#a.i.r. gallery

[garadinervi]

Kazuko Miyamoto standing by 'String around a cylinder of my height', 1977, installation view at A.I.R. Gallery, New York, NY, 1977 [museo Madre, Napoli. Courtesy of the artist; Exile Gallery, Wien; Take Ninagawa, Tokyo. © Kazuko Miyamoto]

Details: string construction: string, nails, wooden plywood, light yellow paint; archival photograph (silver gelatin print)

Exhibition: Kazuko Miyamoto, Curated by Eva Fabbris, museo Madre, Napoli, July 6 – October 9, 2023

#art #sculpture #structure #geometry #photography #exhibition #kazuko miyamoto #a.i.r. gallery #eva fabbris #museo madre #exile gallery #take ninagawa #1970s #2020s

[basicallyanotherwitchesthing]

Mary Beth Edelson (intro by Lucy R. Lippard) - Seven Cycles: Public Rituals - self-published - 1980

#witches #cyclers #occult #vintage #seven cycles #public rituals #7 cycles #mary beth edelson #lucy r. lippard #a.i.r. gallery #artists in residence #artists in residence inc #1980

[longlistshort]

It's the last weekend to see Bonam Kim's GOOD JOB WELL DONE, at A.I.R. Gallery in Brooklyn. The collection of sculptures are each based on events in Kim's life and are incredible creations.

From the press release-

Kim grew up with her brother’s architectural models and drawings scattered around their house. Captivated by the relationship between model and actual space, she gained an acute sense of her spatial surroundings. This sensibility, combined with her love of making things with her hands, led her to constructing miniatures of her world. These objects invite us to navigate not only the spaces she has occupied physically, but also the psychological space of her experiences and memories. By manipulating scale and taking a bird’s-eye view perspective, Kim reclaims power over the past and present. Works like Between Dream and Dark and Can’t Stand Up For Falling Down playfully explore the frustrations of cross-cultural exchange, while Untitled (April 2, 2020) and Untitled (203 Harrison Pl) evince feelings of isolation and accumulation during the pandemic era.

In Untitled (Classroom), Kim recreates a typical classroom from memory. Within it she presents us with some of the artifacts of the post-war South Korean educational system: politely folded hands are given a “stamp of approval” on the blackboard, commended for their conformity. Kim continues this examination of the way architectural spaces regulate human behavior in Untitled (401 Suydam Street), a model of the artist’s bedroom. She restages an event in which her apartment’s ceiling had become infested by pigeons, eroding her sense of personal space and producing an uneasy awareness of surveillance—of being observed at her most intimate by an other.

Untitled (1990-2005) contends with a traumatizing childhood experience where Kim suffered a severe hand burn which led her to have multiple surgeries over an extended period of time. These memories led her to grow averse to going into spaces that brought forth memories of the hospital’s formal qualities, such as hair salons. With the piece she distills the relation between time, space, and memory, turning a wall clock into an operating room and hair salon. This sense of spatial unease is echoed in the piece Untitled (Mexico City-Seoul), which models the circumstances of renewing her visa in the middle of the 2020 pandemic. Having to ping-pong between Mexico and Seoul without knowing when she would be able to return to the United States made her reflect on the arbitrariness of the system, which is mirrored in the piece by an embassy office held within a lottery box, pointing to a bureaucratic opacity that leaves the user in a sort of Kafkaesque limbo.

This exhibition closes 3/12/23.

#bonam kim #a.i.r. gallery #brooklyn art shows #nyc art shows #sculpture #models #art #brooklyn art gallery #dumbo art gallery #dumbo brooklyn #mixed media

[emma-dennehy-presents]

Celebrating Black Queer Icons:

