April 23 - May 19, 2026
Material Matters: Alyce Gottesman, Gail Meyers, and Alan Neider
Inner Landscapes: Beth Barry and Karin Bruckner
On The Wall: Tree Line: Joy Nagy
Reception: Thursday, April 23, 6pm - 8pm
Carter Burden Gallery presents three exhibitions: Material Matters in the East Gallery featuring Alyce Gottesman, Gail Meyers, and Alan Neider; Inner Landscapes in the West Gallery featuring Beth Barry and Karin Bruckner; and On the Wall featuring the installation Tree Line by Joy Nagy. The reception will be on Thursday, April 23 from 6pm to 8pm. The exhibitions run from April 23 - May 19, 2026, at 548 West 28th Street in New York City. Alyce Gottesman will be having a meet the artist on Saturday, April 25 and Saturday, May 15 from 3pm - 5pm.The gallery hours are Tuesday - Friday, 11 am - 5 pm, Saturday 11 am - 6 pm.
Material Matters
Alyce Gottesman, Gail Meyers, and Alan Neider explore textiles, geometry, and color in Material Matters. Across painting and sculpture, each artist incorporates fabric and mixed media to build complex, tactile surfaces. Neider’s boldly constructed canvases juxtapose cut geometric voids with expressive, graffiti-inspired forms, while Gottesman’s atmospheric abstractions weave together landscape, memory, vivid color, and intuitive mark-making. Meyers’s sculptural works extend these themes into three dimensions, assembling spherical forms that balance structure and openness. Together, the works create a vibrant and boisterous dialogue between order and improvisation, density and space, where line and shape become both functional and expressive tools.
Alyce Gottesman
Alyce Gottesman’s abstract paintings are rooted in an early and sustained connection to the natural world. Drawing on memories of landscape, her work evokes shifting atmospheres through layered color, lyrical forms, and geometric structure. These compositions balance intuition and control, where references to place remain present but are transformed through abstraction. Materiality and process are central to Gottesman’s practice. Working with a combination of oil, flashe, and acrylic, she builds her surfaces through pouring, brushing, and squeegeeing paint, allowing each layer to inform the next. Fabric and decorative paper are incorporated directly onto the canvas, serving as both compositional anchors and points of departure. She often draws back into the surface with graphite and colored pencil, creating a dense interplay of marks, textures, and color that reflects personal experience and memory.
Alyce Gottesman has been painting and exhibiting her art for 35 years. She earned her BFA from Carnegie-Mellon University and MFA from School of Visual Arts. Recent exhibitions include The Painting Center, Perry Lawson Fine Art, Imlay Gallery, Carter Burden Gallery, Drawing Rooms, Noyes Museum, Kent State University, Veronique Wantz Gallery, St. Peter’s University, and Bergen Community College. Art fairs include Aqua Art Miami, 14c, SOFA Chicago, Affordable Art Fair NYC, REVEAL Art Fair, and Start Up San Francisco Art Fair. Awards include NJ State Council on the Arts Individual Artist Fellowship, Geraldine R. Dodge Foundation Fellowship, Virginia Center for the Creative Arts Residency Fellowship, National Drawing Purchase Award and a site-specific installation at Johnson & Johnson in Spring House, PA. Her work is part of many private and public collections including Rutgers Cancer Institute, New York Presbyterian, Sloan Kettering, Cinevative, Brooklyn Art Library, Provident Bank of NJ, SAP of America, Hoffman LaRoche, Johnson & Johnson, The College of NJ and William Paterson University. She works in Jersey City, NJ, and Inverness, CA.
Gail Meyers
Gail Meyers creates circular mixed media sculptures that explore the relationship between structure, space, and movement. Constructed from repurposed embroidery and quilting hoops, along with string, wood, metal, paint, and found objects, her works are at once playful and precise. Through layering and recombination, Meyers investigates the interaction of color, line, and form, as well as the balance between asymmetry and equilibrium. Her freestanding and suspended pieces emphasize openness and lightness, where absence becomes as significant as presence, air, shadow, and negative space functioning as integral compositional elements. The linear and gestural quality of her work make it seem as though she is drawing in three dimensions. This along with the literal and visual movement of her work produce an orbit like, celestial rhythm.
