Return-Path: Delivered-To: charley@transocean.com Received: from vps.transocean.com by vps.transocean.com with LMTP id MMbVOK9sz1rTdAAAInt2oQ for ; Thu, 12 Apr 2018 07:26:55 -0700 Return-path: Envelope-to: charley@transocean.com Delivery-date: Thu, 12 Apr 2018 07:26:55 -0700 Received: from p3plsmtpa11-07.prod.phx3.secureserver.net ([68.178.252.108]:37294) by vps.transocean.com with esmtps (TLSv1.2:ECDHE-RSA-AES256-GCM-SHA384:256) (Exim 4.89_1) (envelope-from ) id 1f6dBS-0007oS-J1 for charley@transocean.com; Thu, 12 Apr 2018 07:26:55 -0700 Received: from transoceansmbp.home ([71.167.45.222]) by :SMTPAUTH: with SMTP id 6dAnfefnT8sXH6dAnfashr; Thu, 12 Apr 2018 07:26:02 -0700 From: Liora Manne Content-Type: multipart/alternative; boundary="Apple-Mail=_469064C6-DBAD-456B-8FF5-F273FD83179B" Subject: Fwd: Stanley Boxer | Gradations | Opening Reception and Exhibition Date: Thu, 12 Apr 2018 10:31:42 -0400 References: <1130392019974.1122181196010.2020374837.0.461017JL.2002@scheduler.constantcontact.com> To: Charley Peck Message-Id: <28C4EEA8-5A7D-454B-BBE2-D7760AD64B4D@lioramanne.com> Mime-Version: 1.0 (Mac OS X Mail 7.3 \(1878.6\)) X-Mailer: Apple Mail (2.1878.6) X-CMAE-Envelope: MS4wfBz2H+kcLzzvlxj1PsKWPhoIK+Ww85bvxkY5LtgoCHFHNc5qImoqTbynpOMZVu86K+MpnQugEunyGA6PLdqNx0LitxBgwaartWnMWf4Q8tpj47s5wKMm +vH7y64rA5+XnXN5FgnsBLtadyT+x2SfNYYR9tgWbWVy8Jhlh3aiqHwwaGf+fukktYWOpYU1tT6Bgg== X-Spam-Status: No, score=-98.2 X-Spam-Score: -981 X-Spam-Bar: --------------------------------------------------- X-Ham-Report: Spam detection software, running on the system "vps.transocean.com", has NOT identified this incoming email as spam. The original message has been attached to this so you can view it or label similar future email. If you have any questions, see root\@localhost for details. Content preview: Begin forwarded message: > From: Berry Campbell Gallery > Subject: Stanley Boxer | Gradations | Opening Reception and Exhibition > Date: April 12, 2018 at 10:18:00 AM EDT > To: liora@lioramanne.com > Reply-To: info@berrycampbell.com > > > > > > > > Stanley Boxer, Blisteredthroughparchedwallow, 1978, oil on linen, 29 x 20 inches. > STANLEY BOXER > Gradations > Paintings from 1976 to 1984 > April 19 - May 19, 2018 > > Opening Reception > Thursday, April 19, 2018 > 6 to 8 PM > > PREVIEW EXHIBITION > > EMAIL FOR FURTHER INFORMATION > > VIEW ONLINE CATALOGUE > > Berry Campbell Gallery is pleased to announce the special exhibition "STANLEY BOXER: GRADATIONS" from April 19 through May 19, 2018. Berry Campbell will present a curated selection of paintings from 1976 to 1984 that have been described by Karen Wilkin as "at once lyrical and brutal, aggressively physical and ineffably elusive." This is Berry Campbell's second solo exhibition of Stanley Boxer. The opening reception for "Stanley Boxer: Gradations" is Thursday, April 19 from 6 to 8pm. > > > Stanley Boxer, Sombergashofasummersprawl, 1981, oil on linen, 70 x 80 inches. > Throughout his four-decade-long career, Stanley Boxer (1926-2000) broke through the barriers that often divided the artists of his day. In the 1960s, he was deemed a Color Field painter, but at the time he was already moving toward the material specificity of process art, building dense surfaces with unexpected additives, such as sand, glitter, sawdust, wood shavings, and dressmaker's beads. However, Boxer stopped short of letting his materials speak for themselves. More interested in the end result than in his process or materials, in his art, he expressed his love for intense optical he sought to create new forms that could excite the eye. Boxer found a common ground among the competing ideologies of his time, while maintaining his distinctive