Tourmaline

Tourmaline (formerly known/credited as Reian Gossett)is a trans woman that actively identifies as queer, and is best known for her work in trans activism and economic justice. Tourmaline was born July 20, 1983, in the Commonwealth of Massachusetts. Tourmaline's mother was a feminist and union organizer, her father a self defense instructor and anti-imprisonment advocate. Growing up in this atmosphere allowed Tourmaline to explore her identity and encouraged her to fight in what she believes in. Tourmaline has earned a BA in Comparative Ethnic Studies, from Colombia University. During her time at Colombia U, Tourmaline taught creative writing courses to inmates at Riker's Island Correctional Institute, through a school program known as Island Academy. Tourmaline has worked with many groups and organizations in her pursuit of justice. She served as the Membership Coordinator for Queers For Economic Justice, Director of Membership at the Sylvia Rivera Law Project, and as a Featured Speaker for GLAAD. Tourmaline also works as a historian and archivist for drag queens and trans people associated with the 1969 Stonewall Inn Uprising. She started doing this after noticing how little trans material was being archived, saying that what little did get archived was done so accidentally. In 2010 Tourmaline began her work in film by gathering oral histories from queer New Yorkers for Kagendo Murungi's Taking Freedom Home. In 2016 Tourmaline directed her first film The Personal Things, which featured trans elder Miss Major Griffin-Gracy. For the film Tourmaline was awarded the 2017 Queer Art Prize. Tourmaline served as the Assistant Director to Dee Rees on the Golden Globe nominated historical drama, Mudbound. Tourmaline has co produced two projects with fellow filmmaker and activist Sasha Wortzel. The first was STAR People Are Beautiful, about the work of Sylvia Rivera and Street Transvestite Action Revolutionaries. The second was Happy Birthday, Marsha, about Marsha P Johnson. Happy Birthday, Marsha had all trans roles played by trans actors. Tourmaline's work is featured or archived in several major museums and galleries. In 2017 her work was featured in New Museum's exhibit Trigger: Gender as a Tool and a Weapon. In 2020 the Museum of Modern Art acquired Tourmaline's 2019 film Salacia, a project about Mary Jones. In 2021 the Metropolitan Museum of Art acquired two of Tourmaline's works for display in Before Yesterday We Could Fly: An Afrofuturist Period Room. Tourmaline is also the sibling of:

Che Gossett

Che Gossett is a nonbinary, trans femme writer and archivist. Gossett specializes in queer/trans studies, aesthetic theory, abolitionist thought and black study. Gossett received a Doctorate in Women's and Gender Studies, from Rutgers University, in 2021. They have also received a BA in African American Studies from Morehouse college, a MAT in Social Studios from Brown University, and a MA in History from the University of Pennsylvania. Gossett has held a fellowship at Yale, and currently holds fellowships at Harvard, Oxford, and Cambridge. Gossett's writing has been published in a number of anthologies and they have lectured and performed at several museums and galleries of note, including the Museum of Modern Art and A.I.R. Gallery. Gossett is currently working on finishing a political biography of queer Japanese-American AIDS activist Kiyoshi Kuromiya.

I originally intended to do separate profiles for Che Gossett Tourmaline, but could not find sufficient information about Che Gossett, beyond their credentials and current academic activity. That means that this will be the last of these write ups for a bit. I plan on picking it back up in October for the US's LGBT History Month and UK's Black History month. With time to plan ahead and research more I hope to diversify my list geographically and improve formatting. I plan on starting to include cis icons as well, like Rustin Bayard. If you come across this or any other of these posts Ive made this month I would love feedback and suggestions for figures you would like to see covered.

#celebrating black queer icons #black history #black history month #black history is queer history #black history is american history #queer history #tourmaline #che gossett #trans film #trans history #stonewall inn #stonewall uprising #stonewall riots #queer #lgbtq #trans #transgender #nonbinary

[abwwia]

Harmony Hammond

Lesbian Art in America: A Contemporary History

The first definitive history of lesbian art in the United States presents a collection of artwork, created since 1970 within the context of gay culture and political activism, along with critical analyses of the movement and profiles of thirty prominent lesbian artists, including Kate Mill, Joan Snyder, Deborah Kass, and Catherine Opie.

Website : Harmony Hammond is an artist, art writer and independent curator. A leading figure in the development of the feminist art movement in New York in the early 1970s, she was a co-founder of A.I.R., the first women’s cooperative art gallery in New York (1972) and Heresies: A Feminist Publication on Art & Politics (1976). Since 1984, Hammond has lived and worked in northern New Mexico, teaching at the University of Arizona, Tucson from 1989–2006. Hammond’s earliest feminist work combined gender politics with post-minimal concerns of materials and process, frequently occupying a space between painting and sculpture – a focus that continues to this day.

