Click on the You Tube link below to see a short video showcasing Xiaobo's mother-in-law's (Jay's Mom's) paintings!
Go to Hedy O'Beil's website:
www.hedyobeilart.com
www.hedyobeilart.com
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(CC BY SA)
HEDY O’BEIL originates from New York City and has attended art schools and studied with several renowned artists, including Reuben Tam at the Brooklyn Museum of Art School.
O'Beil also owns an extensive exhibition record; over 70 art galleries (20 individual and over 50 group shows) display Hedy O'Beil's work, mostly in New York and Long Island. Hedy has won the Jackson Pollock-Lee Krasner Foundation Award, twice, in a competitive award program with artists from 76 countries around the world. Her work has also been given numerous grants and awards, such as The American Academy of Arts and Letters, Florsheim Art Fund, and the Reger Foundation. The Jackson Pollock-Lee Foundation Award was established to provide financial aid to artists. The American Academy of Arts and Letters's goal is made up of a 250-honor member society; their goal is to foster, assist, and sustain excellence. The Florsheim Art Fund advances and empowers the arts by providing, and their mission is to have people fully recognize the educational, economic, and cultural impact of the arts, creative people, and creative enterprises. The Reger Foundation is a not-for-profit organization that creates opportunities to promote the arts.
Education:
1978 M.A. Goddard College, Montpelier, Vermont
1975 B.S. Empire State College, Saratoga Springs, NY
1964-68 Painting Workshop of Betty Holliday, Sands Point, L .I., NY
1962-64 Brooklyn Museum Art School, NY, Reuben Tam
1959-61 Westbury Art School, NY, Harry Sternberg
1958 Skowhegan School of Art, Maine
1957-59 Art Students League, NY, Ernest Fiene, Harry Sternberg
1949-50 Traphagen School of Art, NYC.
Organizations/Activities:
1976-1985 Art Critic — Arts Magazine
1976-2012 Art Tour Guide and Educator, Art Center of Northern New Jersey
1976-1999 Art History Lecturer, JASA
1976-2012 Art Reviewer for: The Proof, The Westside News, Women in the Arts, The Eastside
Courier, The Walt Whitman Press, Lofty Times, ASCA Newsletter, Westbeth Newsletter.
1964-1975 Painting and Drawing Teacher: The Huntington Township Art League, Private
Workshops, Huntington High School, Adult Education.
Exhibits:
Solo
2012 Carter Burden Gallery, 548 West 28th Street, NYC, November 8 - 29
2012 Gallery 307, 307 7th Avenue, NYC, November
2011 Gallery 307, 307 7th Avenue, NYC, “On Paper,” April 7 – April 28
2007 Westbeth Gallery, 55 Bethune Street, NYC, “A Passion to Paint,” April 14 – May 6
2001 2/20 Gallery, NYC “The New Work”
2000 La Mama Gallery, 6 East First Street, NYC, March 30 – April 16
1992 Elaine Benson Gallery, Bridgehampton, NY
1991 Sunnen Gallery, NYC, May 26 – June 14
1990 Pleiades Gallery, 164 Mercer Street, NYC, January 23 – February 11
1982 Barbara Ingber Gallery, NYC, February 2 - 19
1979 Landmark Gallery, 469 Broome Street, NYC, “Metaphors For the Female,” October
1973 Jacques Seligman Gallery, 5 East 57th Street, NYC, April 7 - 28
1971 Baiter Gallery, 339 New York Avenue, Huntington, L.I., “Six in Zurich,” Nov. 14 – Dec. 4
1971 Guild Hall Gallery, East Hampton, NY (First Award, Long Island Artists)
1971 Heckscher Museum, Huntington, NY, July 25 – September 12
1969 Oswego State College, Oswego, NY
1968 Spectrum Gallery, 1043 Madison Avenue, NYC, November 6 – 23
