Berry Campbell is pleased to present
Lilian Thomas Burwell: Soaring. This exhibition marks the esteemed Maryland-based artist’s first solo exhibition in New York. The exhibition title,
Soaring, is an homage to the late Dr. David Driskell’s essay,
Soaring With a Painterly Voice, written on the occasion of Burwell’s 1997 survey exhibition at Hampton University Museum, Virginia. Driskell described Burwell’s work as, “transcendental in showing stylistic diversity of earthly beauty and cosmic vision.”
Lilian Thomas Burwell: Soaring, organized by guest curator, Melissa Messina, highlights the dynamic transition in Burwell’s abstract visual language from two-dimensional painterly planes to three-dimensional sculptural forms. Burwell’s paintings from the late 1970s and early 1980s employ a distinctly bold palette and reference organic forms found in natural floral and earthly phenomena. The exhibition centers on the painting
BERRY CAMPBELL PRESENTS LILIAN THOMAS BURWELL: SOARING CURATED BY MELISSA MESSINA
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BERRY CAMPBELL PRESENTS FRANK WIMBERLEY: COLLAGE
NEW YORK, New York
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Frank Wimberley, Untitled (Collage), 1971, Newsprint, handmade paper, Color-aid and painted paper on Arches paper, 22 1/2 x 30 inches.
Berry Campbell Gallery is pleased to announce a survey exhibition of collage works by Queens based, African American artist, Frank Wimberley (b. 1926). Since the 1960s, Wimberley has been known for creating dynamic, multi-layered, abstract paintings described in 2001 by
New York Times art critic, Grace Glueck, as “. . . good to behold: beautifully brushed and infused with a light that magnifies their intensity. . ..” This special exhibition will feature both paintings with collage elements as well as traditional collage works on paper and will highlight some of Frank Wimberley’s most important collages to date, including several examples going back to the early 1970s.
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Members of a pro-Trump mob storm the Capitol building to disrupt the recording of Electoral College votes to confirm the victory of President-elect Joe Biden in Washington, Jan. 6, 2020. Not long after Sen. Mitch McConnell (R-Ky.) warned his Republican colleagues that their efforts to overturn an election would send democracy into a death spiral, fear surged through the Senate chamber. Erin Schaff/The New York Times.
by Sarah Bahr
(NYT NEWS SERVICE)
.- Barbara A. Wolanin did not leave her TV much Wednesday afternoon, watching terrified, she said, as hundreds of Donald Trump rioters rushed into the Rotunda of the U.S. Capitol building where eight large, framed historical paintings hang. She once was curator for the Architect of the Capitol, the office that preserves and maintains the buildings art and architecture. She knew much better than most the horrific possibilities that were presenting themselves. What if rioters slashed John Tr
Berry Campbell Gallery opens the 2021 season with a solo exhibition of recent work by Jill Nathanson
Jill Nathanson, Light s Cover, 2019. Acrylic and polymers on panel, 38 1/4 x 74 in.
NEW YORK, NY
.-Berry Campbell Gallery started of the 2021 season with a solo exhibition of recent work by New York artist, Jill Nathanson. Nathansons new paintings continue her exploration of color theory. Combining this with her elaborate process of mixing and pouring paints on to wood panel, Nathanson stands apart from her contemporaries. In 2015, Nathanson was one of six artists in Confronting the Canvas: Women of Abstraction at the Museum of Contemporary Art, Jacksonville, Florida, curated by Jaime DeSimone, an exhibition focused on new, experimental approaches to the process of painting. The other participants were Keltie Ferris, Maya Hayuk, Fran ONeill, Jackie Saccoccio, and Anke Weyer. This year, the Columbia Museum of Art, South Carolina, the Museum of Fine Arts, Houston, Texas, and the
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