Berry Campbell

Berry Campbell Art Gallery in Chelsea, New York

IN FOCUSLibbie Mark: Abstract ExpressionistJune 4 - July 10, 2026Opening ReceptionThursday, June 4, 2026, 6 - 8 pm đŸ„‚ Ber...
05/29/2026

IN FOCUS
Libbie Mark: Abstract Expressionist
June 4 - July 10, 2026
Opening Reception
Thursday, June 4, 2026, 6 - 8 pm đŸ„‚


Berry Campbell is pleased to present “Libbie Mark: Abstract Expressionist,” focusing on Mark’s “collage paintings” from the 1960s. Working between New York and Provincetown, Mark developed a singular, experimental approach to painting, creating works distinguished by their rich materiality, tactile surfaces, and sophisticated color relationships, merging painterly gesture with collage-based construction, positioning her work within the broader experimental currents of postwar abstraction.

Though largely overlooked during her lifetime, Mark was deeply engaged with the artistic milieu of the postwar New York School. While studying at the Art Students League in the late 1950s, she attended Hans Hofmann’s final Provincetown summer session in 1957, an experience that proved formative to the evolution of her practice. By the early 1960s, Mark had developed her richly textured “collage paintings” that became her signature, combining gestural abstraction with layered surfaces constructed from crumpled paper, pigment, and impasto.

Today, renewed attention has positioned Mark among a generation of women artists whose contributions to Abstract Expressionism and postwar painting are only now being more fully reconsidered.

📾 Libbie Mark in her studio, c. 1959. © DENA (Dinah Rubinstein). Courtesy Libbie Mark Provincetown Fund Collection.

“Ann Purcell: The SeventiesFrom Washington DC to Chelsea”June 4 – July 10, 2026 Opening Reception, Thursday, June 4, 202...
05/27/2026

“Ann Purcell: The Seventies
From Washington DC to Chelsea”
June 4 – July 10, 2026

Opening Reception, Thursday, June 4, 2026 đŸ„‚

Berry Campbell is pleased to announce “Ann Purcell: The Seventies,” an exhibition focusing on works created between 1975 and 1979. This exhibition examines a formative moment in Purcell’s career when she transitioned from Washington, D.C.’s intellectually charged artistic milieu to the New York art world. Produced over a decade of significant renewal in American painting, the works capture Purcell at a pivotal juncture: fully formed in her convictions but actively pushing into renewed engagement with expressive abstraction. During this period, Purcell explored the physical and improvisational possibilities of paint, balancing spontaneity and structure. Describing her approach as “thinking but not thinking, looseness and freedom along with control,” Purcell’s work reflects a painterly intelligence shaped by art history, exceptional mentors, and consistent explorations within abstraction. This exhibition marks Purcell’s fifth exhibition with Berry Campbell and follows recent acquisitions of her work by the Wichita Art Museum, Kansas, and The Phillips Collection, Washington, D.C.

44-Page exhibition catalogue with Jean Lawlor Cohen is forthcoming

📾 Ann Purcell, c. 1978, Washington DC

“Conversation on Color: Susan Vecsey and Yvonne Thomas” Through June 7, 2026Berry Campbell Gallery, New York, in collabo...
05/24/2026

“Conversation on Color: Susan Vecsey and Yvonne Thomas”

Through June 7, 2026

Berry Campbell Gallery, New York, in collaboration with CURA Art and Ackerman Studios, is pleased to present “A Conversation on Color: Susan Vecsey and Yvonne Thomas,” a two-person exhibition on view at the Beverly Hills Hotel from February 24 through June 7, 2026. This exhibition brings together the work of contemporary painter, Susan Vecsey (b. 1971), and pioneering Abstract Expressionist, Yvonne Thomas (1913–2009). Spanning generations, “A Conversation on Color” explores color as a shared language, one that functions as structure, atmosphere, and emotional force.
 
Vecsey’s luminous abstractions, rooted in close observation of landscape and light, unfold through subtle tonal transitions and meticulously layered poured pigment. For Vecsey, the landscape is a starting point, a vehicle to explore abstract studies of form and color, creating compositions that are simplified in their essence, creatinga universal image.
 
