Facing Disjunction
National Artists' Exhibition 2018
Curated by Judith Tolnick Champa
in upcoming
in upcoming
Wish You Were Here
Postcard Show 17
in current
Bird Over America
Kathleen Schneider
in current
![If Only We Knew. Nothing's New. Dominique Duroseau Gallery II
April 20 - May 20, 2018 Opening Reception: Friday, April 20th, 6 - 8PM DUMBO’s First Thursday Art Walk: May 3rd, 6 - 8PM A.I.R. Gallery is pleased to announce If only we knew. Nothing’s new ., an exhibition of mixed-media by Fellowship Artist Dominique Duroseau. This is Duroseau’s first solo exhibition in New York City. How do we internalize history and its connections with current events? What are the taxing effects whether we fight or stay neutral? We're all being taxed and tolled daily, put through an exceedingly dull grinder, where the parts, gears, spaces and processes we endure are racist, sexist, misogynistic, homophobic, xenophobic...to say the least. We're spat out, never whole, constantly going through this grinding and molding process again and again. What does the internal Black humanity, our existence, resemble as a portrait? How do we weigh the joy needed and deserved against the pain and trauma we must manage? BIO Dominique Duroseau is a Newark-based artist born in Chicago, raised in Haiti. Her interdisciplinary practice explores themes of racism, socio-cultural issues, and existential dehumanization. Her exhibitions, performances, and screenings include SATELLITE ART and PULSE Play in Miami; The Kitchen, The Brooklyn Museum, El Museo del Barrio, A.I.R. Gallery, BronxArtSpace, Rush Arts Gallery, and Smack Mellon in New York City; The Newark Museum, Index Arts, Project for Empty Space, and Gallery Aferro in Newark, NJ. Her recent exhibitions and talks include: solo at DCCC in PA, a panelist at Black Portraiture[s] at Harvard and upcoming lecture at Vassar. She is currently a fellow at A.I.R. Gallery in Brooklyn, has received artist residencies from Gallery Aferro and Index Art Center and recently was accepted to the Wassaic Project. Duroseau holds a Bachelor’s in Architecture from the New Jersey School of Architecture and a Master of Arts in Fine Arts from Kean University. Read the press release here . View the artist's page here .
Installation view.
Installation view.
Installation view.
Eighty-eight layers to start: Beware what you allowed to haunt you. , 2018, Mannequin, trash bag, mixed media](https://static1.squarespace.com/static/574dd51d62cd942085f12091/57572f564d088eaf8dd650ff/5ac653420e2e7280a3246946/1525033985764/Black+construct+5.jpg)
If only we knew. Nothing's new.
Dominique Duroseau
in current
This Is It!
Karen Leo
Take Back Your Body
Daria Dorosh
Health Show II
Organized by A.I.R. Gallery, SOHO20 and Triangle Arts Association
Pretty Real
Caroline Wayne
New Work
Ann Schaumburger
Slow Motion
Megan Pahmier
What the Lips Can’t Say
Daniela Puliti
in 2018
Cut and Paste
Liz Surbeck Biddle
Megan Biddle
in gallery II, gallery III, 2018
ABORTION
Curated by Barbara Zucker
Dream Bird, Hatching the Egg
Susan Stainman
Floating Trails
Mimi Oritsky
![Seeing Things Ann Stoddard Gallery III
Black Angel , 2016
November 16 - December 17, 2017 Opening reception: Friday, November 17, 6-8pm First Thursday Gallery Walk: December 7, 6-8PM Seeing Things focuses on the artistic deconstruction of racial and ethnic profiling. Through video and conceptual installations and social sculptures, Ann Stoddard is inquiring: Are we seeing things? Is our vision warped by implicit bias? Can art and technology increase empathy? Artist Statement Public space is open and borderless, with layered contexts and contradictory points of view. The “SEEING THINGS” series responds to the profiling of and violence against Black men, and to the banning and profiling of Muslims. “SEEING THINGS”- installations, social sculptures, videos- proposes the artistic deconstruction of racial and ethnic profiling, and asks viewers: Are we seeing things? Is our vision warped by implicit bias? Can art and technology increase empathy? Video installation social sculptures offer an interactive approach to video portraiture, evoking a wired public space context, combining conceptual art with a collective spirit, - electronics with a low-tech sensibility. Mirroring default white privilege, “ColorBlind” reframes the viewer via 11 micro-video cameras/ monitors housed in hoodie sweatshirts arranged by ‘grey scale’, from white (hands-down) to black (hands-up). Micro-video cameras ‘watch the watchers’, inviting viewers to explore the relationship between his/her live screen image and racial profiling. Similarly endowed with 10 arms, 11 cameras/ monitors, “Black Angel” suggests a stop-action “hands up” response to a police order. Micro-video cameras reframe viewers in the context of monitors housed in black/ brown/tan/ beige hoodies; sweatshirt order is calibrated by skin tone and probability of being racially profiled. “Black Angel” is intended to encourage empathy by reverse perspective, referencing Black victims of racial violence, Shiva, Jesus. Micro-video cameras elevate the viewer’s role while empowering the profiling ‘target’, reversing expectations of ‘who’s profiling whom?’ Works responding to systemic post-9/11 ethnic profiling of Muslims are informed by living and teaching in Morocco, a Catholic girlhood, instruction in embroidery and sewing, and activism. The 4-channel video installation “Seeing Things, Headscarf” displays random juxtapositions of a woman donning a scarf in a black-and-white quad-screen video, conceptual art and fashion transcending stereotypes: What’s the big deal about headscarves? Who decides when scarves are fashion, when they signify devotion, - repression? Riffing on the popular video "100 ways to tie a scarf", “Seeing Things, Headscarf” sources include Audrey Hepburn wearing scarf-and-sunglasses in "Charade", Hijab, bridal veils, the Virgin Mary. “BARED THREADS” [installation] is a faux store display of veils with subversive textual reinscriptions. Bold crimson embroidery (artist’s) reveals commonalities of fashion across cultures in a post-9/11 context of ethnic profiling. “Kemar” (face veil) is inscribed in flowing Arabic across a Western ‘fingertip’ wedding veil, while a white Hijab reads “Fingertip Veil.” “Headscarf” is scrolled across the black Hijab, while “Hijab” is inscribed in Arabic across a nun’s veil. Reverse labeling challenges traditional Western assumptions and implies awkward questions: How does a Western wedding veil covering the face differ from a burqa or niqab? Who decides when veils are fashion statements, when veils signify repression? Read the full press release here. View the artist's page here .
Installation View Photography by Sebastian Bach
ColorBlind , 2017
Black Angel , 2016](https://static1.squarespace.com/static/574dd51d62cd942085f12091/57572f564d088eaf8dd650ff/59f2283ed6839ab9dd4c43f4/1513720223136/1_Ann_Stoddard_BlackAngel.jpg)
Seeing Things
Ann Stoddard
Beyond the Bed Covers
featuring Rachel Farmer, Kim Fox, Ariel Jackson, Luke Haynes, Laura Petrovich-Cheney, Coralina Rodriguez Meyer, Faith Ringgold, Jessica Skultety and images from the 1987 AIDS quilt exhibit in Washington, DC.
Curated by Laura Petrovich-Cheney
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CHROMOPHORE
Joan Snitzer
in 2017, archive, gallery II
Edgeland
Nancy Storrow
in gallery III, archive, 2017
Fugitive Love Song
Dani Dodge