#Harmony Hammond #art by women #lesbian art #herstory #kate millett #Catherine Opie

[noosphe-re]

Kazuko Miyamoto: Kazuko Miyamoto inside Black Poppy, 1978. Installation view. A.I.R Gallery, New York  https://exilegallery.org/artists/kazuko-miyamoto/

#art #installation #Kazuko Miyamoto

[thoughtportal]

The purge of material, including works on paper, was organized by her son, Nick Edelson. Some who came to take items criticized the disposal.

Edelson rose to prominence in the 1970s as one of the early voices in the feminist art movement. She is most known for her collaged works, which reimagine famed tableaux to narrate women’s history. For instance, her piece Some Living American Women Artists (1972) appropriates Leonardo da Vinci’s The Last Supper (1494–98) to include the faces of Faith Ringgold, Agnes Martin, Yoko Ono, and Alice Neel, and others as the apostles; Georgia O’Keeffe’s face covers that of Jesus.

Dealer Jordan Barse, who runs Theta Gallery, biked by and took a poster from Edelson’s 1977 show at A.I.R. gallery, “Memorials to the 9,000,000 Women Burned as Witches in the Christian Era.” Artist Keely Angel picked up handwritten notes, and said, “They smell like mouse poop. I’m glad someone got these before they did,” gesturing to the men pushing papers into trash bags.

A neighbor told one person who picked up some cut-out pieces, “Those could be worth a fortune. Don’t put it on eBay! Look into her work, and you’ll be into it.” {read}

#article #art #art history #women in art #women in art history #artists #art net #Mary Beth Edelson

[skowhegan]

Amy Ritter (A '16)

Welcome to Li’l Wolf A.I.R. Gallery 155 Plymouth street, Brooklyn, NY March 18–April 16, 2023

[lboogie1906]

Howardena Pindell (born April 4, 1943) is a painter and mixed media artist. Her work explores texture, color, structures, and the process of making art; it is often political, addressing the intersecting issues of racism, feminism, violence, slavery, and exploitation. She is known for the wide variety of techniques and materials used in her artwork; she has created abstract paintings, collages, “video drawings,” and “process art.”

She demonstrated promise in figurative art classes at the Philadelphia College of Art, the Fleisher Art Memorial, and the Tyler School of Art. She received her BFA from Boston University and her MFA from Yale University. She holds honorary doctorates from the Massachusetts College of Art and Design and Parsons The New School for Design.

She co-founded the A.I.R. Gallery, which was the first artist-directed gallery for women artists in the US. There were twenty artist cofounders. She suggested naming the gallery the “Eyre Gallery” after the novel Jane Eyre by Charlotte Brontë. The artists decided to name the gallery “A.I.R. Gallery” instead, which stands for “Artists in Residence.” The gallery allowed women artists to curate their exhibitions, allowing them the freedom to take risks with their work in ways that commercial galleries would not. #africanhistory365 #africanexcellence

[polishwomenartists-sztukakobiet]

Anna Orbaczewska, 'Pieta', 2022

COURTESY A.I.R. GALLERY, NEW YORK

#Anna Orbaczewska #sztuka kobiet #polish art #polish women artists #art #malarka

[garadinervi]

Mary Beth Edelson, Death of Patriarchy / A.I.R. Anatomy Lesson, (cut-and-pasted gelatin silver prints with crayon and transfer type on printed paper with typewriting on cut-and-taped paper), 1976 [MoMA, New York, NY. © Mary Beth Edelson]

#art #collage #photography #mary beth edelson #a.i.r. gallery #moma #the museum of modern art #1970s

[whatsonmedia]

