OLD NEWS / NEW RULES

Join us at A.I.R. for OLD NEWS / NEW RULES a screening and performance on Sunday, May 21st at 7:30 pm. Organized by Fellow Eleanor King, the event features artists Tiffany Joy Butler, Miatta Kawinzi, Shadi Harouni, Divya Mehra, Joiri Minaya and Elise Rasmussen.

OLD NEWS / NEW RULES is held in conjunction with King's A.I.R. Fellowship.

This event is cosponsored by LADIESKUNST intersectional feminist union. Join LADIESKUNST today!

Divya Mehra, The Importance of Being Earnest, 2009, Video, color, stereo, 00:02:41. Image credit: Divya Mehra

Divya Mehra, The Importance of Being Earnest, 2009, Video, color, stereo, 00:02:41. Image credit: Divya Mehra

 

The videos and performances in OLD NEWS / NEW RULES present reframed narratives that question accepted notions of neutrality and upend common assumptions. The artists are front and center, often using their own bodies in the work. They defiantly tackle challenging content using humour, absurdity, and joy to expose and critique pressing issues.

Elise Rasmussen’s She Doesn't Get the Rules is a performance lecture that explores the role of the muse and questions whether the avant-garde can be considered radical under a patriarchal capitalist system. Channeling the surrealist technique of automatism, Rasmussen manually moves through more than 300 PowerPoint slides of imagery from pop culture and art history.

With a nod to Marina Abramovic’s performance Art Must Be Beautiful, Artist Must Be Beautiful, Miatta Kawinzi's Art M.B.F. (Art Must Be Formal) is a playful/serious interrogation of formalism with the understanding that contemporary art codes are not neutral even when it is claimed otherwise.

In The Importance of Being Earnest, Divya Mehra presents a darkly humorous juxtaposition of her lip-synching Disney’s hit “A Whole New World” to a background of found photographic images that create an unsettling picture of a racist, unjust, and cruel society.

Tiffany Joy Butler's Culture Control: Exploring Another World concentrates on the beliefs of metaphysical experiences while reinterpreting primitiveness versus assimilation in our advanced and “evolved” society. When one describes the act of discovering another world, this new world is represented as the Other.

Siboney by Joiri Minaya documents the process of copying the tropical pattern of a found piece of fabric on a museum wall with juxtaposing subtitles. It explores the collection of the museum Centro León in Santiago, D.R., with focus on a painting by Vela Zanetti of a dancing mulatta. Minaya herself transforms the mural to the soundtrack of the song Siboney as adapted by Connie Francis.

Shadi Harouni's The Lightest of Stones was shot in an isolated black mountain pumice quarry in Iranian Kurdistan. The men in the film, whose own work at the quarry has been rendered profitless by the trade sanctions against Iran, critique and empathize with the artist’s futile attempt to carve through the mountain by hand, while also chatting about labor, ISIS, dragons, and Jennifer Lopez.

Hybrid Documentary

Join us at A.I.R. for Hybrid Documentary (blurring the real and the imaginary), a conversation between photographer Maxine Henryson and filmmaker Shanti Thakur on Saturday, May 20th from 4:30-6pm.

Each artist will show excerpts from their work and discuss blurring the real and the imaginary in hybrid documentary projects.

Hybrid Documentary is being held in conjunction with Maxine Henryson’s second solo exhibition at A.I.R. Gallery Contrapuntal. The exhibition will be on view through May 21st.

Shanti Thakur, Seven Hours to Burn, 1999, film still

Shanti Thakur, Seven Hours to Burn, 1999, film still

 

BIOs

Shanti Thakur's visually poetic films have screened at over 200 film festivals and museums around the world. Screenings include:  Cannes Film Festival, Hamptons International Film Festival, Montreal World Film Festival, Margaret Mead Film Festival, Flaherty Seminars and the Museum of Modern Art in New York.