artistic identity. His paintings, sculptures, and collages can be linked to contemporary currents, but throughout he maintained a commitment to creating [...] Content analysis details: (-98.2 points, 3.0 required) pts rule name description ---- ---------------------- -------------------------------------------------- 0.0 URIBL_BLOCKED ADMINISTRATOR NOTICE: The query to URIBL was blocked. See http://wiki.apache.org/spamassassin/DnsBlocklists#dnsbl-block for more information. [URIs: berrycampbell.com] -100 USER_IN_WHITELIST From: address is in the user's white-list 0.0 HTML_MESSAGE BODY: HTML included in message 0.8 BAYES_50 BODY: Bayes spam probability is 40 to 60% [score: 0.5000] 0.0 HTML_IMAGE_RATIO_08 BODY: HTML has a low ratio of text to image area 1.0 KAM_LAZY_DOMAIN_SECURITY Sending domain does not have any anti-forgery methods X-Spam-Flag: NO --Apple-Mail=_469064C6-DBAD-456B-8FF5-F273FD83179B Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=windows-1252 Begin forwarded message: > From: Berry Campbell Gallery > Subject: Stanley Boxer | Gradations | Opening Reception and Exhibition > Date: April 12, 2018 at 10:18:00 AM EDT > To: liora@lioramanne.com > Reply-To: info@berrycampbell.com >=20 >=20 > =09 >=20 >=20 >=20 >=20 > Stanley Boxer, Blisteredthroughparchedwallow, 1978, oil on linen, 29 x = 20 inches. > STANLEY BOXER > Gradations > Paintings from 1976 to 1984 > April 19 - May 19, 2018 >=20 > Opening Reception > Thursday, April 19, 2018 > 6 to 8 PM >=20 > PREVIEW EXHIBITION >=20 > EMAIL FOR FURTHER INFORMATION >=20 > VIEW ONLINE CATALOGUE >=20 > Berry Campbell Gallery is pleased to announce the special exhibition = "STANLEY BOXER: GRADATIONS" from April 19 through May 19, 2018. Berry = Campbell will present a curated selection of paintings from 1976 to 1984 = that have been described by Karen Wilkin as "at once lyrical and brutal, = aggressively physical and ineffably elusive." This is Berry Campbell's = second solo exhibition of Stanley Boxer. The opening reception for = "Stanley Boxer: Gradations" is Thursday, April 19 from 6 to 8pm.=20 > =09 >=20 > Stanley Boxer, Sombergashofasummersprawl, 1981, oil on linen, 70 = x 80 inches. > Throughout his four-decade-long career, Stanley Boxer (1926-2000) = broke through the barriers that often divided the artists of his day. In = the 1960s, he was deemed a Color Field painter, but at the time he was = already moving toward the material specificity of process art, building = dense surfaces with unexpected additives, such as sand, glitter, = sawdust, wood shavings, and dressmaker's beads. However, Boxer stopped = short of letting his materials speak for themselves. More interested in = the end result than in his process or materials, in his art, he = expressed his love for intense optical he sought to create new forms = that could excite the eye. Boxer found a common ground among the = competing ideologies of his time, while maintaining his distinctive = artistic identity. His paintings, sculptures, and collages can be linked = to contemporary currents, but throughout he maintained a commitment to = creating surfaces characterized by intense radiance and nuance, designed = with "a kind of choreography of material," as described in Arts = Magazineby Judith Van Baron in 1974. >=20 >=20 > Stanley Boxer, Sleethoarblanche, 1984, oil on linen, 80 x 25 inches. >=20 > It is interesting to read the substantial body of criticism of Boxer's = work for its conflicting viewpoints. To some critics, Boxer demonstrated = minimalist tendencies-in his striving for directness, for example. To = others, he was gargantuan in his inclusiveness-incorporating into his = work anything he could get his hands