Berry Campbell

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.

Berry Campbell is pleased to present its first solo exhibition of paintings by contemporary artist, Beverly McIver (b. 1962), after announcing her representation last year. Beverly McIver: Entangled is comprised of 18 recent paintings created in the artist’s North Carolina studio with subjects ranging from reflective self-portraits that capture her emotional ebbs and flows of the past year, to portraits of her family, friends, and neighbors, including tributes to her mentors, Faith Ringgold and Philip Pearlstein.

Berry Campbell is proud to present the first New York solo exhibition of Bernice Bing (1936 – 1998), a foundational figure among the Bay Area Abstract Expressionists. While she was largely underrecognized during her lifetime, Bing’s importance has recently been acknowledged on the West Coast through several museum exhibitions. As the exclusive representatives of Bing’s estate, Berry Campbell mounts a survey of work created between 1961 and 1996, bringing together seminal large-scale paintings and works on paper, many which have not been seen for decades. The exhibition is accompanied by a 72-page fully illustrated catalogue featuring an essay by the renowned critic and poet John Yau and a remembrance by Flo Oy Wong, cofounder of the Asian American Women Artists Association.

Berry Campbell is pleased to present its fourth exhibition of paintings by contemporary Color Field painter, Jill Nathanson. Using a technique of pouring acrylic polymers, Nathanson’s paintings are characterized by coloristic inventiveness, as overlapping layers of translucency create new hues. Her paintings evoke what she calls “color desire,” as the fluidity of the forms engage us in seeking color resolutions across the pictorial field, while drawing the viewer to the different spaces these colors occupy as well as the ways in which they attract and repel each other. This exhibition will be comprised of 16 recent paintings by the artist, including her largest painting to date entitled, Psalm Harp.

Berry Campbell is pleased to present a retrospective of paintings, drawings, and sculptures by Dorothy Dehner (1901-1994). Dorothy Dehner: A Retrospective weaves together the story of Dehner’s seventy-year artistic career starting in the 1930s and culminating with several large-scale monumental sculptures from the 1980s and 1990s. This is the first exhibition of this scope and depth on Dehner since a retrospective at the Cleveland Museum of Art, Ohio, in 1995.