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Berry Campbell

@berrycampbell

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Female owned art gallery with a focus on artists/estates overlooked due to gender, race, and age.
Christine Berry Martha Campbell #berrycampbell
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INVENTORY HIGHLIGHT Louisa Chase (1951-2016) 𝙐𝙣𝙩𝙞𝙩𝙡𝙚𝙙, 1980 Oil and wax on canvas 28 1/2 x 34 inches 72.4 x 86.4 cm ©️Estate of Louisa Chase Throughout her career, Louisa Chase sought an authentic practice of embodiment—a way of visually expressing her inner emotional life and the nature of perceptual experience. In 1979, she wrote in an artist’s statement: “painting for me is a constant search to hold a feeling tangible. ...One moment is shattered into many moments, one place in a thousand places. Their relationship and scale determine the nature of experience, a psychological cubism in which all the directions are at once being that experience, the complexities of one feeling.” She remarked in 1982: “The forces closest to landscape are the closest to the internal forces that I am trying to understand... The location is inside.” Photo by Peter Bellamy @peterbellamy6800 #louisachase #berrycampbell taken in Berry Campbell by @berrycampbell
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10 hours ago
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ELAINE DE KOONING PRESS MENTION The Lee Krasner-Jackson Pollock Saga Lee Krasner lived and labored in the shadow of her difficult husband, Jackson Pollock—her paintings underappreciated, her pivotal contributions to his fame unrecognized. A new joint exhibit reframes the legend of one of American art’s great power couples. BY ANNE HIGONNET @townandcountrymag Slowly, all the women among the great Abstract Expressionist painters got single artist shows. As the critical apparatus that hoisted their male colleagues to dominance has become creaky, new opinions have emerged. Krasner was celebrated at the Barbican in London in 2019. There was a strong Helen Frankenthaler exhibition at MoMA in 2025. Elaine de Kooning will have a show at the Berry Campbell Gallery in Manhattan in October. Women artists in other movements and media whose husbands painted while their own expressions of creativity were considered minor, like Anni Albers, who wove, or Sonia Delaunay, who was a fashion designer as well as a painter, have starred in shows in their own media. Yet the artworld has long resisted the challenge of the tandem exhibition. To show the work of a man reckoned a star in his own time risked, curators reasoned, assigning the woman to second place. Until now. It would be hard to name three male painters more formidable to be compared with than Edouard Manet, Diego Rivera, and Jackson Pollock. Yet curators are now making comparisons with confidence. “Frankly, it was astounding to me that no one had done this before,” says Emily Beeny, curator of the “Manet & Morisot” show. It is now clear that the women in these couples used every advantage they were allowed. The best also had a tactical kind of genius. #leekrasner #jacksonpollock #elainedekooning #themet #berrycampbell taken in Berry Campbell by @berrycampbell
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a day ago
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PRESS APOLLO MAGAZINE Interview with Christine Berry and Martha Campbell, Co-founders of Berry Campbell By Ed Behrens @apollomagazine ‘Our goal is to promote these artists, not ourselves’ “The founders of the New York gallery talk to Edward Behrens about shaping the market for work by modern and contemporary women artists. Berry Campbell was founded in 2013 by Christine Berry and Martha Campbell in New York City. Located in the heart of Chelsea, the gallery plays a major role in bringing to the market overlooked artists – most often women – from the mid to late 20th century. It sells to museums and private collectors around the world, including in Europe, China and Hong Kong.” Read full interview @apollomagazine Christine Berry and Martha Campbell @berrycampbell, c. 2026 Photo by Blaine Davis @blaineduh #apollomagazine #berrycampbell taken in Berry Campbell by @berrycampbell
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2 days ago