1967 Fire House Gallery, Nassau Community College, Garden City, NY, March 5 - 26
1965 Nassau Community College, Garden City, NY
1963 Hofstra University, Hempstead, NY (First Award Graphics)
Group:
2014 Carter Burden Gallery, 548 West 28th Street, NYC, November 13 – December 4
2014 Carter Burden Gallery, 548 West 28th Street, NYC, May 29 – June 19th
2014 Westbeth Gallery, 55 Bethune Street, NYC, “Grand Gestures 2,” March 22 – April 6
2012 Gallery 307, “Works on Walls,” June 28 – July 12
2010 Gallery 207 “Works on Walls II”
2009 Andre Zarre Gallery, NYC
2009 Art Expo, Jacob Javits Center, NYC
2009 Broome Street Gallery, NYC, “Grand Gestures in Paint,” October 27 – November 8
2008 Sirens Song Gallery, Greenport, NY, “All About Eve”
2007 Katherina Rich Perlow Gallery, NYC, “Gone Abstract”
2007 Westbeth Gallery, NYC, “Summer Light”
2007 Synagogue for the Arts, 49 White Street, NYC, December 14 – January 21, 2008
2005 The Art League of Long Island, “The Early Years”
2003 Westbeth Gallery, NYC, “Movement in Space”
2003 Studio 18 “Ambient Forays”
2002 Andre Zarre Gallery, NYC
2002 Westbeth Gallery, NYC, “Drawings & Sculpture”
2001 Broome Street Gallery, NYC, “Invitational Show”
2001 Contemporary Artists Guild
1999 Savannah College of Art & Design, Savannah, Georgia
1999 Broome Street Gallery, 498 Broome St, NYC, “The Gesture and the Brush,” Apr. 13 – May 2
1998 Katherina Rich Perlow Gallery, NYC
1998 Chuck Levitan Gallery, NYC, “Painting, Yes!” April 21 – May 3
1997 Broome Street Gallery, 498 Broome Street, NYC, “New Visions,” December 2 - 14
1997 Broadway Mall Community Ctr., Broadway & 96th St, Women in the Arts, Apr 16 – May 4
1997 Lever House, Park Avenue & 53rd Street, NYC, May 28 – June 17
1997 American Society of Contemporary Artists, award winner
1996 Chuck Levitan Gallery, 42 Grand Street, NYC, January 23 – February 10
1996 Katherine Rich Perlow Gallery, NYC
1995 Arelene Bujese Gallery, East Hampton, NY “Object into Subject,” May
1992 Provincetown Artists Assoc. “The League at the Cape” Curator – Rosina Florio
1991 Judy Heller Gallery, Provincetown, Ma
1990 Marymount Manhattan College Gallery, 221 East 71st St., NYC, January 29 – February 24
1986 Philadelphia Museum of Art, Philadelphia, Pa
1986 Museum of Modern Art, NYC, February 13 – March 15
1986 Columbus Museum of Art, Columbus, Oh
1985 Barbara Ingber Gallery, NYC
1983 Ingber Gallery, 460 West Broadway, NYC, February 2 – 19
1982 Soho 20 Gallery, 469 Broome St., NYC, “The Symbolic View,” October 16 – November 10
1981 Cork Gallery, Lincoln Center, International Community Artists, October 8 - 20
1981 Landmark Gallery, 469 Broome Street, NYC, May 16 – June 13
1979 Atlantic Gallery, 458 W. Broadway, January 5 – 24
1971 Hechsher Museum, Huntington, NY, “New Directions,” September
1970 Heckscher Museum, “Long Island Artists” Huntington, NY
1970 Guild Hall, East Hampton, L.I., “Awards Exhibition,” May
1969 Guild Hall, “Long Island Painters,” East Hampton, NY, April 12 – May 3
1968 Sarbre Gallery, 304 New York Avenue, Huntington, NY, May 26 – June 26
1968 Performing Arts Foundation Gallery, 185 Second St, Huntington, NY, “Women in Art,” May
1967 Panoras Gallery, 62 West 56th Street, NYC, October 10 – 21
1967 Spectrum Gallery, 54 West 57th Street, NYC, September 26 – October 14
1965 Ethical Culture Society, April 1 - 29
1963 Hofstra University, Long Island, “Graphics”, first award
Awards & Honors:
2014 Pollack-Krasner Foundation Grant Award
2009 Bernard Kassoy Memorial Award, the American Society of Contemporary Artists (ASCA)
2009 Pollock-Krasner Foundation Grant Award
2008 American Institute of Arts & Letters
2007 Reger Foundation
2004 The Library of Congress, Prints
1999 Richard Florsheim Art Fund
1997 ASCA Annual Award for Painting
1992 Bob Blackburn, Printmaking Workshop Scholarship
1988 Warren Tanner Grant Finalist, O.I.A.
1984 Yaddo Fellowship, Saratoga Springs, NY
1978 Cummington Community of the Arts, Northampton, Ma.
1971 Guild Hall, First Award Long Island Artists
1969 Guild Hall
1969 Hechsher Museum
1963 Hofstra College First Award Graphics, Dept. of Fine Arts, 14th Annual Long Island
Artists’ Competition, “Oil”
1962 Hofstra College, Department of Fine Arts, Whitman Gallery Award Winner
1961 North Shore Community Artists
Collections:
Library of Congress, Washington, DC
Birmingham College, Birmingham, Alabama
Butler Institute of American Art (print)
Savannah College of Art & Design, Savannah , Georgia
Asset Strategies, NYC
Bob Blackburn Printmaking Workshop, NYC
Gerry Gersten, Illustrator, NYC
Regina Stewart, NY Artists Equity, NYC
Press:
2015 Renee Phillips, “Carter Burden Gallery Empowers Re-Emerging Mature Artists, Art News
2013 Carter Burden Gallery Presents: “18 Artists,” The Villager, March 20
2011 Maureen Mullarkey, “Hedy O’Beil at Gallery 307,” Studio Matters, April 25
2009 American Society of Contemporary Artists magazine, 95th Anniversary book of artists
chosen by their peers, “Hedy O’Beil,” p. 53
2007 Ed McCormack, Gallery & Studio “A Passion to Paint - at Westbeth Gallery,” April, p. 9
2007 J. Sanders Eaton, “Creativity: The Artists’ Journey,” Gallery & Studio, Nov. 2006, p. 12
2005 Ed McCormack, Gallery & Studio “Gestural Abstraction”
2004 Gary Shapiro, The New York Sun
2003 Hedy O’Beil, “Helen Levin,” Art News
2001 Hedy O’Beil, “Chelsea – The New Art Scene,” New York Art World, Fall
2001-1985 Who’s Who in American Art
1995 Sheridan Sansegundo, East Hampton Star, “At The Galleries,” April 27
1992 Diana Roberts Manhattan Arts Magazine
1990 Diana Roberts, “Hedy O’Beil,” Manhattan Arts, January, p. 18
1990 E.C. Lipton, “The consisteny strain in art today,” Artspeak, February 1, p. 11
1988 S.K. Flint, “Best of the West Side at Open Studios & Group Exhibits,” Artspeak, Oct.
16, p. 9
1985 Palmer Burno Poroner, Artspeak “Hedy O’Beil”
1982 Elaine Wechsler, Arts Magazine “Hedy O’Beil”
1981 “Scale in the Antique and the Contemporary,” Artspeak, October
1979 Elwood Glaser: Recent Work
1979 William Zimmer, Soho Weekly News, “Hedy O’Beil at the Landmark Gallery”
1979 Robbie Ehrlich, “Hedy O’Beil,” Arts
1978 Carla Sanders, “Hedy O. Beil,” Woman Art, Spring, pp. 39-40
1977 Margaret Pomfret, Arts Magazine
1975 “Artists leaving the suburbs,” New York Times, January 26
1973 “Ms. Liebowitz Paintings at Hecksher,” The Long Islander, p. 3
1973 Sylvia Tennenbaum Arts Magazine
1972 Amei Wallach, The Arts: “On Long Island, a smorgasbord,” Newsday, Oct. 1, Part II, p.
23
1972 Malcolm Preston, Newsday
1972 Clare Nicholas White, “Women reign,” The Long Island Catholic, May 18, p. 5
1972 Clare Nicholas White, “Letting artist speak of himself,” Long Island Catholic, Apr. 13,
p. 13
1972 The New York Times “Artists in the Suburbs”
1971 “Artists display art work at museum,” Long Islander
1971 The Long Islander, “Huntington goes to Switzerland,” June 3
1970 Jeanne Paris, Individuality Keynote at Guild Hall, The Long Island Press, May 10, p. 35
1968 Malcolm Preston, “Equally creative women,” Newsday, May
1968 “Lier has meaning,” Long Island Press, November 17
1967 New York Times, “Henrietta Jerome at the Panoras Gallery, October 10-21”
1967 “Mrs. Liebowitz likes herself best as model for her own art,” Long Islander, March 2
1967 Jane Margold, Newsday, March 9
1967 Jeanne Paris, Long Island Press, “Five Canvases,” March 5
1965 Malcolm Preston, Newsday
1965 Jane Margold, Newsday, “O’Beil – She Really Gets into Her Work”
1965 “All American Art,” Pictorial Living, October 31, pp. 10-11
1959 Justin Douglas, “All-American art: A gallery spotlights the work of newcomers,” Journal AMERICN
Sources:
1.) https://jayliebowitz2.wixsite.com/artbyhedyobeil
Hedy O'Beil's web-site
2.) https://www.pkf-imagecollection.org/artist/Hedy_O'Beil/works/
3.) https://pkf.org/press_releases/pollock-krasner-foundation-inc-announces-116-grants-totaling-2163000-visual-artists-internationally-fiscal-year-2013-2014/
Hedy O'Beil is one of 116 winners worldwide of the Pollack-Krasner Foundation Award for 2013-2014
4.) https://www.legacy.com/obituaries/nytimes/obituary.aspx?pid=183594668
Hedy O'Beil's brother, Gerry Gersten's, obituary. He is a very famous illustrator artist.
5.) https://westbeth.org/wordpress/wp-content/uploads/2011/02/Hedy-OBeil-Bio-Resume.pdf
Hedy O'Beil's resume
6.) https://en.wikipedia.org/wiki/Gerry_Gersten
Hedy O'Beil's brother, Gerry Gersten's, Wikipedia page. He is a very famous illustrator artist.
7.) https://www.artist-info.com/users/publicpagenonprofit/18706
8.) http://www.helenlevin.com/reviews.html
Art review of Helen Levin by Hedy O'Beil
Artist - Art Critic (formerly for ART NEWS):
"Whether on canvas or paper, process and intuition are at the heart of the abstract acrylic paintings by Helen Levin. To stay in the moment, to be willing to change and risk what is happening in the space, all the while keeping the whole in balance is an impressive feat. Levin accomplishes this with intelligence and knowledge of what pure painting is all about." (1999 - 2003) New York City
9.) http://www.nyartbeat.com/event/2012/0CE4
Art review of Hedy O'Beil's work:
The paintings on paper, “The Black Night Series,” created in the gray days of this past winter, are in black ink and color oil sticks. These densely black abstract paintings, however, are more than just dark drama. O’Beil’s interest in capturing the moment or act of creating is revealed in these spontaneous gestural quality of the work, replete with overlaying spontaneous strokes and marks.
The artist, inspired by de Kooning, Gorky, and ancient Chinese calligraphers’ use of brushstrokes, creates canvases full of color, emotion and movement. In the large canvas Moonglow, a burst of white brushstrokes evoke a huge sphere, or cloud merging from a mauve and green sky, similar to performer on a stage; while a thin curvy line dances across the bottom of the canvas. This movement carries through O’Beil’s other works on canvas, further extending the invitation to the viewer to engage in the performance.
10.) https://www.gvsunnen.com/sunnen-gallery.html
The Sunnen Gallery, formally located at 49 Prince Street in the Soho district of Manhattan, opened its doors in 1990. At that time, artistic effervescence engulfed this lively section of New York. The gallery hosted a large number of highly innovative artists, many of whom went on to blossom into full professional careers.
11.) https://westbeth.org/wordpress/westbeth-gallery-grand-gestures-2-mar-22-april-6/
Review of Hedy O'Beil's work:
Within the challenge of creating a painting, or solving the problem of — “What do I do now?” Hedy O’Beil appears to be settling in. Her current work is wonderfully peaceful where rectangular shapes quietly take their place in a serene space. Gently, pink, blue and yellow float along as if to say, “Why rush?”
12.) http://calendar.artcat.com/exhibits/17579
13.) https://www.moma.org/artists/72606
Hedy O'Beil's painting is included in the collection of the Museum of Modern Art in NYC.