Gail Meyers is a New York City–based artist who holds an M.A. in Art History from Columbia University and worked for over 20 years as a museum educator at The Cloisters and the Metropolitan Museum of Art. She has also taught within the New York City public school system, worked as a teaching artist with Puppetry in Practice, and as a yoga instructor. Meyers has exhibited widely in juried and invitational exhibitions throughout the tri-state area and beyond, including recent presentations at the Arts 14C Art Fair (2025) and the Red Dot Miami Art Fair (2024). Her upcoming solo exhibition will be on view at the Katonah Village Library from July through September 2026, and she has been invited to create an installation for an exhibition at the FIT Gallery in Fall 2026. Her recent honors include a Queens Arts Fund New Works Grant (2024), the Bruce Dorfman Grant Award for study at the Art Students League of New York (2024–2025), and additional awards from the New England Sculpture Association, the International Society of Experimental Artists, and the Allied Artists of America. Meyers is currently continuing her studies at the Art Students League of New York.
Alan Neider
Alan Neider’s 2 Shapes series continues his ongoing experimentation with painting on unconventional surfaces, using U-Haul moving blankets as both support and structure. Onto these dense, utilitarian grounds, he sews patterned and heavily textured fabrics, creating what he describes as a deliberately “difficult” surface for paint. Within this layered field, two geometric voids are cut directly into the material, their hard-edged forms set in tension against the large, rounded, biomorphic shapes that animate the composition. Neider’s process is both physical and iterative. The blankets are stretched and reinforced with an underlying support, then worked horizontally with enamel and water-based paints to build up richly varied textures. Once upright, the paintings are further developed through layers of spray paint, the graffitied gestures glowing on the surface. The result is a dynamic interplay between structure and spontaneity, where sewn fabric, cut space, and painted form converge.
Alan Neider was born in Norfolk, Virginia, and has lived and worked in Los Angeles, Philadelphia, Chicago, and Connecticut. His early exposure to making came through family; his grandmother created ceramic figures, while his grandfather, a tailor, worked with a Singer sewing machine, an influence that continues to inform Neider’s practice today. While in high school Nieder had a formative experience viewing a large-scale exhibition of Lee Bontecou at the Los Angeles County Museum of Art, it had a lasting impact, reinforcing his interest in building outward from the surface of his paintings. This approach aligns with the influence of Robert Rauschenberg, whose integration of materials and commitment to experimentation remains central to Neider’s work. He continues, “The artists Thornton Dial, Lonnie Holley and Ibrahim Mahama, Elizabeth Murray, Sterling Ruby, Amsel Kiefer, Rashid Johnson are meaningful to me in their free and expressive use materials and the raw, powerful integrity of their art.”
Inner Landscapes
Inner Landscapes brings together the work of Beth Barry and Karin Bruckner in a dialogue that explores the emotional and perceptual dimensions of landscape through distinct yet resonant approaches. Installed across the West Gallery, Barry’s luminous acrylic paintings animate the West Wall and extend onto the shared South Wall, while Bruckner’s richly layered monoprints occupy the East Wall and join in conversation on the South Wall. Barry’s compositions, inspired by the Massachusetts coastline and often viewed from a bird’s-eye perspective, distill memories of light, color, and movement into expressions of joy—what she describes as “places of happiness.” In contrast, Bruckner’s process-driven printmaking practice constructs complex, deeply embedded surfaces through a synthesis of techniques, reflecting her architectural background and an intuitive responsiveness to material and method. Together, their works traverse the terrain between observation and abstraction, structure and spontaneity, inviting viewers into immersive inner landscapes shaped as much by feeling as by form.
Beth Barry
Beth Barry’s acrylic paintings respond to the sense of reverence and exhilaration experienced in the presence of nature, translating these impressions into works that move between landscape and abstraction. Drawing on perceptual experiences of movement, light, and scale, first sparked by the mesmerizing view from an airplane window as a teenager, her compositions seek to capture the fleeting, transient moments that shape our understanding of place. Each painting begins with a strong gestural line that evolves into organic forms, while the quick-drying nature of acrylic allows her to build layered shapes that create depth and complexity. Through luminous, buoyant color and a process-driven approach, Barry constructs images that evoke the rhythm and atmosphere of the natural world rather than depict it literally. Operating at the intersection of observation and emotion, her work employs light, hue, and motion to elicit a visceral response, creating what she describes as “places of happiness.”