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MUSEUM EXHIBITION 𝙑𝙤𝙞𝙘𝙚𝙨 𝙞𝙣 𝙋𝙧𝙞𝙣𝙩: 𝙉𝙚𝙬 𝙅𝙚𝙧𝙨𝙚𝙮 𝘽𝙡𝙖𝙘𝙠 𝙒𝙤𝙢𝙚𝙣 𝙋𝙧𝙞𝙣𝙩𝙢𝙖𝙠𝙚𝙧𝙨 𝙎𝙝𝙖𝙥𝙞𝙣𝙜 𝙩𝙝𝙚 𝘼𝙢𝙚𝙧𝙞𝙘𝙖𝙣 𝙉𝙖𝙧𝙧𝙖𝙩𝙞𝙫𝙚 Featuring Nanette Carter (b. 1954) @carter_nanette Through February 28, 2027 @morvenmuseum “Curated by Judith K. Brodsky and Rhinold L. Ponder, “Voices in Print” is the inaugural exhibition to open in Morven’s Stockton Education Center.  It’s part of Re-Visioning America: 1776–2026, commemorating the United States’s 250th with exhibitions highlighting the nation’s diversity and showcasing the work of female artists of color. “Voices in Print” showcases generations of Black women artist activists whose art is transgressive in advocating for visibility and social change. Many worked collaboratively to pioneer new printmaking techniques and create opportunities for themselves in the art world; they serve as mentors and influences. As Black women, they have placed authentic representations of the Black female body at the center of their work — representations that reflect their experiences, identities, confidence, strength, beauty, and ideas — creating powerful works that others can find themselves mirrored in.” - @morvenmuseum Nanette Carter 𝙎𝙪𝙢𝙢𝙚𝙧’𝙨 𝙂𝙧𝙚𝙚𝙣𝙨, 1991 Woodcut and lithograph 41 x 22 inches #nanettecarter #berrycampbell #morvenmuseum by @berrycampbell
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3 days ago
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PRESS Independent 20th Century September 24 — 27, 2026 The Breuer, New York City @independent_hq @berrycampbell The Best Booths at Independent 20th Century BY ANNE DORAN @artnews September 25, 2026 It’s a big year for Independent, the art world’s favorite contemporary art fair, and its more art-historically minded sister, Independent 20th Century. On the heels of Independent’s move earlier this year from Spring Studios in New York’s Tribeca to the much larger Pier 36 on the Lower East Side, its 20th Century edition, which opens to the public today, has also relocated, shifting from its Lower Manhattan location to Marcel Breuer’s 1960s brutalist building on Madison Avenue and East 75th Street, formerly home to the Whitney Museum and now headquarters for Sotheby’s auction house. While other New York art fairs like TEFAF and ADAA also deal in historical work, Independent 20th Century has a specific focus: art made in the 100 years between 1900 and 2000, with particular attention paid to expanding the art-historical canon. In this it reflects a growing art world impulse toward inclusivity, as witnessed by the increased presence of female artists, outsider artists, queer artists, and artists of the Global South at auctions, biennials, and museum exhibitions. Standout presentations this year include “Black Soho,” curated by galleries Ryan Lee and Salon 94 and featuring works made in NYC between 1961 and 1984 by African-American artists such as Emma Amos, Jean-Michel Basquiat, Camille Billops, Frederick J. Brown, Vivian Browne, Ed Clark, David Hammons, and Norman Lewis. Elsewhere, Berry Campbell is showing a selection of pieces by the women artists of the famed Stable Gallery (1953–1970), including Elaine de Kooning, Joan Mitchell, Charlotte Park, and Janice Biala. Dorothy Dehner Untitled, 1951 Ink and watercolor on paper 18 x 22 3/4 inches Edith Schloss Untitled, 1966 Oil on canvas 19 5/8 x 23 5/8 inches Ethel Schwabacher Et in Arcadia Ego #1, 1954 Oil on linen 30 x 36 inches #independent20c #berrycampbell taken in Breuer Building by @berrycampbell
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3 days ago
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At Independent 20th Century, the Biggest Draw Is the Rediscoveries @observer By Elisa Carollo • 09/25/26 3:50pm Held for the first time in the Breuer Building, the fair offers a more curated, less overwhelming alternative to the mega fairs. This year, several presentations focus on overlooked women artists working at the intersection of mysticism, healing and spirituality—part of a broader curatorial trend toward reframing modernism. Since this fair’s conception, founder Elizabeth Dee has carefully considered its potential impact, asking first and foremost whether New York even needed another fair. And if the answer was yes, what type and where? The first edition of Independent 20th Century at the iconic Breuer Building, now Sotheby’s headquarters, feels thoughtfully and purposefully curated despite the number of