14.) https://pkf.org/press_releases/pollock-krasner-foundation-inc-announces-116-grants-totaling-2163000-visual-artists-internationally-fiscal-year-2013-2014/
15.) https://www.healing-power-of-art.org/carter-burden-gallery-empowers-re-emerging-artists/
Review of Hedy O'Beil's work:
Hedy O’Beil is an extraordinary artist who has exhibited at Carter Burden Gallery. She is a native New Yorker and has attained an impressive history of awards and one-person and group exhibitions in the city. She recently exhibited in “Creative Epiphanies”, a group exhibition at Westbeth Gallery. I am proud to say that O’Beil was also a contributing arts writer for Manhattan Arts International magazine in the 1990’s.
16.) https://www.thevillager.com/2013/03/carter-burden-gallery-presents-18-artists/
17.) https://www.newyorkartworld.com/commentary/Chelsea-TheNewArtScene.html
18.) https://fusioneastwest.wordpress.com/
Magazine article written by Hedy O'Beil:
"Chelsea began quietly, over six years ago or more, not much press, with small galleries beginning on Twenty-Second Street off Tenth Avenue. Other galleries followed, galleries with more money, which found larger spaces on Twenty-Fourth Street. It took a few years to develop, but when the building at 529 West 20th Street opened with every floor in the place filled with galleries, usually four on a floor, then the neighborhood really took off.
The buildings in Chelsea were waiting for something to happen anyway, like a lost, abandoned soul waiting or a lover. Previously, printing companies, bookbinding companies and storage lofts filled their spaces, but as time went on, the buildings lost their value, prices were low, ceilings were high, spaces big – just ripe for an art scene to take hold.
An important boost to Chelsea was the recent arrival of Gagosian Gallery on Twenty-fourth Street, near Eleventh Avenue. Next to Gagosian’s mammoth space is the Mary Boone Gallery. Also down the street is Metro Pictures and Barbara Gladstone Gallery.
Only in the huge space of Gagosian Gallery could Damien Hurst exhibit large vitrines that held gallons of water with live fish, combined with a turn of the century gynecologist’s examining table. Greeting you, in the center of the first gallery, was a gargantuan painted bronze male figure, the outer layer of skin peeled away to reveal the internal organs of the body."
by Hedy O’Beil
19.) https://portfolio.du.edu/Exhibitions/item/254112
20.) https://en.everybodywiki.com/Hedy_O%27Beil
Hedy O'Beil's temporary Wikipedia page:
Hedy O'Beil[1] (born Henrietta Gersten) is an American modern abstract expressionist (and early modernist geometric abstract[2]) artist painter. Hedy won the Jackson Pollock-Lee Krasner Foundation Award[3] [4], twice, in a competitive award program including artists from 76 countries around the world. She has been painting since the age of 5 with her brother, Gerry Gersten,[5] who was a famous American caricaturist illustrator cartoonist, who had drawn for the New York Times & Mad（humor）magazine. She has been painting for 85 years. She has shown her work in over 70 art gallery shows (20 individual and over 50 group shows) mostly in New York City and Long Island, during her career. [6] She has been a member of the American Society of Contemporary Artists (ASCA) for many years. In addition to painting all her life, she was an art museum and art gallery tour guide in New York City, educating countless groups of art-minded people about art. She also was an art reviewer for several art magazines.
Hedy O'Beil was born as Henrietta Gersten on October 20, 1928 in New York City. Her mother, Viola Cymberg, was from Sosnnavichi, Poland. Her mother died when Henrietta was 15 years old. Henrietta was brought up by her mother's sister-in-law，Evelyn and her Uncle, David. Henrietta's father was Leo Gersten, a barber who owned a barber shop in the Bronx, New York. Her father was from Barinov, Austria/Poland. Henrietta's older brother, Gerry Gersten [7], was a famous illustrator/caricaturist. She married Jerome Liebowitz on August 9, 1950. Henrietta and Jerome had two sons: Seth Jay Liebowitz (born January 13, 1953) and Josh Ethan Liebowitz (born September 12, 1959).