Thakur’s films explore how we perceive each other and ourselves through the lens of history, memory and identity. Working easily between documentary, experimental and narrative modes, her films Red Tulips, A Story About Forgetting, Sky People, Kairos, Seven Hours to Burn, Two Forms, Circles and Domino have won 26 awards.  Her films have broadcast on the Sundance Channel and PBS, as well as in 22 countries.

Be it short or feature length, she works as director, writer, editor and producer. Thakur has received support from the National Film Board of Canada, the Pennsylvania Council of the Arts, the Independent Film Project (IFP) in New York and the Pew Fellowship in the Arts. She is Associate Professor in the MFA Program in Integrated Media Arts at Hunter College, City University of New York. 


Maxine Henryson photographs the atmospheres and color tonalities of contrasting cultural landscapes. She experiments through the lens creating a complex conjunction between personal (subjective) reality and transparent (observed) reality. Her projects trace evidence of divinity, rituals, memory, and history in the West and the East.

Henryson’s photographs are in numerous public and private collections around the world, including the former Celanese Photography Collection, Frankfurt; the Russian Museum, Saint Petersburg; Norton Museum of Art, West Palm Beach, Florida; and the Middlebury College Museum of Art, Middlebury, Vermont.

Recent solo exhibitions include Contrapuntal, currently showing at A.I.R. Gallery (2017) and Ujjayi’s Journey, A.I.R. Gallery, New York (2014). Her work has been exhibited internationally, selected group exhibitions include Unscharf, Nach Gerhard Richter at the Hamburger Kunsthalle (2011) as well as Marvelous Reality/Lo Real Maravilloso at Gallery Espace, New Delhi, and Lives of the Hudson at the Frances Young Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, New York (both 2009). Her photography is the subject of three monographs: Ujjayi’s Journey (Kehrer, 2012), Red Leaves and Golden Curtains (Kehrer, 2007), and Presence (Artist Publications, 2003).

Maxine Henryson has been a member of A.I.R. Gallery, New York since 2012.

Show/Tell

Join us at A.I.R. for Show/Tell on Saturday, May 13th from 3-5pm!
Show/Tell is an afternoon of performance and readings hosted by A.I.R. Fellowship artist, MaryKate Maher. This event brings together 6 artists and writers who focus on politics, gender, and (mis)communication. Participants include Amanda Alfieri, Kendra Eash, Christine Sun Kim, Merissa Nathan Gerson, Slinko, and Suzanne Snider.

This event is being held in conjunction with Maher's first solo show in NYC. Invisible Float is on view at A.I.R. through May 21st. This event is sponsored by Realty Collective.

Slinko, AMERICAagh!, 2016, Ink on paper

Slinko, AMERICAagh!, 2016, Ink on paper

 

BIOs

Amanda Alfieri makes work primarily in performance using her body as her main subject. By placing herself in extremely uncomfortable and vulnerable situations, her work investigates the influence of technology on popular culture and gender as well as online sexual self-expression. In past works, she’s trained and dieted in order to compete in a bikini competition. Currently, she’s investigating Instagram’s obsession with all things booty. Alfieri received a BFA from the University of Southern California (2007), an MFA from Columbia University (2013), and attended the Skowhegan School of Painting and Sculpture (2008). She is a 2016 recipient of a Franklin Furnace Fund.

Kendra Eash is a humor writer and creative director based in Brooklyn. Her humor pieces have been published by The New Yorker, McSweeney's, The Rumpus, The Hairpin, The Toast, and GOOD magazine. She is a co-owner of And/Or studio, where she writes clever things for screens of all sizes.

Christine Sun Kim uses the medium of sound in performance and drawing to investigate her relationship with spoken languages and her aural environment. Selected exhibitions and performances have been held at: White Space, Beijing (solo); Carroll/Fletcher, London (solo); De Appel, Amsterdam (solo); nyMusikk, Oslo; Sound Live Tokyo, Tokyo; Berlin Biennale; Shanghai Biennale; and the Museum of Modern Art / PS1, New York. Kim was awarded TED and MIT Media Lab Fellowships.