exhibitors increasing 50 percent to a total of 54. The result is a focused and reasonably paced unfolding of narratives across four floors that invites new readings of the art of the 20th Century and the society it reflected. @angelicasem when Observer asked for her thoughts at the close of the opening day. She pointed to the quality and depth of the gallery presentations, which she found intellectually engaging without feeling overly academic. “There was,” she added,” a real sense of discovery.” Berry Campbell, well-positioned for this moment, has built its entire gallery program around a mission of rediscovery of the feminine side of American modernism. Here, the gallery pays homage to the role of Stable Gallery founder Eleanor Ward and the women artists she championed. Anchoring the presentation is a smaller Joan Mitchell abstraction, priced at around $2 million, presented alongside a 1956 canvas by Elaine De Kooning, priced at $745,000, and a 1976 Grace Hartigan abstraction priced at $650,000. Also included in the booth are works by other figures whose markets have recently been revived, such as Janine Biala, Dorothy Dehner, Perle Fine,Mercedes Matter and Charlotte Park. Pieces by Biala, Park and Yvonne Thomas all found buyers on day one, priced at $75,000, $15,000 and $60,000, respectively. @elisartgal @independent_hq @berrycampbell taken in Breuer Building by @berrycampbell
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5 days ago
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“At Independent 20th Century, Female Abstractionists Get the Spotlight” The fair, running through Sept. 27 at the Breuer, sees galleries dedicate prime real estate to household names like Elaine de Kooning and Joan Mitchell, along with lesser known artists who operated far beyond the bounds of Abstract Expressionism. @sarahecascone ❤️
September 25, 2026 @cultured_mag For Christine Berry and Martha Campbell, who opened their New York gallery Berry Campbell in 2013, the Denver show became a guiding star in their work championing historically marginalized artists. “The exhibition catalogue really became our reference point,” says Berry. “We started researching: ‘Who is this person, where do they live, and can we find more art by them?’” At Independent, Berry Campbell’s booth is a tribute to Eleanor Ward and the Stable Gallery, which she ran from 1953 to 1970. The dealer was instrumental in the rise of the New York School of Abstract Expressionism, particularly with her “Stable Annual” shows from 1953 to ’57. “As women art dealers, Martha and I wanted to pay tribute to another art dealer who had the foresight and the vision and was not afraid to show some lesser known women artists,” Berry tells me. For the fair, the gallery has brought together 13 Stable alumni, from Mary Abbott to Yvonne Thomas. Among the booth’s standouts is Peter (Peter Fried), a 1956 Elaine de Kooning painting of her brother. The gallery believes the piece was in the artist’s first solo show, held that same year at Stable Gallery. It’s priced at $745,000—one of the more expensive of the Berry Campbell’s offerings, which range in price from $15,000 to $2.15 million for a large Mitchell from around 1957. And the canvas offers a preview of sorts for the gallery’s next show, “Elaine de Kooning (1919–1989),” opening Oct. 30. @independent_hq @berrycampbell Sunday Hours: 12-6 pm 📍Breuer Building #sarahcascone #cultured #independent20c #berrycampbell taken in Breuer Building by @berrycampbell
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6 days ago
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On view at @berrycampbell at @independent_hq ▫️ Known the quiet steadiness of her still life paintings, Edith Schloss particularly liked the juxtaposition of the found objects she collected contrasting against the deep blue of the Bay of La Spezia “lined up against the pageant of the sea,” she said. One summer however, while accompanying her new lover, the composer Alvin Curran, to Florence where he had a gig playing Dixieland Jazz at the Red Garter Nightclub, she instead lined up fresh flowers in vases and painted those. From her room along the via di Rignalla, she arranged whatever objects she managed to carry in her luggage from Rome, along with chic bric-à-bracelets she found around town, and painted a series of still lifes. This painting is from this series. ▫️ Untitled (via di Rignalla), 1966, oil on canvas, 19 3/4 x 23 7/8 inches ▫️ #edithschloss #berrycampbellgallery #viaderignalla by @berrycampbell