Unveiling the Canvas: A Global Art Odyssey in Late 2023

Dive into the world of art with David Hockney's vivid sketches at the National Portrait Gallery, Los Angeles' Rosemary Mayer retrospective, Tokyo's dynamic Art Week 2023, and Francis Alÿs's diverse body of work at the Museum Ludwig in Cologne. Join us on a visual journey, exploring the captivating exhibitions that define the late 2023 art scene. David Hockney: Drawing from Life” and “Taylor Wessing Photo Portrait Prize 2023 When: 2 Nov 2023 – 21 Jan 2024 (Hockney) | Where: National Portrait Gallery Experience the resurgence of David Hockney’s exceptional exhibition, “Drawing from Life,” alongside the annual Taylor Wessing Photo Portrait Prize. From simple sketches to large-scale paintings, Hockney captures the personalities of his subjects. The National Portrait Gallery offers a captivating blend of Hockney’s artistry and contemporary portrait photography. For more information: https://www.npg.org.uk Rosemary Mayer: Noon Has No Shadows When: 12 Nov – 23 Dec Where: Hannah Hoffman and Marc Selwyn, Los Angeles Rosemary Mayer’s inaugural Los Angeles exhibition, “Noon Has No Shadows,” spans two galleries in the city. Selwyn features works from the late ’70s and early ’80s, while Hoffman presents a non-linear display of pieces created between the ’70s and ’90s. Mayer, a pivotal figure in conceptual, fiber, and feminist art, transitioned from conceptual engagement to sculptural practices exploring draping and material manipulation. A founding member of New York’s A.I.R. feminist collective, Mayer’s posthumous recognition includes major exhibitions and a book of correspondence with poet Bernadette Mayer, reflecting their feminist, humorous, and politically thoughtful approach. Art Week Tokyo 2023 When: 2 – 5 Nov Where: Okura Shukokan Museum of Fine Arts, and more. Immerse yourself in Tokyo’s vibrant contemporary art scene at Art Week Tokyo 2023. From November 2 to 5, this event, curated by Japan Contemporary Art Platform with Art Basel, links 50 art spaces through a free shuttle bus. Don’t miss the “AWT BAR” for artist-inspired cocktails and dishes by emerging chefs. Beyond exhibits, enjoy children’s tours, educational sessions, symposiums, and online talks with global curators. The diverse venues, including Okura Shukokan Museum of Fine Arts, promise an unforgettable art experience. ‘2023 Wolfgang Hahn Prize: Francis Alÿs’ When: Nov. 18, 2023—Apr. 7, 2024 Where: Museum Ludwig, Heinrich-Böll-Platz, 50667 Köln, Germany Join us for the opening reception and award ceremony on Friday, Nov. 17, at 6:30 pm, as we honor the remarkable artist Francis Alÿs with the 2023 Wolfgang Hahn Prize. His diverse body of work, spanning painting, drawing, installations, video, photography, and performances, will be showcased in the exhibition curated by Yilmaz Dziewior. From Nov. 18, 2023, to Apr. 7, 2024, explore Alÿs’s artistry at Museum Ludwig in Cologne, Germany, as he examines complex social realities through simple artistic gestures, addressing issues like migration, demarcations, and the consequences of globalization. For mere> https://www.museum-ludwig.de Read the full article

[longlistshort]

Andrew Edlin Gallery is currently showing a collection of rarely seen works by artist Beverly Buchanan. It covers her years as an abstract expressionist painter in NYC and her later work inspired by the rural South.

The gallery’s press release gives a really good history of this wonderful artist-

The first section of the show features the artist’s abstract paintings and works on paper from the 1970s, alongside post-minimalist sculpture from the late 1970s and early 1980s. The second section introduces a later, more personal side of Buchanan’s oeuvre, her colorful depictions of flowers and small folk-inspired assemblages created during the same period as her well-known “shacks.” A number of the works in the show, many of which were part of the artist’s private collection, have never been shown.

Though Buchanan wrote about her love of “making things” from an early age, it wasn’t until 1971, when she began taking evening classes taught by African-American painter Norman Lewis (1909-1979) at the Art Students League in New York, that her career as an artist took off. Abstract still-lifes that she made in Lewis’s class in 1972 are displayed here for the first time. That same year, her paintings were included in a group show at Cinque Gallery, a nonprofit space co-founded by Lewis and Romare Bearden (1911-1988), which showcased the art of emerging minority artists.

Having witnessed demolition sites in Harlem and SoHo, Buchanan evoked the visual erosion of architectural facades through what she dubbed her “Wall” paintings. In 1976 she presented a selection that she called “Torn Walls” in a two-person show titled City Walls at the Montclair Art Museum in New Jersey. In his New York Times review, David Shirey described the show as “indisputably a tinderbox of a display that will cause sparks to fly” and “the kind …one sees more regularly at the Whitney Museum and at some of New York’s avantgarde galleries.” Three of these paintings are being shown for the first time since that exhibition, forty-seven years ago. The show also includes a monotype, small studies, and a large painting from a series she titled “Black Walls.” The latter was originally featured in Shackworks, a seminal exhibition that opened at the Montclair Art Museum in 1994 and traveled to nine other institutions from 1994-1996.