Merissa Nathan Gerson is a freelance nonfiction and fiction writer. Her written work focuses on sex, sexuality, and Judaism as well as trauma, post-war reconciliation, and intergenerational repercussions of war.  She was the intergenerational trauma consultant to Amazon's hit show Transparent and has writing featured in Playboy Magazine, The Atlantic, Elle.com, Tablet Magazine, Lilith Magazine, and many others.  She teaches about sex and religion across Los Angeles and nationally. Merissa holds a BA in American Culture Studies and Women and Gender Studies from Washington University in St. Louis, an MFA in Writing and Poetics from Naropa University's Jack Kerouac School of Disembodied Poetics in Boulder, Colorado and most recently an MA in Jewish Studies from the Graduate Theological Union in Berkeley, California. She spent a year studying Torah at the PARDES institute for Jewish Studies in 2010 and is a Sivananda certified yoga teacher.  From 2006-2008 she trained intensively in the Shambalah lineage of Shamatha meditation and in 2013 she attended the ALEPH Jewish Renewal Kallah retreat where she studied with Rabbi Shefa Gold, Rabbi David Ingber, and others. 

Slinko is a multi-disciplinary artist born in Ukraine, and now working and living in New Jersey. Slinko studied painting at Kharkiv Institute of Industrial Art, graphic design at Fashion Institute of Technology, and has an MFA in Sculpture from Virginia Commonwealth University. Slinko has been awarded Jacob K. Javits Fellowship and had residencies at Skowhegan School of Painting and Sculpture, Sculpture Space, Henry Street Settlement, Bemis, and Dar al-Ma’mûn in Morocco. Slinko currently is an Open Sessions fellow at the Drawing Center in New York.

Suzanne Snider is a writer, documentarian, and educator whose work is deeply influenced by oral history theory and practice. Her most recent projects have taken the shape of sound installation, essays, and archive design. In 2012, she founded Oral History Summer School/Oral History Winter School, a cross-disciplinary workshop in upstate New York and Chicago. She works with institutions and project teams including MoMA, the National Public Housing Museum, Center for Reproductive Rights, Judd Foundation and the Prison Public Memory Project on oral history-related challenges. Her own oral history projects have addressed disappearing labor forces, rehabilitative medicine, parapsychology, and feminist presses (supported by the Radcliffe Institute/Schlesinger Library Oral History Grant). Her writing/audio work appear in The Guardian, The Believer, Legal Affairs, and The Washington Post, along with several anthologies and artist catalogs; she received a 2011 commission from Triple Canopy for New Media Reporting. Prior to her work with adult learners, she taught in the New York City public school system (pre-K through 6th), and developed arts curriculum for visually impaired students at the New York Institute for Special Education. With support from the Yaddo Corporation, the MacDowell Colony and the UCross Foundation Center, she is completing her first book, The Latecomers. Snider teaches at the New School University. 

BOOK PARTY: THE ART OF COLLABORATION

Join us at A.I.R. on Sunday, April 9th from 4-6pm to celebrate "The Art of Collaboration: Poets, Artists, Books" edited by Anca Cristofovici & Barbara Montefalcone.

There will be talks by  Vincent Katz, Susan Bee, Charles Bernstein, Kyle Schlesinger, Constance Lewallen, and Anca Cristofovici.
 

 

"The Art of Collaboration brings together the perspective and insight of a distinguished and international community of poets, artists, publishers, scholars and curators, drawing from their rich diversity of experience to identify a useful framework for documenting and understanding the recent history and practice of the old-age tradition of collaborating with text and image. This collection is an invaluable tool whose very presence is a brilliant example of its subject."
- Steve Clay, Granary Books

Contributors: Anca Cristofovici, Barbara Montefalcone, Antoine Cazé, Olivier Brossard, Michael Siebenbrodt, Vincent Katz, Bill Berkson, Susan Bee, Raphael Rubinstein, Gervais Jassaud, Pascal Poyet & Françoise Goria, Kyle Schlesinger, Antoine Coron, Constance Lewallen, Charles Bernstein & Richard Tuttle.