21.) http://studiomatters.com/hedy-obeil-at-gallery-307
Review of Hedy O'Beil's work:
It is always interesting to view the work of art critics. Most often, the soul of their criticism—its preferences and loyalties—is encapsulated in their own art. Hedy O’Beil has been a guide to the art world for close to 40 years. She contributed to Arts magazine in its heyday, from 1976 to 1985 when it was under the editorship of Hilton Kramer and, later, Richard Martin. She has lectured, taught and written on art and artists in various venues in the quarter century since. All the while, she has maintained an impressive exhibition schedule in and around New York City.
At the beginning of her career, she gave herself over to the fluid, robust moves of gestural abstraction. Tacked to the walls of Gallery 307 is a series of works on paper, many in monochrome, produced in the last five years. They could have been painted at any time since critic Harold Rosenberg coined the phrase “action painting” in the late 1950s. She never strayed from her initial attachment. to the reigning fashion of the day. It was an etiquette of improvisation and vagrant mark-making that, at the time, carried the frisson of a challenge to established norms of painting. By now, the vocabulary of gestural abstraction—its dribbles, splashes, blotches and drips—represents a vintage formalism that abandoned its germinal attitude of dissent quite some time ago. This is a very conventional exhibition.
Emulating de Kooning in the 1940s, O’Beil dispenses with color in roughly half the work on show. The discontinuities of accidental mark-making dominate the monochrome pieces. The most effective paintings here are the ones that, like “Eternal Sky” or “Orange Storm Coming,” frolic with color. Clear blues, pinks, orange and yellow bob and weave in concert, lending coherence to a surface of quick, unpredictable strokes. Where O’Beil keeps her line delicate, it tends toward calligraphy and aspires to drawing. Heavier lines, made with oil stick or a broader brush, acquiesce in the self-dramatizing, random display we have come to think of as painterliness.
Some years ago, in one of her reviews, she quoted abstract painter George McNeil, who died at the age of 87 in 1995: “There are three basic periods in a painter’s life. First studying and learning up to age thirty-five. Then consolidating until you’re fifty-five. Mature work follows to sixty-five. But, there’s a fourth period, where you don’t give a damn!” On the evidence of this show, O’Beil herself has entered the fourth period. She does not give a damn that fashion moved on.
Gallery 307 is a project of the Carter Burden Center for the Aging. In its own words, the gallery is: ". . . designed to give an artistic voice to older artists and provide a jumping off point for an entire population of under appreciated and under exhibited visual artists. Our goal is to change the way the general public views art by allowing people to discover the wonder of works that they would not otherwise have a chance to find. . . . Gallery 307 is discovering new, older artists and giving a voice and a wall back to professional artists."
Is it just me, or does this strike you as wonderfully patronizing? The “wonder of works” hitherto unknown? If the good people at the Carter Burden Center really believe this, they might have given the elderly a more attractive exhibition space. It is housed in a down-at-the-heels commercial building catycorner to Fashion Institute of Technology, more in what is left of the garment district than “the vibrant Chelsea gallery scene” it lays claim to. The modestly sized exhibition space has that untended, rather rickety look abandoned by even old-line alternative spaces like The Painting Center. The first thing you see when you enter is a bright orange portable wall that separates the viewing area from a small, cluttered studio space.
Very bright orange! That, too, condescends to the artists who have to hang their work on it. It signals that “you-are-only-as-old-as-you-feel” swindle. Pure fakery and demeaning to boot. Between works on paper push-pinned to the walls and the raucous color of the most prominent wall, the setting lets us all know that older, less successful artists should be grateful for what they can get. Ms. O’Beil’s grant from the Pollock-Krasner Foundation could have been better spent.
22.) https://www.1stdibs.com/furniture/wall-decorations/paintings/early-modernist-geometric-abstract-painting-ny-artist-hedy-obeil/id-f_5171563/
Hedy O'Beil
Artist - Art Critic (formerly for ART NEWS):"Whether on canvas or paper, process and intuition are at the heart of the abstract acrylic paintings by Helen Levin. To stay in the moment, to be willing to change and risk what is happening in the space, all the while keeping the whole in balance is an impressive feat. Levin accomplishes this with intelligence and knowledge of what pure painting is all about." (1999 - 2003) New York CityHedy O'Beil
Artist - Art Critic (formerly for ART NEWS):"Whether on canvas or paper, process and intuition are at the heart of the abstract acrylic paintings by Helen Levin. To stay in the moment, to be willing to change and risk what is happening in the space, all the while keeping the whole in balance is an impressive feat. Levin accomplishes this with intelligence and knowledge of what pure painting is all about." (1999 - 2003) New York City
23.) http://www.carterburdengallery.org/hedy-obeil
From Hedy O'Beil's art show at the Carter Burden Gallery in NYC in 2014
Hedy O’Beil, a New York City native, attended art schools and studied with several renowned artists, including with Reuben Tam at the Brooklyn Museum of Art School. She later received her BS from Empire State College and an MA from Goddard College in Vermont.