Yvonne Thomas’ paintings reflect her deep engagement with the postwar New York avant-garde, combining gestural freedom with sophisticated color harmonies and formal rigor. Thomas’ paintings combine aspects of both Color Field painting and gestural abstraction. She was a member of the Artists’ Club, exhibited in the famed 1951 “Ninth Street Show,” was included in numerous shows at the Stable, Tanager, and Betty Parsons galleries, and is included in the catalogue of the Denver Art Museum’shistoric 2016 exhibition, “Women of Abstract Expressionism.”
 
In conversation, the work of Susan Vecsey and Yvonne Thomas creates a dynamic exchange that underscores color’s enduring role in the history of art. Through distinct,yet complementary approaches, both artists reveal color’s capacity to shape perception and sustain visual dialogue.

05/22/2026

Art Review
“Louisa Chase: Painting psychic risk”
Two Coats of Paint
By Jason Andrew

Read full review

After training in printmaking at Syracuse University, Louisa Chase turned primarily to sculpture at the Yale School of Art. An encounter with Philip Guston in 1975, her final year, proved catalytic. From Guston, Chase got permission, as it were, to embrace symbolic figuration without sacrificing formal rigor, and to pursue painting grounded as much in emotional intensity as in structural invention. The result are canvases teeming with unstable imagery – shifting torsos, stretching limbs, curving waves, jutting cliffs, and fiery fields. It possesses what critic Kay Larsen in 1982 called a “brooding conviction” originating “straight from some inner source of strength.”

Asked by BOMB Magazine in fall 1982 to select artists whose work she found provocative, Elizabeth Murray included her friend Louisa Chase – the only well-known artist of the cohort. Murray said she was drawn to Chase for the deeply personal, “sometimes goofy and sometimes sad fantasy” in her work, which Murray sought and valued in her own. Beyond the goofy and sad fantasy, Chase does not seek coherence but insists on contradiction and in particular the simultaneity of joy and dread – an imperative that feels freshly urgent today. This show is a reminder that painting, at its most vital, is a site of psychic risk.

IN CONVERSATIONSally Silberberg and Glenn Adamson on Shifting Ground Saturday, May 16, 2026, 3 pmRSVP at info@berrycam...
05/12/2026

IN CONVERSATION
Sally Silberberg and Glenn Adamson
on Shifting Ground
Saturday, May 16, 2026, 3 pm
RSVP at [email protected]

Please join us Saturday, May 16, at 3 pm for a conversation between Sally Silberberg and Glenn Adamson on the occasion of Silberberg’s focus exhibition, “Shifting Ground.”

Berry Campbell is pleased to present a focused exhibition of porcelain sculptures by Sally Silberberg, an extraordinary and largely unseen body of work that marks a pivotal moment in the artist’s practice. The exhibition is curated by Glenn Adamson, an independent curator, writer, and historian, and previously Director of the Museum of Arts and Design and Head of Research at the Victoria and Albert Museum, London.

Created during the 1980s, a concentrated period of experimentation for Silberberg, these sculptures are a decisive shift away from functional ceramics and toward a radical new sculptural language.  After years of working on the potter’s wheel, Silberberg developed a new method built from solid blocks of porcelain.  Layered with pigment, cut, torn, and carved, each work introduces both risk and unpredictability and pushes porcelain to its structural and perceptual limits.

Works from this series are in the collections of the Brooklyn Museum and the Smithsonian.  Silberberg’s porcelain sculptures constitute a distinct and powerful body of work that expands the possibilitie of porcelain and marks a pivotal moment in sculptural achievement.


Please join us for an evening gallery walk through the leading galleries in Chelsea sponsored by the Art Dealers Associa...
05/09/2026

Please join us for an evening gallery walk through the leading galleries in Chelsea sponsored by the Art Dealers Association of America.