on. Whereas one critic described = his art as demonstrating a luminosity that evokes a "tranquil, almost = spiritual" quality, another related his work to the drama of Baroque = art, in the way that he was drawing with color, using strokes that = "built up to a pictorial climax." In 2004, Grace Glueck wrote in the New = York Times that Boxer's paintings could be "read as landscapes as well = as existing purely in the realm of paint." An "artist's artist," Boxer = created a body of work that is both cross-modal and independent, = anticipating issues that were ahead of his time. These contradictions = that defined his work are readily apparent in these works from 1976 to = 1984. In the 1982 catalogue for Boxer's exhibition at Andr=E9 Emmerich = Gallery, Karen Wilkin aptly described these works as "at once lyrical = and brutal, aggressively physical and ineffably elusive." In = Roamslitheringsighsofpastoralplurge from 1978, Boxer creates a = continuous field of luminous blues. Oil paint is stroked onto the canvas = with inflexible, hard brushes, resulting in a rhythmic and expressive = surface. These rough and irregular scales, however, keep the blues from = being saccharine and overly lyrical, instead resulting in a work that is = powerful in its subtlety. By the early 1980s, Boxer explored even more = contradictions within the composition and ideas of color as fields. In = Sombergashofasummersprawl from 1981, Boxer covers the canvas with = muscular and overlapping scales of thick oil paint, tinted with colored = pastels. Wilkin described works like Sombergashofasummersprawl best in = the Emmerich catalogue: "Boxer interrupts this dense continuity with = small areas of vibrant colors, which float within the skin of gestures = and have no density at all. The resulting passage from color to color or = dark to light looks-and may be-unpremeditated, but every part of the = canvas is carefully worked (a process Boxer calls 'tuning') in order to = achieve this seeming spontaneity." Boxer was born in New York City and = grew up in the Williamsburg neighborhood of Brooklyn. After serving in = the Navy during World War II, he returned to New York and, with funds = from the G.I. Bill, enrolled at New York's Art Students League. =46rom = the start of his career, he was indefatigable, painting in his studio = seven days a week. His first exhibition was held in 1953 at Perdalma = Gallery in New York, where he also showed in 1954 and 1955. In 1968, = Boxer had two solo exhibitions: one, of sculpture, at the Rose Fried = Gallery in New York and the other, of paintings, at the Loeb Center, New = York University. In marble and wood sculpture, he created directly = carved abstract compositions in which textures and materials play = expressive roles. In the years that followed, Boxer created collages, = drawings, and monotypes in addition to his paintings, receiving acclaim = for his work in all mediums.=20 > =09 >=20 > Stanley Boxer, Roamslitheringsighsofpastoralplurge, 1978, oil on = linen, 70 x 75 inches. > Over the course of his career, Boxer delivered many lectures across = the country. He held artistresidencies at the University of = Saskatchewan, Canada; the University of Colorado, Boulder; the Vermont = Studio School, Johnston; and Kent State University, Ohio. His awards = include a Guggenheim Fellowship (1975); a National Endowment for the = Arts, Visual Artists Fellowship Grant (1989); and a posthumous lifetime = achievement award for his contribution to the Cultural Life of Columbia = County, presented by the Columbia County Council on the Arts, Hudson, = New York. > =20 > Boxer's work may be found in noted private and public collections in = the United States and in other countries, including the Ackland Art = Museum, the University of North Carolina at Chapel Hill; the Addison = Gallery of American Art, Phillips Academy, Andover, Massachusetts; = Indiana; the Birla Academy of Art and Culture, Calcutta, India; the Boca = Raton Museum, Florida; the Columbia Museum, South Carolina; the Corcoran = Gallery of Art, Washington, D.C.; the Des Moines Art Center, Iowa; the = Dayton Art Institute, Ohio; the Edmonton Art Gallery, Canada; the = Everson Museum, Syracuse, New York; the Hirshhorn Museum and Sculpture = Garden, Washington, D.C.; the Jane Voorhees Zimmerli Art Museum, Rutgers = University, New Jersey; the Louisiana Museum, Copenhagen; the = Metropolitan Museum of Art, New York; the Mint Museum of Art, Charlotte, = North Carolina; the Museum of Fine Arts, Boston; The Museum of Fine = Arts, Houston, Texas; the Museum of Modern Art, New York; Milwaukee Art = Center, Wisconsin; the Museum of the Twentieth Century, Vienna; the = National Gallery of Australia, Canberra; the New Jersey State Museum, = Trenton; the Power Gallery of Contemporary Art, Sydney, Australia; the = San Francisco Museum of Modern Art; the Santa Barbara Museum; the = Singapore Art Museum; the Solomon R. Guggenheim Museum, New York; the = Tate Gallery, London; the Walker Art Center, Minneapolis; the Whitney = Museum of American Art, New York; the Wichita Art Museum, Kansas; and = many others. >=20 >=20 > Stanley Boxer, Frostplaitaborning, 1983, oil on linen, 28 x 50 inches. >=20 > ABOUT THE GALLERY >=20 > Berry Campbell continues to fill an important gap in the downtown art = world, showcasing the work of prominent and mid-career artists. The = owners, Christine Berry and Martha Campbell, share a curatorial vision = of bringing new attention to the works of a selection of postwar and = contemporary artists and revealing how these artists have advanced ideas = and lessons in powerful and new directions. Artists and estates = represented by the gallery are Edward Avedisian, Walter Darby Bannard, = Stanley Boxer, Dan Christensen, Eric Dever, Perle Fine, Judith Godwin, = John Goodyear, Balcomb Greene, Gertrude Greene, Ken Greenleaf, Raymond = Hendler, Jill Nathanson, John Opper, Stephen Pace, Charlotte Park, = William Perehudoff, Ann Purcell, Jon Schueler, Mike Solomon, Syd = Solomon, Albert Stadler, Yvonne Thomas, Susan Vecsey, James Walsh, Joyce = Weinstein, and Larry Zox. > =20 > Berry Campbell Gallery is located in the heart of the Chelsea Arts = District at 530 West 24th Street, Ground Floor, New York, NY 10011. = www.berrycampbell.com. For information, please contact Christine Berry = or Martha Campbell at 212.924.2178 or info@berrycampbell.com. >=20 >=20 > Upcoming Exhibitions > Save the Dates > Jill Nathanson | May 24 - June 30, 2018 > Summer Selections | July 12 - August 17, 2018 > John Goodyear | September 6 - October 6, 2018 > Susan Vecsey | October 11 - November 10, 2018 > Walter Darby Bannard (1934-2016) | November 15 - December 21, 2018 > Eric Dever | January 10 - February 9, 2019 > STAY CONNECTED: >=20 >=20 >=20 >=20 >=20 >=20 >=20 >=20 > =09 > Berry Campbell Gallery, 530 W 24th Street, New York, NY 10011 > SafeUnsubscribe=99 liora@lioramanne.com > Forward this email | Update Profile | About our service provider > Sent by info@berrycampbell.com in collaboration with >=20 > Try it free today >=20 --Apple-Mail=_469064C6-DBAD-456B-8FF5-F273FD83179B Content-Type: multipart/related; type="text/html"; boundary="Apple-Mail=_5A354F6E-FFA2-42FC-9B8A-D837E2663AB8" --Apple-Mail=_5A354F6E-FFA2-42FC-9B8A-D837E2663AB8 Content-Transfer-Encoding: quoted-printable Content-Type: text/html; charset=windows-1252

