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Emily BergerEmily Berger, Breath, 2014, oil paint, wood panel, Abstraction2015
2015
About the Item
These paintings and drawings are based on a structure of repetitive and deliberate gesture that is intuitive but carefully considered. Emily Berger brushes, wipes, rubs, and scrapes, incorporating the color, texture and pattern of the paper, linen or wood supports, concealing and revealing underlying layers in various states of transparence and solidity. Taking her time about where to make the marks and how to make them, adding and subtracting with brushes, rags, and sandpaper.
She works with and against whatever happens as she is painting. Sometimes the linear marks go all the way across the page; other times she'll expose more of the surface and shape that is then created. Berger is endlessly fascinated by the variations that can occur in a simultaneously built up and pared down image.
The artist works things out mentally and physically, in this abstract language of mark-making, where the painting is always in the process of becoming and there is evidence of the process.
She allows for those moments where something new comes up, a spark of recognition.
In the rhythm of the bands of paint there are spaces created, and variations in brushstroke which create movement, light, air and a broken symmetry. This is where Berger hopes the viewer can enter and experience the work, pay attention to nuance, slow down, move in and out of the painting and breathe.
Biography
Emily Berger was born in Chicago in 1953, and grew up in Massachusetts. She is an abstract painter who has lived and worked in Brooklyn, New York for 25 years.
Her work has been exhibited internationally and nationally in many galleries, universities and museums, including the Museum of Modern Art in Bogota, Colombia, the Herbert F. Johnson Museum of Art at Cornell University in Ithaca, New York, Kent State University in Kent, Ohio, and the National Academy Museum in New York City which awarded her the John Hultberg Memorial Prize for Painting.
Her work has been featured in many gallery exhibits, and been favorably reviewed in several publications. Berger is included in the American Abstract Artists 75th Anniversary Print Portfolio Exhibition, currently traveling to university galleries around the country.
Berger received a BA from Brown University, an MFA in painting from Columbia University, attended the Skowhegan School in Maine and has been awarded several art residency fellowships. Her work is included in many private and public collections.
- Creator:Emily Berger (1953, American)
- Creation Year:2015
- Dimensions:Height: 25 in (63.5 cm)Width: 21 in (53.34 cm)Depth: 1 in (2.54 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Darien, CT
- Reference Number:1stDibs: LU17221228573
Emily Berger
Emily Berger is an American abstract painter based in Brooklyn, New York. Her paintings are minimal and gestural, revealing in process and celebrating the hand of the artist. Berger is a member of American Abstract Artists. After graduating from Brown University, Berger earned her MFA in Painting from Columbia University, and attended the Skowhegan School in Maine. She has lectured extensively and participated in numerous artist residencies, including the Norte Maar Adirondacks outpost. Berger has exhibited internationally in numerous galleries and museums. Her work is included in numerous private and public collections, including Metropolitan Museum of Art, Department of Drawings and Prints, New York; Museum of Modern Art, Library Special Collection, New York; Whitney Museum of American Art Library; Phillips Collection, Washington, DC; Cleveland Museum of Art, Ohio; and the Delaware Art Museum, among others. Berger works with oil paint on wood panels. She layers paint in gestural, horizontal swaths from left to right, stacking the horizontal bands from top to bottom of the surface. An interplay of complementary colors creates a sense of push pull, endowing her compositions with nuanced luminosity. Scraping and scumbling the layers of paint, Berger gives her paintings a textured, painterly, material presence. She describes her method as being in the tradition of Abstract Expressionism—as if an event is taking place in the arena of the painting. Her approach, however, is quite controlled. Despite its structural reliance on the grid, the interplay between planning and the emergence of accidents lends the work a feeling of energy and mystery.
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