Beth Barry, born in New Bedford, MA, received a Masters Degree in Social Work from New York University, a Master's Degree in Art Therapy from Pratt Institute and a Bachelor's Degree in Studio Art and Child Development from Connecticut College. She embodies a unique blend of roles as a process-based landscape artist, curator, and psychotherapist. This profound connection to her subjects stems from her early influences, particularly her father, which ignited a passion for creation during her formative years. Transitioning to a full-time painting practice in 2000, she translated her diverse experiences, ranging from worldly travels to encounters with natural disasters, into captivating visual narratives. Barry has exhibited at galleries extensively throughout New York and Massachusetts and has participated in museum shows, including at the Coupelouvous Family Museum, Athens, Greece; the Maritime Museum in Amagansett; and the Masterworks Museum, Bermuda. Her residencies include NY Artists Equity Association Curatorial Residency in 2022.
Karin Bruckner
Printmaking has been a focus in Karin Bruckner’s work for the last two decades. She found the medium a congenial way of creating art given her professional background in architecture. Its unique combination of creative flow and process requires a structured, sequenced way of thinking in layers, shapes and colors not unlike architectural plans. Over the years, constant experimentation has propelled Karin’s unique monoprints from a graphic into a more painterly direction, incorporating paper lithography, etching, collagraph, chine collé and viscosity techniques to achieve thoroughly embedded and complexly layered visual landscapes of considerable depth. Karin’s work is process driven, responding to the materials and techniques at hand, resulting in a widely varied yet distinctive portfolio. At the core of the dialogue between the artist and the work is an attempt to push the medium of printmaking to its limits, straddling the lines between printmaking, drawing, painting and collage. Printmaking carries with it the element of surprise and the inevitability of the “happy accident” which Karin credits for immensely expanding her artistic sensibilities.
Karin Bruckner was born in Switzerland and received her education in Switzerland, Germany and the United States. She holds a Master of Architecture degree from the Technical University in Munich and a Master of Science in Architecture and Building Design from Columbia University in New York, where she has lived since 1988. After working as an architect for Richard Meier & Partners and Philip Johnson Architects in NY she returned to her passion for art. Bruckner’s work has sold worldwide and is in private collections in Europe, South America, Australia, and the United States.
Tree Line
Tree Line, an installation by Joy Nagy in the space On the Wall, is a visual study of trees rendered in graphite on paper. Measuring six feet in height, each work stands at human scale, transforming the wall into a forest of upright forms that evoke a sense of standing amongst a crowd. Each portrait conveys the tenacity, strength, and quiet power of this enduring species while drawing subtle parallels to the human form. Trunks, branches, scars, and textures echo anatomical features, like spines, limbs, and skin, suggesting a relationship between humanity and the natural world. Nagy’s practice is rooted in personal history, lived experience, and an ongoing engagement with nature. Family narratives, memory, and observation shape her approach, allowing each endeavor to emerge from both emotional and material inquiry. Working across drawing, painting, ceramics, installation, audio, and assemblage, Nagy selects her media based on what best serves each project. In Tree Line, graphite becomes both tool and metaphor, capable of expressing delicacy and density, fragility and permanence.
The installation reflects on the role of trees as observers to human life and transformation. As Suzi Gablik writes in Magritte: “Growing from the earth towards the sun, a tree is an image of certain happiness… When we are moving, it is the tree which becomes the spectator… It is witness… to the more or less agitated spectacle of our life… The tree, having become a coffin, disappears into the earth. And when it is transformed into fire, it vanishes into the air.” Joy Nagy’s Tree Line affirms drawing as a powerful, immersive medium and positions the tree not only as a natural object, but as a living archive, bearing witness to personal histories, collective memory, and the fragile balance between humanity and the environment.
Joy Nagy, a native New Yorker, earned an Associate Degree of Applied Science at Fashion Institute of Technology where she majored in Apparel Design and has studied at The New York Studio School with Graham Nickson, The Art Students League in New York City with anatomist Frank Porcu, and the Bottega del Tintoretto in Venice, Italy. She has been shown in in solo exhibitions at The Sheen Center for Thought and Culture, New York City; Goggle Works Center for the Art, Reading Pennsylvania; The Staten Island Museum, New York; Koussevitzky Art Gallery, Massachusetts; Moray Art Centre, Findhorn, Scotland; and curated in group exhibitions in the United States and abroad. Nagy has been awarded artist residencies at Jentel Artist Residency, Banner, Wyoming; Vermont Studio Center, Johnson, Vermont; Heliker-LaHoton Foundation, New York; Lower Manhattan Cultural Council, New York; Governors Island Residency, New York; Saltonstall Foundation, New York; and Ox-Bow, Michigan where she received the Centennial Artist Award. She was recently awarded ‘The President Purchase Prize’ from Huntley College of Agriculture at Cal Poly Pomona. Nagy currently lives and works in Manhattan.
Tree Line is on view until June 23, 2026.
Installation Views
