbell...
11/28/2024

ART BASEL MIAMI BEACH
Berry Campbell
Galleries | Booth J2
December 4-8, 2024
📍Miami Beach Convention Center


Berry Campbell is pleased to announce its participation in Art Basel Miami Beach 2024. Since its founding in 2013, Berry Campbell has been dedicated to bringing underrepresented artists to prominence, most notably women of Abstract Expressionism. Not so long ago, many of these artists were still relegated to the margins of art history; however, through collective efforts of research and promotion, there has been a resurgence of interest in the work of women artists of this time. In this presentation, we will highlight the work of postwar women artists from the gallery’s primary and secondary market program who have received recent acclaim in the form of museum exhibitions, high-profile articles and books, and record-breaking sales. Although gender disparity in the art world still exists, the rate of change in female acceptance is as Gertrude Stein said, “startling.”

Featured works include a significant Alice Baber triptych from 1972, which was first exhibited at the A.M. Sachs Gallery in 1973 and has been in the same private collection since then. The gallery will also present a Lynne Drexler painting from 1969 that was recently released by The Lynne Drexler Archive, a powerful work by Sonia Gechtoff from 1960, and a portrait of artist, Aristodimos Kaldis by Elaine de Kooning, who was one of Elaine de Kooning’s favorite portrait subjects with his colorful scarves and larger than life personality.

Other featured artists include Mary Abbott, Janice Biala, Bernice Bing, Lilian Thomas Burwell, Niki de Saint Phalle, Dorothy Dehner, Lynne Drexler, Perle Fine, Judith Godwin, Nancy Graves, Grace Hartigan, Beverly McIver, Ethel Schwabacher, and Yvonne Thomas.

FAIR HOURS
VIP Preview
Wednesday, December 4, 2024 | 11 am - 7 pm
Thursday, December 5, 2024 | 11 am - 7 pm

Public Days
Friday, December 6, 2024 | 11 am - 6 pm
Saturday, December 7, 2024 | 11 am - 6 pm
Sunday, December 8, 2024 | 11 am - 6 pm

11/24/2024

THE ART NEWSPAPER
Berry Campbell gallery’s gamble on forgotten post-war artists is paying off.
Works by the gallery’s artists that once sold for a thousand dollars can now fetch over a million.
By Osman Can Yerebakan
18 November 2024

Christine Berry and Martha Campbell launched their New York gallery Berry Campbell by searching through grandchildren’s attics and reaching far under widowers’ beds. This was 11 years ago, when the market for overlooked US Abstract Expressionists had not yet been crowded by blue-chip galleries and fairs such as Independent 20th Century and Frieze Masters. Back then, dedicating a roster to relatively obscure, mostly female artists was still a risky business proposition.

Berry and Campbell met while working at a 60-year-old gallery in Midtown Manhattan. Their mutual fascination for post-war American painting led to them signing a street-level lease in the old-guard Chelsea district, opposite Gagosian. After looking at what Campbell describes as “C- or D-list 20th-century male painters” to build a roster, the duo turned to the Archives of American Art. From there, they researched group shows in the era’s most influential galleries, like Betty Parsons, and circled unfamiliar names. Then they made cold calls to family members and estate-holders listed on poorly kept records. Sometimes they were granted the opportunity to dig through piles of paintings at storage units.

Read full article: Link in bio
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berrycampbell .berrycampbell
📸 Blaine Davis

Art Gallery in Chelsea, New York

OPENING TONIGHTNanette Carter: Simply SemioticsThursday, November 21, 20246-8pm Six series form the basis of this exhibi...
11/21/2024

OPENING TONIGHT
Nanette Carter: Simply Semiotics
Thursday, November 21, 2024
6-8pm


Six series form the basis of this exhibition: The Group, Destabilizing, Shifting Perspectives, Black and White, Bright Light, and Afro Sentinels. With a common visual language, these series respond to the disequilibrium that permeates every corner of our society. Consequential issues such as climate change, America’s racial divisions, the pandemic, the rise of far right authoritarianism, and global war are addressed with a mixture of hope and uncertainty. Stopa says in his essay: “The off-kilter presentation of her works combined with the uncanny surfaces and curvilinear forms present us with a complex set of relations, which in turn, mirror back to us our own strange predicament.”


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524 W 26th Street
New York, NY
10001

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