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A Love of Crushed Pigment and Hard Work: Eric Dever (MA ’88) on His Artistic Process

January 22, 2019 - NYU | Steinhardt News

Eric Dever (MA ’88) is a painter who graduated from NYU Steinhardt’s studio art program.

His paintings are part of notable public collections at the Parrish Art Museum, Grey Art Gallery-New York University Art Collection, Guild Hall, East Hampton, New York, and Centre d’Art et de Culture, Saint Just de Bellengard, France. He was in the permanent collection exhibition, Parrish Perspectives: Art in Context at the Parrish Art Museum, Water Mill, New York, and on display at the Hudson River Museum in Yonkers, New York. Current exhibitions include the U.S. Consulate General Hong Kong, and Macau, Art in Embassies, Department of State exhibition.

Eric Dever: Painting in a House Made of Air is on view this month at Berry Campbell Gallery in New York City. The exhibit features a new body of brilliantly hued, large-scale paintings, which emerged when Dever was planting a garden at his Water Mill, New York, studio.

We spoke to him about his artistic process.

You paint in New York City and the East End of Long Island.  How do these locales influence your work?

My painting during graduate school, 1986-88, was influenced by urban landscape and physical forms of civilization. New to town from Los Angeles, I spent a lot of time in museums and was fascinated walking around the city and boroughs. My paintings were often elegiac; the AIDS crisis concerned everyone. The city was very exciting, one had the sense that anything could happen, and each day held life changing possibilities.

Since 2003, I have worked on the East End of Long Island. It is always exciting to move to a new place and my paintings reflected this change. I began with sampled color from a new landscape, but soon moved towards a more personal experience which space and contemplation seemed to permit.

Working with just white paint for four years gave me a heightened awareness of my material. Canvas, linen, paint media—painting itself became the subject of my work. The addition of black and red corresponded over time with an increasing awareness of the subtle qualities of ‘Clarity, Passion and Dark Inertia’ (exhibition NYU Kimmel Galleries, 2015), or the 3 gunasa key aspect of yogic studies, and a means of interpreting nature itself.


Eric Dever Dives into Color & Unveils a New Series of Paintings

January 19, 2019 - Pat Rogers for Hamtons ArtHub

Neon pinks, lush greens, vibrant purples and a variety of orange hues enliven vibrant abstract compositions with direct ties to nature. These colorful paintings that seem to capture spontaneous moments are part of a new body of work by artist Eric Dever. Surprised? Hold on because there's more.

In a groundbreaking departure, Eric Dever has let go of his controlled use of limited color palettes and tight grids to embrace the entire color spectrum and loose shapes that seem to capture a joy that's both quiet and profound. Historically, Dever has slowly been opening his art to color after a period of four years where he worked in white only (Zinc and Titanium White). During this time, Dever discovered the possibilities of the spectrum of white as well as the textural interactions of raw linen, canvas and burlap with paint.


Color Unabashed in Eric Dever’s New Show in Chelsea

January 17, 2019 - Jennifer Landes for The East Hampton Star

Eric Dever’s recent paintings literally take over Berry Campbell’s Chelsea space. They hang prolifically and fervently on the white walls, bringing the intense hues of spring and summer into the rooms and warming a cold and wind-blown morning.

The show, titled “Painting in a House Made of Air,” comes alive with the artist’s unabashed use of saturated, matte, electric, and often acid color. The paintings offer scattered references to Lee Krasner, Joan Mitchell, and even Andy Warhol.

The works on view build on a transformation of the artist’s practice noted in The Star in April of 2017. Before a major illness, Mr. Dever had painted the same way for more than 10 years, choosing a limited square format and a palette consisting of white, black, and red in different combinations at different intervals.


Eric Dever: Painting in a House Made of Air - The Art Scene: 01.10.19

January 12, 2019 - Mark Segal for The East Hampton Star

Eric Dever in Chelsea

“Painting in a House Made of Air,” an exhibition of new large-scale paintings by Eric Dever, will open this evening at the Berry Campbell Gallery in Chelsea with a reception from 6 to 8 and remain on view through Feb. 9. For more than a decade, the painter used a limited palette, but in recent work he has embraced the entire color spectrum. 

The shift in Mr. Dever’s art occurred when a move from square to rectangular formats loosened up his compositions, as “there was no longer a central area of interest, but multiple areas of concentration.” He has coupled his new palette with an awareness of the yogic notion of the charkas — seven energetic centers in the human body where matter and consciousness meet — in which he finds a parallel to the visible spectrum. Mr. Dever lives and works in Water Mill.


Gallery Setareh in Düsseldorf: Only a few were taken in by the Club of the male men

January 11, 2019 - John Torrendo for Wirefax

As the Royal Academy in London two years ago, the “New York School” prepared a great appearance, were intended for the painter’s inner self-supporting roles only very sparingly. After all, the Denver Art Museum in Texas, had 2016, also, the artists of the Abstract expressionism devoted to an Overview of the Setareh now has the düsseldorf gallery, are excited to a Review: The thirteen artists in the exhibition – the majority in New York, but also in Europe – quite an expressive abstraction of the day, but found only in a few cases, inclusion in the exclusive circles and Clubs of men. The painters were in turn represented in a large number of, of all things, of the two avant-garde gallery owners, namely the Peggy Guggenheim and Betty Parsons.