O’Beil’s paintings can best be described as gestural abstraction, and are unique in the use of her signature palette that makes adroit use of rich pinks, blues, and yellows layered in perfect harmony with ethereal grays and translucent whites. Her work is a study in the tension between control and unbridled exuberance, as if watching an improvised jazz masterpiece unfold before your eyes. In addition to her painting, O’Beil has been an active contributor to the New York City area art scene, giving lectures, art tours and writing reviews for several publications.
She has an extensive exhibition record, and her work is held in several collections, including the Library of Congress. O’Beil’s work has been recognized with many awards and honors, and has been the recipient of numerous grants and awards, including a Pollock-Krasner Foundation grant, The American Academy of Arts and LetterLetters, Florsheim Art Fund, and the Reger Foundation.
From Hedy O'Beil's art show at the Carter Burden Gallery in NYC in 2014
Hedy O’Beil, a New York City native, attended art schools and studied with several renowned artists, including with Reuben Tam at the Brooklyn Museum of Art School. She later received her BS from Empire State College and an MA from Goddard College in Vermont.
O’Beil’s paintings can best be described as gestural abstraction, and are unique in the use of her signature palette that makes adroit use of rich pinks, blues, and yellows layered in perfect harmony with ethereal grays and translucent whites. Her work is a study in the tension between control and unbridled exuberance, as if watching an improvised jazz masterpiece unfold before your eyes. In addition to her painting, O’Beil has been an active contributor to the New York City area art scene, giving lectures, art tours and writing reviews for several publications.
She has an extensive exhibition record, and her work is held in several collections, including the Library of Congress. O’Beil’s work has been recognized with many awards and honors, and has been the recipient of numerous grants and awards, including a Pollock-Krasner Foundation grant, The American Academy of Arts and LetterLetters, Florsheim Art Fund, and the Reger Foundation.
24.) https://westbeth.org/wordpress/artist-page/hedy-obeil-painter/
From Hedy O'Beil's art show at the Westbeth Gallery in NYC
From Hedy O'Beil's art show at the Westbeth Gallery in NYC
25.) https://www.artslant.com/ny/artists/show/114251-hedy-obeil?tab=EXHIBITS
From Hedy O'Beil's art shows in NYC
From Hedy O'Beil's art shows in NYC
26.) http://www.carterburdengallery.org/november-8-292012
From Hedy O'Bel's art shows at the Carter Burden Gallery in NYC in 2012
From Hedy O'Bel's art shows at the Carter Burden Gallery in NYC in 2012
27.) http://www.nyartbeat.com/event/2014/6C61
From Hedy O'Beil's art show at the Carter Burden Gallery in 2014 in NYC
Hedy O’Beil’s show will feature some of her most recent paintings. Her gestural abstraction and unique signature palette that makes adroit use of rich pinks, blues, and yellows layered in perfect harmony with ethereal grays and translucent whites, seamlessly integrate movement and energy with soothing color and layering. Her work is a study in the tension between control and unbridled exuberance, as if watching an improvised jazz masterpiece unfold before your eyes.
From Hedy O'Beil's art show at the Carter Burden Gallery in 2014 in NYC
Hedy O’Beil’s show will feature some of her most recent paintings. Her gestural abstraction and unique signature palette that makes adroit use of rich pinks, blues, and yellows layered in perfect harmony with ethereal grays and translucent whites, seamlessly integrate movement and energy with soothing color and layering. Her work is a study in the tension between control and unbridled exuberance, as if watching an improvised jazz masterpiece unfold before your eyes.
28.) https://www.pkf-imagecollection.org/artist/Hedy_O'Beil/works/8408
From the Pollack-Krasner Foundation
From the Pollack-Krasner Foundation