By the late 1970s, Buchanan was further exploring the aesthetics of architectural decay through sculpture, i.e., cast concrete assemblages, made from pieces of stone, brick debris, clay, and cement mixtures. She arranged these works in clusters on the floor, documenting them with photographs, and exhibited them, notably at Truman Gallery in New York in 1978, and at the feminist artist cooperative A.I.R. Gallery in 1980 in its groundbreaking show Dialectics of Isolation, curated by Ana Mendieta. Some of the small black terracotta works on display may be considered as studies for these larger assemblages.

After moving to Georgia in 1977, Buchanan became increasingly interested in making what she referred to as “environmental sculpture,” artworks that mimicked exterior surfaces and were also site-specific installations that were allowed to decay over time and become part of the surroundings. Most notably, in 1979 she completed Ruins and Rituals (also the title of the Brooklyn Museum retrospective from 2016-2017), and in 1980 Marsh Ruins, with funding from a Guggenheim Fellowship. To construct the three mounds that comprise Marsh Ruins, Buchanan produced her own tabby cement. Composed of the lime from burned oyster shells mixed with sand, water, ash, and other shells, tabby is what colonial settlers used to build structures in coastal Georgia, the location of Marsh Ruins. In her zine “Making Tabby for Brick Sculptures,” Buchanan documented the labor-intensive process of making tabby, a task that in the eighteenth century was typically delegated to enslaved workers. Two smaller iterations of these structures, with bits of oyster shell showing in the concrete, are laid out in the show alongside four other examples of her cast concrete assemblages. Though little is known about their exhibition history, we do know that the artist placed these cast concrete works in her garden in Athens, Georgia. They retain stripes of the green, blue, black and earth-toned paint with which Buchanan initially covered them. The faint outline of her signature “B.B.” is also visible.

Buchanan’s later work is intimately linked to her natural surroundings and folk art. As a native Southerner, she drew on memories from her childhood as well as the lush Georgian landscape and yard art of local self-taught artists. A passionate gardener, Buchanan produced vivid oil pastel flower drawings and small assemblage works. She loved to rummage through thrift stores collecting marbles, wedding toppers, and beads, to create what she referred to as her “Christmas trees,” and “spirit jars,” her take on memory jugs, a prized Southern Folk Art form. Buchanan was particularly moved by a visit to folk artist Nellie Mae Rowe’s home in Fayette County, Georgia, and reminisced: “Being at Nellie Mae Rowe’s home was like being engulfed in a magic forest of her work because every surface had a mark from her hand and the simple chewing gum works made you never take gum as just chewing gum again.” A distinctive chewing gum jug and pin are also included in the show.

This exhibition closes 5/13/23.

#beverly buchanan #andrew edlin gallery #andrew edlin #nyc art shows #art #art shows #painting #drawing #sculpture #abstract expressionist #flower paintings #american folk art #american south

[steamedtangerine]

Sylvia Netzer - Post Toxic/Neo-Plastic installation

the A.I.R. Gallery in NYC

1994

(scanned from Ceramic Monthly 11/94)

#art #top tier #new york

[cozyaliensuperstar7]

#Repost @shelovesblackart

——

Artist, Howardena Pindell (b. 1943), 2020. [cropped] by photographer, Devin Oktar for New York Times

Howardena Pindell at her home studio in Inwood neighborhood of NYC. Photograph is for NYT feature about her 2020 exhibition at the Shed in Hudson Yards, which included a new video, “Rope/Fire/Water,” along with five new paintings and 10 older works.

.

Image 2: Portrait of Howardena Pindell (1978) by fellow artist Sylvia Sleigh (1916-2010) who was known for her "feminist" paintings. Pindell and Sleigh were involved with the all-women cooperative, A.I.R. Gallery in New York.

#support black artists #art

[abwwia]

Mary Beth Edelson, Death of Patriarchy Anatomy Lesson, 1975. Lithography, A.I.R. Gallery

#Mary Beth Edelson #feminist art #art