The late Bay Area creator Bernice Bing was 25 when she showcased her initial solo exhibit at San Francisco’s daring yet brief Batman Gallery in 1961. Her abstract artworks received acclaim; San Francisco Chronicle reviewer Alfred Frankenstein remarked that Bing possessed a “remarkable talent for fluid line,” among other accolades. Quite impressive for a fresh MFA graduate. “People were a bit caught off guard by my work because I hadn’t drawn much attention at school,” Bing reflected once. “So, when I hosted that exhibit, individuals were rather astonished by it. I enjoyed that; I love surprises!”
Sixty-three years afterward, Bing is featured in another remarkable debut: her first solo exhibition in New York. “Bernice Bing: BINGO,” displayed at Berry Campbell gallery until October 12, showcases over 30 pieces ranging from 1961 to 1998, the year Bing succumbed to cancer at 62. It’s a long-awaited recognition for an artist whose intense paintings stand alongside the other luminaries of mid-century American art.
Throughout her life, Bing faced numerous obstacles: She was lesbian, Chinese American, orphaned, abused, and a woman. Moreover, she was an Abstract Expressionist residing approximately 2,500 miles from that movement’s core. Yet, she persevered, delving into art history, the vibrant California environment, and her own intricate history within her powerful artworks.
Although she was well-recognized within Bay Area art circles, broader recognition of her pieces was scarce—as was common for many non-white, non-male creators of that period. “She was a phenomenal artist who remained concealed because people were reluctant to engage with her,” commented Martha Campbell, who, along with Christine Berry, established Berry Campbell in 2013.