Celebrating Women's History Month
Installation View of Ida Kohlmeyer: Cloistered at Berry Campbell, New York.
Grace Hartigan, Artificial Flowers and Apples , 1952, oil on canvas, 24 1/4 x 25 inches. Signed "Hartigan" at lower right.
Provenance: The Artist, Daisy Aldan [Tibor de Nagy Gallery], Private Collection, Maryland. 
Exhibition History:  New Paintings: George Hartigan , Tibor de Nagy Gallery, March 31- April 18, 1953.

Ann Purcell, Kali Poem #67 , 1990, acrylic on canvas, 40 x 70 inches.
Christine Berry, Phyllis Hollis, and Martha Campbell
Attend the ArtTable Armory Show Brunch

ArtTable is the foremost professional organization dedicated to advancing the leadership of women in the visual arts. Through their national membership network and community initiatives, they expand opportunities for women from diverse backgrounds and at all stages of their careers, fostering a stronger future for all women in the arts.
Judith Godwin, Harlem , 1981, oil on canvas, 46 x 50 inches.
The Johnson Collection.
Client Testimonial
Charlotte Park, Untitled , c. 1965, oil and oil crayon on canvas, 30 1/4 x 30 1/4 inches.
"Extremely gratifying to see Paul Kasmin Gallery's eye-opening summer show, Painters of the East End reviewed by Erin Kimmel in this month's Art in America . And smiled extra wide that AbEx talent Charlotte Park is written up in the same paragraph as and holds her own withJoan Mitchell. 'Park's virtuosic oil and crayon compositions (ca. 1965 and 1967) feature dendrite-like configurations in a palette of bright pinks, yellows and blues that appear frozen mid twist.' Ten years ago Christine Berry, owner of one of the most engaging and provocative galleries in Chelsea, Berry Campbell, thankfully introduced me to the work of Charlotte Park, who died in 2010 at age 92 in Montauk, where she lived and painted. She was the wife of artist James Brooks, supporting his career at the expense of her own, and dear friends and neighbors of Jackson Pollock and Lee Krasner."
-Adam Beckerman
In the early 1960s, Yvonne Thomas (1913-2009) was one of many painters seeking a more rational, methodical alternative to the untethered, intuitive and often outsize gestures of Abstract Expressionism. The French-born Ms. Thomas — who came to the United States as a child and was a regular on the New York art scene after 1950 — made a series of modest but radiant proto-Minimalist works that, as seen in this moving show, “Windows and Variations: Paintings From 1963-65,” may be the best of her career. Read the Full Review

-Roberta Smith for The New York Times
Susan Vecsey, Untitled (Cobalt), 2013, oil on paper, 26 x 35 inches.
Jill Nathanson, Harp , 2020, acrylic and polymers on panel, 39 1/4 x 73 3/4 inches.
Alicia Longwell, Lewis B. and Dorothy Cullman Chief Curator, Art and Education, with Perle Fine, Plan for the White City , 1950.
Collection of the Parrish Art Museum.
What We See, How We See
November 2019 - April 2021
Parrish Art Museum , Water Mill, New York

Joyce Weinstein, Bathers, 1948-1949, oil on canvas, 10 x 12 inches.
Postwar Women
Curated by William Corwin

Titled “ Postwar Women ,” the exhibition, curated by Will Corwin, features more than 40 women who studied at the school between 1945 and 1965. "The league’s list of famous graduates is like everybody you’ve ever heard of,” Corwin said. For him, the curatorial challenge was balancing expectations: ensuring that all the major names were in place while still creating opportunities for viewers to discover new artists.
-Sarah Cascone for Artnet News
Since 2016, the National Museum of Women in the Arts (NMWA) has been asking this question on social media each March during Women’s History Month using the hashtag #5WomenArtists. The campaign raises awareness about gender inequity in the art world and beyond. Thousands of individual and more than 1,500 cultural institutions from seven continents and 54 countries have taken part.