Begin forwarded message:

From: Berry Campbell Gallery <info@berrycampbell.com>
<= /span>
Subject: = Stanley Boxer | = Gradations | Opening Reception and Exhibition
Date: April 12, 2018 at 10:18:00 AM = EDT
To: = liora@lioramanne.com

<= td class=3D"MainWidth" valign=3D"top" width=3D"630" rowspan=3D"1" = colspan=3D"1" align=3D"center" style=3D"width: 630px;">
3D""

3D""
Stanley Boxer, Blisteredthroughparchedwa= llow, 1978, oil on linen, 29 x 20 = inches.
STANLEY = BOXER
Gradations
Paintings from 1976 to = 1984
April 19 - May 19, 2018

Opening = Reception
Thursday, April 19, 2018
6 to 8 PM


EMAIL FOR FURTHER = INFORMATION


Berry Campbell Gallery is pleased to announce = the special exhibition "STANLEY BOXER: = GRADATIONS" from April 19 through May = 19, 2018. Berry Campbell will present a curated selection of paintings = from 1976 to 1984 that have been described by Karen Wilkin as "at once = lyrical and brutal, aggressively physical and ineffably = elusive." This is Berry Campbell's = second solo exhibition of Stanley Boxer. The opening reception for = "Stanley Boxer: Gradations" is Thursday, April 19 from 6 to = 8pm. 
<= td class=3D"imgCaptionImg" width=3D"100%" rowspan=3D"1" colspan=3D"1" = style=3D"padding: 0px; color: rgb(64, 63, 66);">
<= td class=3D"imgCaptionText" rowspan=3D"1" colspan=3D"1" style=3D"color: = rgb(64, 63, 66); font-weight: normal; font-size: 8pt; padding-bottom: = 10px; font-family: Arial; font-style: normal; text-align: left;">Stanley = Boxer, Sombergashofasummersprawl= , 1981, oil on linen, 70 x 80 = inches.
Throughout his = four-decade-long career, Stanley Boxer (1926-2000) broke through = the barriers that often divided the artists of his day. In the 1960s, he = was deemed a Color Field painter, but at the time he was already moving = toward the material specificity of process art, building dense surfaces = with unexpected additives, such as sand, glitter, sawdust, wood = shavings, and dressmaker's beads. However, Boxer stopped short of = letting his materials speak for themselves. More interested in the end = result than in his process or materials, in his art, he expressed his = love for intense optical he sought to create new forms that could excite = the eye. Boxer found a common ground among the competing ideologies = of his time, while maintaining his distinctive artistic identity. His = paintings, sculptures, and collages can be linked to contemporary = currents, but throughout he maintained a commitment to creating surfaces = characterized by intense radiance and nuance, designed with "a kind of = choreography of material," as described in Arts Magazineby = Judith Van Baron in 1974.
<= /tr><= /tr>
Stanley Boxer, Sleethoarblanche, = 1984, oil on linen, 80 x 25 inches.
It is interesting to read the substantial = body of criticism of Boxer's work for its conflicting viewpoints. To = some critics, Boxer demonstrated minimalist tendencies-in his striving = for directness, for example. To others, he was gargantuan in his = inclusiveness-incorporating into his work anything he could get his = hands on. Whereas one critic described his art as demonstrating a = luminosity that evokes a "tranquil, almost spiritual" quality, another = related his work to the drama of Baroque art, in the way that he was = drawing with color, using strokes that "built up to a pictorial climax." = In 2004, Grace Glueck wrote in the New York Times that Boxer's paintings = could be "read as landscapes as well as existing purely in the realm of = paint." An "artist's artist," Boxer created a body of work that is both = cross-modal and independent, anticipating issues that were ahead of his = time. These contradictions that defined his work are readily = apparent in these works from 1976 to 1984. In the 1982 catalogue for = Boxer's exhibition at Andr=E9 Emmerich Gallery, Karen Wilkin aptly = described these works as "at once lyrical and brutal, aggressively = physical and ineffably elusive." In Roamslitheringsighsofpast= oralplurge from = 1978, Boxer creates a continuous field of luminous blues. Oil paint is = stroked onto the canvas with inflexible, hard brushes, resulting in a = rhythmic and expressive surface. These rough and irregular scales, = however, keep the blues from being saccharine and overly lyrical, = instead resulting in a work that is powerful in its subtlety. By = the early 1980s, Boxer explored even more contradictions within the = composition and ideas of color as fields. In Sombergashofasummersprawl=  from 1981, Boxer = covers the canvas with muscular and overlapping scales of thick oil = paint, tinted with colored pastels. Wilkin described works like Sombergashofasummersprawl=  best in the = Emmerich catalogue: "Boxer interrupts this dense continuity with small = areas of vibrant colors, which float within the skin of gestures and = have no density at all. The resulting passage from color to color or = dark to light looks-and may be-unpremeditated, but every part of the = canvas is carefully worked (a process Boxer calls 'tuning') in order to = achieve this seeming spontaneity." Boxer was born in New York City = and grew up in the Williamsburg neighborhood of = Brooklyn. After serving in the Navy during World War II, he returned to New York = and, with funds from the G.I. Bill, enrolled at New York's Art Students = League. =46rom the start of his career, he was indefatigable, painting = in his studio seven days a week. His first exhibition was held in 1953 = at Perdalma Gallery in New York, where he also showed in 1954 and 1955. = In 1968, Boxer had two solo exhibitions: one, of sculpture, at the Rose = Fried Gallery in New York and the other, of paintings, at the Loeb = Center, New York University. In marble and wood sculpture, he created = directly carved abstract compositions in which textures and materials = play expressive roles. In the years that followed, Boxer created = collages, drawings, and monotypes in addition to his paintings, = receiving acclaim for his work in all = mediums. 
<= td class=3D"RightImage imgCaptionImg" width=3D"100%" rowspan=3D"1" = colspan=3D"1" style=3D"padding: 0px;">
<= td class=3D"imgCaptionText" rowspan=3D"1" colspan=3D"1" style=3D"color: = rgb(64, 63, 66); font-weight: normal; font-size: 8pt; padding-bottom: = 10px; font-family: Arial; font-style: normal; text-align: left;">Stanley = Boxer, Roamslitheringsighsofpastoralplurge, 1978, oil = on linen, 70 x 75 inches.
Over the course of his career, Boxer = delivered many lectures across the country. He held = artistresidencies at the University of Saskatchewan, = Canada; the University of Colorado, Boulder; the Vermont Studio School, = Johnston; and Kent State University, Ohio. His awards include a = Guggenheim Fellowship (1975); a National Endowment for the Arts, Visual = Artists Fellowship Grant (1989); and a posthumous lifetime achievement = award for his contribution to the Cultural Life of Columbia County, = presented by the Columbia County Council on the Arts, Hudson, New = York.
 
