A.I.R. Fellowship Welcome Party!

For over 40 years A.I.R. Gallery has been working to give visibility and celebrate the work of women artists locally and internationally, bringing forward the most pressing issues affecting women. Please join us in welcoming A.I.R. Gallery's 2016-17 Fellowship Artists on September 29th from 6-9pm.

Manal Abu-Shaheen
Elizabeth Hoy
Eleanor King
MaryKate Maher
Alison Owen
Naomi Elena Ramirez

RSVP by 09.25.16 here.

A.I.R. Gallery is a permanent exhibition space that supports an open exchange of ideas and risk–taking by women artists in order to provide support and visibility to women. Since 1972, when a group of visionary women artists opened the first gallery space at 97 Wooster Street in Soho, A.I.R. Gallery has been leading the way in championing women artists, increasing their visibility and the viability of their endeavors.

The A.I.R. Fellowship Program remains committed to providing support for women artists in New York City and to encouraging the growth of sustainable artistic practices.

A.I.R. Gallery
155 Plymouth St.
Brooklyn, NY 11201

A.I.R. Guide: Artists to see at Frieze!

Be sure to check out our favorite picks at Frieze this weekend!

Frieze New York 2016 brings together the world’s leading galleries, innovative curated sections, a celebrated series of talks, site-specific artist commissions and the city’s most talked about restaurants, all in a bespoke structure overlooking the East River in Randall’s Island Park, Manhattan.

May 5 – 8
Randall’s Island, New York

Thursday, May 5, 11am – 7pm
Friday, May 6, 11am – 8pm
Saturday, May 7, 11am – 7pm
Sunday, May 8, 11am – 6pm

Lips (Study #3), 2016, Single channel video installation, Mixed media, 57 x 76.2 x 91.4 inches

Lips (Study #3), 2016, Single channel video installation, Mixed media, 57 x 76.2 x 91.4 inches

Mika Rottenberg, Andrea Rosen Gallery
Frieze New York Booth C29

Video installation artist Mika Rottenberg envisions the female body as a microcosm of larger societal issues such as labor and class inequities. In her short films, women cast for their notable physical features and talents perform perfunctory factory-line duties, manufacturing inane items worth less than the labor required to make them. Her homemade machinery and decor are functional but crudely constructed. These contraptions, operating by pedal, conveyor belt, paddle, rubber band, or string, are reminiscent of Peter Fischli and David Weiss’s kinetic props, though the human interaction in her works adds a carnivalesque element to Rottenberg’s environments, the physical comedy implicit in her narratives recalling Eleanor Antin’s filmed performances. The bright colors of Rottenberg’s self-contained sets don’t disguise the close quarters in which her characters work or mitigate the sense of claustrophobia induced by a dead-end job. A blue-collar work ethic is conjured through the women’s uniforms, ranging from diner-waitress dresses to jogging suits. Her cast often use several body parts at once, reminding the viewer of the feminine capacity for multitasking while it suggests an ironic futility in her sweatshop-like situations.

Andrea Rosen Gallery
525 & 544 West 24th Street, NYC

Lisa Yuskavage, Stoned, 2016. Oil and graphite on linen, 16 5/8 x 15 3/4 inches

Lisa Yuskavage, Stoned, 2016. Oil and graphite on linen, 16 5/8 x 15 3/4 inches

Lisa Yuskavage, David Zwirner
Frieze New York Booth C56

Lisa Yuskavage‘s works are characterized by an ongoing engagement with the history of painting. Her oeuvre bears witness to a re-emergence of the figurative in contemporary painting and takes its point of departure in part in the immediacy and tawdriness of contemporary life spurred by the mass media and the psycho-social realm of the individual. Over the past two decades, she has developed her own genre of the female nude: lavish, erotic, cartoonish, vulgar, angelic young women cast within fantastical landscapes or dramatically lit interiors. They appear to occupy their own realm while narcissistically contemplating themselves and their bodies. Rich, atmospheric skies frequently augment the psychologically charged mood, further adding to the impression of theatricality and creative possibility.