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7 days ago
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THIS WEEKEND Independent 20th Century September 24 — 27, 2026 The Breuer, New York City @independent_hq @berrycampbell Berry Campbell is pleased to present Stable Gallery: The Women at Independent 20th Century, marking the gallery’s inaugural participation in the fair.  This presentation examines Abstract Expressionism through the Stable Gallery’s founder Eleanor Ward and the women artists she championed Through its solo and group exhibitions and celebrated Annuals modeled after the landmark 9th Street Exhibition (1951), the Stable Gallery became a gathering place for artists, critics, poets, and composers, including the women featured in our booth: Mary Abbott, Alice Baber, Janice Biala, Elaine de Kooning, Dorothy Dehner, Perle Fine, Mercedes Matter, Joan Mitchell, Charlotte Park, Edith Schloss, Ethel Schwabacher, and Yvonne Thomas. Women artists played a central role in shaping the movement’s visual and conceptual range, offering nuance, rigor, experimentation, and intimacy that expanded Abstract Expressionism and paved the way for later art-historical developments. #independent20c #berrycampbell taken in Breuer Building by @berrycampbell
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7 days ago
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On view at @berrycampbell at @independent_hq ▫️ In 1953, Biala opened the first of many solo exhibitions at the famed Stable Gallery. The New York Times called it “one of the most exhilarating and satisfying events of the whole season […] For one thing, Miss Biala is such a good painter, laying on paint-color with singular sensibility, in ample but never redundant brush-strokes, and grasping firmly both the imaginative and the description elements of her themes […] The mood of these pictures is one of distant intimacy.” That year, Biala and Brustlein rented critic Harold Rosenberg’s apartment on East 10th Street. There she painted a large canvas titled Two Young Girls (1953), which featured the portraits of her two nieces Hermine and Helen, as well as the Rosenberg’s cat that the nieces called ‘Uncle Pickle.’ Biala painted a variation on this composition five years later as seen here in Two Young Girls (1958). ▫️ Janice Biala, “Two Young Girls,” 1958, oil on canvas, 36 x 28 3/4 in (91.4 x 73 cm) hanging alongside Eliane de Kooning’s painting “Peter (Peter Fried),” 1956 ▫️ #painterbiala #berrycampbellgallery #stablegallery #elanorward by @berrycampbell
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8 days ago
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VIP PREVIEW TODAY Independent 20th Century Art Fair Through September 27, 2026 @independent_hq @berrycampbell 📍The Breuer At Independent 20th Century, Berry Campbell carries forward Eleanor Ward’s legacy of championing women artists, platforming historically overlooked voices. The enduring significance of these artists’ work clarifies why these women were vital contributors to, and architects of, Abstract Expressionism and its legacies. Among the many prescient contributions are Joan Mitchell’s fusion of gesture and remembered landscapes, Elaine de Kooning’s signature portraiture, Mercedes Matter’s use of negative space, and Perle Fine’s early engagement with Color Field painting, nearly a decade before its emergence as a movement. Collectively, these women artists demonstrate the creative and intellectual foresight that helped shape decades of artistic development. Joan Mitchell in her Paris studio, c. 1962 Photo by Jean-Pierre/Paris Match via Getty Images Artwork ©️ Estate of Joan Mitchell Joan Mitchell Composition, 1957 Oil on linen 25 x 24 inches Signed lower right Included in the forthcoming catalogue raisonne #independent20c #joanmitchell #berrycampbell taken in Breuer Building by @berrycampbell
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9 days ago
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Another year of doing what we love! ❤️🙏 @berrycampbell taken in Berry Campbell by @berrycampbell
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12 days ago
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