Boxer's work may be found in = noted private and public collections in the United States and in other = countries, including the Ackland Art Museum, the University of North = Carolina at Chapel Hill; the Addison Gallery of American Art, Phillips = Academy, Andover, Massachusetts; Indiana; the Birla Academy of Art and = Culture, Calcutta, India; the Boca Raton Museum, Florida; the Columbia = Museum, South Carolina; the Corcoran Gallery of Art, Washington, D.C.; = the Des Moines Art Center, Iowa; the Dayton Art = Institute, Ohio; the Edmonton Art Gallery, Canada; the Everson Museum, = Syracuse, New York; the Hirshhorn Museum and Sculpture Garden, = Washington, D.C.; the Jane Voorhees Zimmerli Art Museum, Rutgers = University, New Jersey; the Louisiana Museum, Copenhagen; = the Metropolitan Museum of Art, New York; the Mint Museum of Art, = Charlotte, North Carolina; the Museum of Fine Arts, Boston; The Museum = of Fine Arts, Houston, Texas; the Museum of Modern Art, New York; = Milwaukee Art Center, Wisconsin; the Museum of the = Twentieth Century, Vienna; the National Gallery of = Australia, Canberra; the New Jersey State Museum, Trenton; the Power = Gallery of Contemporary Art, Sydney, Australia; the San Francisco Museum = of Modern Art; the Santa Barbara Museum; the Singapore Art Museum; the = Solomon R. Guggenheim Museum, New York; the Tate Gallery, = London; the= Walker Art Center, Minneapolis; the Whitney Museum of American Art, New = York; the Wichita Art Museum, Kansas; and many = others.

Stanley Boxer, Frostplaitaborning, = 1983, oil on linen, 28 x 50 = inches.

ABOUT THE = GALLERY

Berry Campbell continues to fill an important gap in the downtown = art world, showcasing the work of prominent and mid-career artists. The = owners, Christine Berry and Martha Campbell, = share a curatorial vision of bringing new attention to the works of a = selection of postwar and contemporary artists and revealing how these = artists have advanced ideas and lessons in powerful and new = directions. Artists = and estates represented by the gallery are Edward Avedisian, Walter = Darby Bannard, Stanley Boxer, Dan Christensen, Eric Dever, Perle Fine, = Judith Godwin, John Goodyear, Balcomb Greene, Gertrude Greene, Ken = Greenleaf, Raymond Hendler, Jill Nathanson, John Opper, Stephen Pace, = Charlotte Park, William Perehudoff, Ann Purcell, Jon Schueler, Mike = Solomon, Syd Solomon, Albert Stadler, Yvonne Thomas, Susan Vecsey, James = Walsh, Joyce Weinstein, and Larry Zox.
 
Berry Campbell Gallery is located in the = heart of the Chelsea Arts District at 530 West 24th Street, = Ground Floor, New York, NY 10011. www.berrycampbell.com.  For information, please = contact Christine Berry or Martha Campbell at 212.924.2178 or info@berrycampbell.com.

3D""
Upcoming Exhibitions
Save the = Dates
Jill Nathanson | May 24 - June 30, = 2018
Summer = Selections | July 12 - August 17, 2018
John Goodyear | = September 6 - October 6, 2018
Susan Vecsey | October 11 - November 10, = 2018
Walter Darby Bannard = (1934-2016) | = November 15 - December 21, 2018
Eric Dever | January 10 - = February 9, = 2019
STAY CONNECTED:=
3D"Like=
3D"View
3D"Follow
3D"Find
3D"View=

<= /td>
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<= /tr>
<= td valign=3D"top" width=3D"610" rowspan=3D"1" colspan=3D"1" = align=3D"center" style=3D"background-color: rgb(255, 255, 255);">
<= tr>
Berry Campbell = Gallery, 530 W 24th Str= eet, New York, NY 10011
SafeUnsubscribe=99 liora@lioramanne.com
Forward this email | Update = Profile | About our service = provider
Sent by info@berrycampbell.com in collaboration = with
3D"Constant

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