David Zwirner
519, 525 & 533 West 19th Street, NYC

Marola, 2015, Acrylic, hand-painted enamel on aluminum, stainless steel, polyester, 89 x 42 x 32 inches

Marola, 2015, Acrylic, hand-painted enamel on aluminum, stainless steel, polyester, 89 x 42 x 32 inches

Beatriz Milhazes, James Cohan Gallery
Frieze New York Booth B53

Beatriz Milhazes’ is well known for her vibrantly colorful, kaleidoscopic collages, prints, paintings and installations which draw on both Latin American and European traditions. Milhazes’ rigorously structured compositions are punctuated by a recurring set of arabesque motifs inspired by Brazilian culture, ceramics, lacework, carnival decoration, music, and Colonial baroque architecture. As Milhazes explains, “I am seeking geometrical structures, but with freedom of form and imagery taken from different worlds.” The artist has also cited opera, classical and Brazilian popular music as having informed the upbeat energy of her stripes, lines, circular forms, and rays. The careful balance of harmony and dissonance in her work, combined with her Technicolor palette, are evident of the strong influence by such 20th century masters as Tarsila do Amaral, Oswald de Andrade, Matisse, Kandinksy and Delaunay. Milhazes has stated “I need to have all these elements and put them together. They are in some sort of a conflict that will never really end up anywhere. There are not peaceful surfaces. There should be some struggle on the surface and then create some activities for your eyes” (Interview with Beatriz Milhazes, RES Art World/World Art, No. 2 May 2008). As the Fondation Cartier further explains, Milhazes’ “use of intensely vibrant colors, such as fuchsia, gold or orange, endows her canvases with an explosive energy that many have compared to the breathtaking rhythm of fireworks.”

James Cohan
533 WEST 26 ST, NYC

Untitled, 2015, Guesso, oil, oistick, acrylic, permanent marker on canvas, 118 x 158 inches

Untitled, 2015, Guesso, oil, oistick, acrylic, permanent marker on canvas, 118 x 158 inches

Jannis Vareles, The Breeder Gallery
Frieze New York Booth B55

Jannis Varelas’ work explores the contrast between appearance and reality and exposes the increasingly theatrical nature of our lives. Sometimes ironic and caustic, sometimes purposefully saccharine, his depiction of the human condition and the construction of dystopias, critically comments on the changing relation of the individual to society and sacrilegiously approaches revered structures such as history, sexuality, politics and religion.

The Breeder Gallery
45 Iasonos st, GR 10436, Athens

Fancy Problems, Installation view, Thomas Dane Gallery, London, 2015

Fancy Problems, Installation view, Thomas Dane Gallery, London, 2015

Ella Kruglyanskaya, Thomas Dane Gallery
Frieze New York Booth B63

Ella Kruglyanskaya paints large-scale, cartoonish vignettes featuring exuberant, full-figured women and their fashion accessories. Characterized by splashy colors and patterns, her paintings depict women in revealing clothes, engaged in leisure activities or absurdist scenarios, such as Untitled (2010), in which a woman in high heels riding a small horse is attacked by a crocodile. “I’m interested in pictorial events that are not narrative but visual and sometimes aspire to an unspoken punch line,” she has said. “The figure functions as the vessel and the space onto which the events of the painting occur.” Kruglyanskaya has produced commissions for the windows of Barney’s in New York, and her work has been compared to that of R. CrumbSonia Delaunay, and Lyubov Popova.

Thomas Dane Gallery
3 & 11 Duke Street, St. James’s, SW1Y 6BN London

A.I.R. Guide: Things to do this month!

Get your feminist on this month with A.I.R.’s staff picks of exhibitions to see!

Epic Bitch, 2015, Acrylic on canvas, 4 x 4 inches

Epic Bitch, 2015, Acrylic on canvas, 4 x 4 inches

WOMEN Words, Phrases, and Stories
Betty Tompkins exhibition at The FLAG Art Foundation marks the first comprehensive presentation of 1,000 intimately-scaled, hand-painted works, each of which features a word or words used to describe women. Ranging from flirtatious to derogatory – with the four most used words being Mother, Slut, Bitch, Cunt – WOMEN Words emanates from Tompkins’s career-long commitment to challenge the representation of female identity, the politics of pleasure, and the role of sexuality in contemporary culture. Read the full press release here.

The exhibition runs through May 14, 2016

The FLAG Art Foundation
545 West 25th Street, NYC

2016, Installation

2016, Installation

Willa Nasatir at CHAPTER NY
We expend a lot of labor and energy to make objects seen and desired,though perhaps not anymore understood. Our relationships to images are farmore mutable; we exalt them for their adaptability, readily dislocating them for infinite possibilities of a re–encounter. -Lumi Tan, curator

Read the full press release here.