*This event is being held in conjunction with Susan Bee's eighth solo show, Pow! New Paintingsat A.I.R. Gallery.

ART/WRITING

Join us at A.I.R. for ART/WRITING, a reading and discussion on Saturday, April 1st at 4pm. Organized by Fellow Elizabeth Hoy, the event will feature writers: Miriam Atkin, Adjua Gargi Nzinga Greaves, and Rachel Levitsky, all of whom touch upon the visual arts in their writing practice.

ART/WRITING is being held in conjunction with Hoy's first solo show in NYC. Why does it end here? is on view at A.I.R. through April 16th. This event is cosponsored by The Felt, a journal of writing and visual art from Pratt Institute.

Elizabeth Hoy, National Priorities, Mixed media sculpture, 40 x 26 x 18 inches

Elizabeth Hoy, National Priorities, Mixed media sculpture, 40 x 26 x 18 inches

 


BIOs

Miriam Atkin is a writer and performer based in New York City. Her work has been largely concerned with the possibilities of poetry as an oral medium in conversation with avant-garde film, music, and dance. Miriam has contributed essays and reviews to Haunt journal, Art in America, and ArtCritical, and her poetry has appeared in The RecluseBoog City Reader, and This Image journal. She was a 2014 Emerge-Surface-Be Fellow at the St. Mark’s Poetry Project and is a member of KAF, a performance and publishing collective. Miriam is a PhD candidate in English Literature at CUNY Graduate Center.

Adjua Gargi Nzinga Greaves (New York City, 1980) is an artist chiefly concerned with postcolonial ethnobotany working in the mediums of scholarship, diorama, corporeal wisdom, archival gesture, and language. Greaves has been published in About Place JournalThe Recluse, and The Poetry Project Newsletter. She lives and works in New York City where she is young mother of The Florxal Review—a global journal of postcolonial ethnobotany foregrounding black femme plant life—and where she is completing work on The Bulletin of Wilderness and Academy: an introductory conclusion to unschoolMFA forthcoming from Organic Electric Industries. Galleries of her documentary photography and Afrofuturist dioramas are viewable on Instagram via @TerraBot and @SuperModelStudioPractice respectively.

Rachel Levitsky is the author of several chapbooks and three full length volumes of poetry and prose, Under the Sun (Futurepoem 2003), NEIGHBOR (UDP 2009), and The Story of My Accident is Ours (Futurepoem 2013). In 1999 she started Belladonna Series, salons and readings that featured feminist avant garde writers. In 2009, Belladonna morphed into Belladonna* Collaborative (www.belladonnaseries.org), a multi-headed hydra of which she is one part.

Dialogue with Phong Bui and Susan Bee

 

Phong Bui is an artist, writer, independent curator, and former curatorial advisor at MoMA PS1, from 2007 to 2010. He is the Co-Founder and Artistic Director of the monthly journal the Brooklyn Rail, the publishing press Rail Editions, and the Rail Curatorial Projects, as well as the Host/Producer of “Off the Rail” on Art International Radio. He is a board member of the Third Rail of the Twin Cities, the Miami Rail, the Louis Comfort Tiffany Foundation, the Sharpe-Walentas Studio Program, Anthology Film Archives, and the International Association of Art Critics United States Section (AICA USA).

In 2006, Bui won the Award in Art from the American Academy of Arts and Letters, and the Eric Isenburger Annual Prize for Installation from the National Academy Museum. In 2014, he was the keynote speaker of The Scholastic Art and Writing Awards, and was Art in General’s Visionary Honoree. In 2016, he was given the Esther Montanez Leadership Award by Fountain House Gallery.

Susan Bee is a Brooklyn-based artist and A.I.R. member since 1996. She has had solo shows at A.I.R. Gallery, Southfirst Gallery, and Accola Griefen Gallery in NY. Bee has published 16 artist's books and collaborated with poets including Susan Howe, Charles Bernstein, Rachel Levitsky, Johanna Drucker, and Jerome Rothenberg. She is the coeditor with Mira Schor of M/E/A/N/I/N/G Online. Bee received a Guggenheim Fellowship in Fine Arts in 2014. She teaches at the University of Pennsylvania.