The name of the in Dusseldorf, gathered painters, Helen frankenthaler and Lee Krasner, anything other than common. And all of you would like to see more than two to three images from the fifties and sixties. Especially from the in 1923 in Kapuvár, born a Hungarian, Judit Reigl and the energetic Gera Celts images from the series “Ecriture en mass”: instead of appearing to be a cross-format Reigl distributed with the spatula bizarre Islands of cabbage Raven black oil Paint on snow white and leaves behind the traces of the Malakts on the canvas – powerful, these contrasts. The Surrealist André Breton was fond of Reigls way to paint and organized in the fifties, the first exhibitions for the artist, who now lives in France...


Where to see (and paint) abstract expressionism in Tampa Bay in 2019

January 8, 2019 - Jennifer Ring for Creative Loafing Tampa Bay

The Museum of Fine Arts in St. Petersburg

The Museum of Fine Arts is currently showing artwork by Sarasota's Syd Solomon. Solomon is locally well-known for helping launch the Sarasota arts scene in the 1950s. He moved to Sarasota after World War II, in 1946, hoping the warmer climate would be better for his war-acquired frostbite. According to his son, Michael Solomon, Syd Solomon's studio home rapidly became a gathering spot for artists and writers in Sarasota. Gather at the Museum of Fine Arts before January 20 to see a sampling of his work.


Eric Dever: Painting in a House Made of Air | Exhibition Catalogue Now Available

January 4, 2019 - Berry Campbell

We are preparing for our Eric Dever exhibitionopening on November 15, 2018. Please read our online catalogue to learn more about the artist and his career.

Eric Dever: Painting in a House Made of Air
January 10 - February 9, 2019

Opening Reception
January 10, 2019
6-8 PM


Walter Darby Bannard Reviewed by Piri Halasz

December 11, 2018 - Piri Halasz for From the Mayor's Doorstep


The Darby Bannard at Berry Campbell on West 24th Street show has many more successes, not least because it’s a much bigger show (with nineteen canvases on view).

I counted at least eight paintings that I really related to -- although this show is devoted to a very demanding -- because experimental -- period when the artist was transitioning from his early hard-edged and geometric minimalism to his more mature, free-formed and painterly modernism. 

It is in the nature of experimentation that not every experiment comes off, but as Clement Greenberg once advised Jacob Kainen, in a letter that I’ve never forgotten, the artist must continually take risks if he wants to renew his art (or words to that effect). 

This show appears to stop right about at the moment when Bannard began really ladling on the gel. The two last paintings in the sequence of nineteen here are both embellished with streaks of it.

One of them, “Glass Mountain Fireball” (1975), has a field of fiery reds and oranges, and is embellished with narrow upward squiggly streaks of olive green gel. The effect of such a contrast is spicy and delightful.

One of the most intriguing aspects of this show is the appearance and disappearance of the geometry underlying the free-form. Quite a number of paintings here attempt to juxtapose the two modes, and surprisingly enough, the effect can be very pleasing – or not. 

One of the most pleasing is “Summer Joys No. 2” (1970), with a summery tangle of yellows (lemon & apricot) laid atop vestiges of nine squares in pale tan and pale green.

Another charmer is “China Spring #3” (1969), in lime, mint, khaki and pale peachy pink, embellishing yet diminishing the under-drawing of a large set of tic-tac-toe squares. 

Still, one of the many virtues of this show is that it doesn’t try to establish a straightforward linear progression. 

Rather, it suggests spiral evolution from minimalism to modernism, or what the French call reculer pour mieux sauter – fall back in order to jump further forward.

“Winter’s Traces” (1971) comes early not late in the sequence, yet it is all a symphony of swaying mint, apple green and olive daubs without the slightest hint of underlying squares. 

Two years later, nearly at the end of the sequence, “The Meadow” (1973) is a forthright bright green with decidedly straight vertical lines through the body of the picture, topped with straight horizontal straight lines.

Throughout the show, in fact, the colors are lovely – and loveliest (in my opinion) when not tied down to delineation. One gets this square between the eyes when one walks into the gallery from the street and sees “Peru” (1971) right in front of the door.

Although this is another early one in the sequence, I see no squares at all. But what an exploding galaxy of merry yellow is massed in the center of the canvas, and how loosely yet tellingly it is framed by cloud-like elements of mint green, olive and mauve!


Perle Fine, Judith Godwin, Charlotte Park, and Yvonne Thomas featured in Setareh Gallery's Exhibition "A GESTURE OF CONVICTION"

November 30, 2018 - Berry Campbell

Berry Campbell is pleased to collaborate with SETAREH GALLERY in Düsseldorf to celebrate women in art with the exhibition "GESTURE OF CONVICTION | Women of Abstract Expressionism" open from December 1, 2018 to February 29, 2019.

Image: © James Brooks and Charlotte Park Foundation


Art meets Art! Art meets Art! Art Shamsky from the 1969 World Champion NY Mets visits Berry Campbell

November 29, 2018 - Berry Campbell

Art Shamsky from the 1969 World Champion NY Mets visited Berry Campbell yesterday!

See now on our Instagram!