March 20 – April 24, 2016

CHAPTER NY
127 Henry Street, NYC

Dog’s Stick Lamp, 2016, driftwood, bamboo, sawdust, wood, wired light, lampshade (steel, silk), 90 x 40 x 22 inches

Dog’s Stick Lamp, 2016, driftwood, bamboo, sawdust, wood, wired light, lampshade (steel, silk), 90 x 40 x 22 inches

Jessi Reaves at BRIDGET DONAHUE
Reaves’ works are wildly constructed from plywood, sawdust, foam, wood, car parts and plexiglass and finished with silk, leather, zippered covers and glass. Her materials are unassuming and sometimes involve elements of found furniture re-arranged anew. Irrational and imperfect, their human scale and materials reference historical and archetypal forms. Read the press release here.

April 10 – June 5, 2016

BRIDGET DONAHUE
99 Bowery, 2nd Floor, NYC

Album (For Whom The Bell Tolls), 2016, C Print, 46.7 x 60.4 inches

Album (For Whom The Bell Tolls), 2016, C Print, 46.7 x 60.4 inches

Anne Collier at Anton Kern Gallery
In her fourth solo show at Anton Kern Gallery, the New York- based artist Anne Collier presents a body of new photographs that expands upon her ongoing inquiry into the nature and culture(s) of photographic images, exploring questions of perception and representation and the mechanics of the gaze. Read the full press release here.

April 9 – May 14, 2016

Anton Kern Gallery
532 West 20th Street, NYC

Self-portrait of artist Angelica Kauffman

Self-portrait of artist Angelica Kauffman

Printing Women: Three Centuries of Female Printmakers, 1570-1900
Physically demanding and technically challenging, printmaking has often been considered man’s labor. As the Library’s unusual collection by forward-thinking Henrietta Louisa Koenen (1830-1881) demonstrates, engravings, etchings, woodcuts and lithographs executed by female printmakers have been around almost as long as artists started creating prints in the late fifteenth century. From 1848 until 1861, she collected an astonishing array of sheets by women artists from the sixteenth to nineteenth centuries. Executed by experts and amateurs alike, these women pursued their craft as part of larger family workshops, as a means of self-realization and for the thrill of making and sharing pictures created in multiples.

The show runs through May 27, 2016

New York Public Library, Stephen A. Schwarzman Building
Fifth Avenue at 42nd St, NYC

A.I.R. Guide: Opportunities!

Check out these great opportunities recommended by A.I.R.'s staff!
 

Image © NARS Foundation

Image © NARS Foundation

2016 Residency Lab / SOHO20
Deadline: March 31, 2016 at 12:00am

SOHO20’s Residency Lab invites between one and three artists to take over our gallery space for one month in the summer. During this time, the gallery will remain open during normal hours, fostering dialogue and providing a platform for residents to engage with the visiting public, with support from SOHO20's staff. Apply here for this summer (July 7 - August 12, 2016).
 

International Residency Program / NARS Foundation
Deadline: April 1, 2016 at 11:59pm

The NARS International Artist Residency Program supports emerging and mid-career artists. The program is open to both International and US-Based artists, creating an international artistic dialogue and exchange. Learn more about the program and apply online here.
 

AICAD Studio Practice Residency / AICAD
Deadline: April 1, 2016

The Association of Independent Colleges of Art and Design (AICAD) is offering a Studio Practice Residency for non-student working artists to develop, refine, or challenge their artistic practice in dialog with a chosen mentor. This residency will be a studio intensive mentorship program held at the AICAD facility in DUMBO, Brooklyn from May 6th – August 30th, 2016 (approx.). Visual artist and critic William Powhida, will lead the Studio Practice Residency. Accepted participants will work with mentors to be determined. Click here for more information.
 

Residency Program / Flux Factory
Deadline: April 17, 2016 at 11:59pm

Flux Factory is looking for cultural producers of all kinds to join the Flux community for 3, 6, 9, and 12 month residencies! Flux Factory cultivates a spirit of openness and generosity through a unique collaborative and participatory approach to realizing its residency and public programs. Fluxers benefit from an immersive and prolific environment that encourages experimentation and peer to peer resource sharing. Residents work together to shape and realize Flux’s expansive programming, proposing and leading exhibitions and educational events. Flux Factory nurtures individual practices by offering professional development opportunities, including one-on-one studio visits, group field trips, and monthly salons. Submit your application here.
 

Conrtibuting Writer / Everyday Feminism
Deadline: Ongoing

Everyday Feminism, a digital feminist magazine, is currently seeking contributing writers for their blog. They pay $75 per blog post to contributing writers. They pay $150 to “investigative writers.” Their goal is “to help people develop a better understanding of how systemic issues of gender, sexual orientation, race, class, ability, size, and other social identities affect them personally and how to address them in their everyday life and communities through an intersectional feminist, anti-oppression framework.” Find out more here.