This event is being held in conjunction with Susan Bee's eighth solo show, Pow! New Paintings, at A.I.R. Gallery.

To view photos and audio of the event, please click here.

CLOSED / #DayWithoutAWoman

 

As an act of non-compliance, the gallery will be closed today, March 8th, to protest on International Women's Day. #DayWithoutAWoman is intended to highlight the economic power and significance of women while calling attention to many injustices endured by women and gender roles.

We apologize for the inconvenience. The gallery will re-open on Thursday, March 9th.

PANEL DISCUSSION: UNDER THE INFLUENCE

Join us at A.I.R. for Under the Influence, a panel discussion on Wednesday, February 15th from 6-8pm. Organized and moderated by Fellow Manal Abu-Shaheen, the panel will focus on the work of Caroline Wells Chandler, Jennifer Coates, and Rachel Schmidhofer, as well as the influences of their practice. An informal Q&A and discussion will follow.

This event is being held in conjunction with Abu-Shaheen's first solo show in NYC. Familiar Stranger is on view at A.I.R. through March 12th.

Rachel Schmidhofer, Farro Salad, 2014, vintage jigsaw puzzle assemblage, 20 inch-diameter

Rachel Schmidhofer, Farro Salad, 2014, vintage jigsaw puzzle assemblage, 20 inch-diameter

 

PANELIST BIO'S

Caroline Wells Chandler's brightly colored hand-crocheted works explore notions of queerness and sexuality as well as the art historical canon. His characters are radically queer, and his representations of gender declare queerness as the normative state.

Jennifer Coates is an artist, writer and musician living in NYC. Her upcoming show "All U Can Eat" will open at Freight & Volume in March. She has written for Modern Painters, Time Out and Art in America. She recorded an album with the band Heroes of Toolik called "Like Night" for which she contributed vocals, violin, and original songs.

Rachel Schmidhofer is a Brooklyn-based painter. Her vibrant still-lifes of natural objects and domestic interiors evoke wonderment, while simultaneously seeking the hidden meaning within - and connections between - unlikely collections of objects. Using pared-down building blocks - color and line, light and shadow - the wet-into-wet paintings allow the brain to complete a circuit of recognition, while leaving space for the eye to roam.

A.IR. National Artist Erin Wiersma & Alumnae Artist Nancy Morrow in "Infrastructure:

We're excited to see the work of A.I.R. artists Erin Wiersma and Nancy Morrow featured at our neighbor SEMINAR Gallery here in DUMBO! The exhibition, Infrastructure: Land, Mind, Country showcases the work of the first artists of the residency program Two Coats of Paint, a program which joins artists working across the United States. This timely exhibition curated by Sharon Butler and Rachel Farber seeks to collectively investigate "our nation, illuminating the structural relationships among three elements – Land, Mind, and Country."

The opening reception is Thursday, February 2nd, at neighboring SEMINAR Gallery from 6-9pm. The exhibition runs through February 26, 2017. 

Erin Wiersma, Examen, 6/13/2016, 2017, Acrylic on paper, 12 x 12 inches

 

Infrastructure: Land, Mind, Country will be on view at SEMINAR Gallery, AICAD, 20 Jay Street, suite M10, Brooklyn NY through February 26th. Be sure to check it out!

 

Nancy Morrow, Dive, 2010

 

Bailey Scieszka / Performance

Join us at A.I.R. for The Soft Side of Hardcore starring Old Put the Clown, a performance by Bailey Scieszka on Friday, February 3rd at 7pm. This program is organized as part of the 12th A.I.R. Biennial: Sinister Feminism, curated by Piper Marshall with Lola Kramer. For more information on the exhibition, click here.

Photo by Nicholas Calcott

Photo by Nicholas Calcott