On view: “Louisa Chase: The Eighties” and “Sally Silberberg: Shifting Ground” curated by

Thursday, May 14, 2026
6-8 pm
đŸ„‚

“Overlooked Artist Louisa Chase Returns to the Spotlight” At Berry Campbell, New York, a solo show dedicated to one of t...
05/06/2026

“Overlooked Artist Louisa Chase Returns to the Spotlight”



At Berry Campbell, New York, a solo show dedicated to one of the most prodigious decades of Chase’s career casts new light on her pioneering practice and reasserts her place within the evolution of contemporary painting: “Louisa Chase: The Eighties.”

The show is the largest and most comprehensive dedicated to Chase produced in 25 years and is the first since the gallery announced its representation of the artist’s estate. It is a timely presentation, paralleling the art world’s ongoing investment and interest in reassessing the art historical canon—and more specifically overlooked women artists.

Read full article at Artnet

MUSEUM EXHIBITION ERIC DEVER: SPRINGTIDEMay 27 – August 2, 2026Greenville County Museum of ArtGreenville, South Carolina...
05/03/2026

MUSEUM EXHIBITION
ERIC DEVER: SPRINGTIDE
May 27 – August 2, 2026
Greenville County Museum of Art
Greenville, South Carolina


“From the microcosm of nature at home to the macrocosm of the larger landscape, Dever finds meaning and stimulation in his visual field. “Springtide” is the name Dever has chosen for this body of work, inspired by the spring season and nature’s own palette, accompanied by an annual sense of wonder and renewal
”
—Gail Levin, PhD, excerpt from “Eric Dever: Springtide” exhibition catalogue

Eric Dever, (b. 1962)
“Yellow Jessamine,” 2026
oil on canvas
72 x 60 inches

📾 Eric Dever by Laurie Lambrecht

ON VIEWMary Ann Unger “Benchmarks”Museum of Contemporary Art Los Angeles Berry Campbell and The Mary Ann Unger estate ar...
05/02/2026

ON VIEW
Mary Ann Unger “Benchmarks”
Museum of Contemporary Art Los Angeles


Berry Campbell and The Mary Ann Unger estate are thrilled to share that Unger’s “Benchmarks” is currently on view in “The Expanding Field: MOCA’s Collection from the 1940s to 1970s” at from through September 20th, curated by Anna Katz. Drawing from MOCA’s world-renowned, ever-growing collection of nearly 8,000 objects, this exhibition focuses on artworks dating from the 1940s to the 1970s and demonstrates the collection’s historical depth, commitment to artistic experimentation, and global awareness.

Featuring recent acquisitions alongside beloved artworks that have long been mainstays of MOCA’s collection, highlights include a gallery dedicated to the abstract expressionist canvasses of Mark Rothko, an oil by Luchita Hurtado from the artist’s ‘I Am’ series that belongs to the Mohn Art Collective, as well as paintings, sculptures, and work in all media by figures including Piet Mondrian, On Kawara, Robert Rauschenberg, Betye Saar, Anne Truitt, and Unger, among others. Selections from the Collection provides insight into art practice in the decades immediately preceding MOCA’s founding in 1979 and an outlook informed by the diverse cultures of Los Angeles.

BERNICE BINGUNTITLED, C. 1989Mixed media on panel29 3/4 x 43 5/8 inches(75.6 x 110.8 cm)The Estate of Bernice Bing is re...
04/28/2026

BERNICE BING
UNTITLED, C. 1989
Mixed media on panel
29 3/4 x 43 5/8 inches
(75.6 x 110.8 cm)
The Estate of Bernice Bing is represented

Bernice Bing (1936-1998) was a trailblazing Chinese American painter whose work navigated the intricacies of cultural and sexual identity, informed by her personal experience.
 
Born in San Francisco’s Chinatown, Bing faced the dual struggle of assimilating into American life while seeking a connection to her Chinese heritage. Known affectionately as Bingo, her work explores themes of identity and cultural assimilation, reflecting her unique position as an independent-minded q***r artist. Her profound impact is increasingly recognized, with significant exhibitions including “Bingo: The Life and Art of Bernice Bing” (2020) at the Sonoma Valley Museum and “Into View: Bernice Bing” (2022–23) at the Asian Art Museum, San Francisco and most recently in 2024 at Berry Campbell, New York, with “Bernice Bing: Bingo.”

📾 Bernice Bing

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