Intersectional feminism: histories, strategies, and imagined futures

Join us on Friday, July 7th at 7pm for Intersectional feminism: histories, strategies, and imagined futures, a conversation with artist luciana achugar, writer Laina Dawes, artist Michelle Young Lee, and poet Candace Williams, organized by A.I.R. Fellowship artist Naomi Elena Ramirez.

This event is being held in conjunction with Ramirez's first solo show in NYC. A Dangerous Body is on view at A.I.R. from June 29 - July 30, 2017.
 

 

In response to the feminist foundation and history of the A.I.R Gallery project, with the intention of provoking rigorous examination of how now established feminist organizations, individuals, and cooperatives can continue to respond to vectors of oppression and bias, fellowship artist Naomi Elena Ramirez has organized a conversation on Intersectional Feminism with artist luciana achugar, writer Laina Dawes, artist Michelle Y Lee, and poet Candace Williams.

Intersectionality, a term coined by scholar and civil rights advocate Kimberlé Williams Crenshaw, describes how overlapping systems of oppression create experiences that differ from a single-axis framework.  The intersectional framework holds that multidimensional basis of gender, race, social class, ethnicity, nationality, sexual orientation, religion, age, mental disability, physical disability, mental illness, physical illness, and other forms of discrimination must be examined and considered in simultaneity in order to respond to the complex formations of social inequalities. 


BIOs

luciana achugar is a Brooklyn-based choreographer from Uruguay who has been making work independently and collaboratively since 1999. She is a two-time “Bessie” Award recipient, a Guggenheim Fellow, Creative Capital Grantee and a Foundation for Contemporary Arts Grantee, amongst other accolades. Most recently she received the 2017 Herb Alpert Award in the Arts for Dance.  She was one of Dance Magazine’s “25 to Watch” in 2012 and her Bessie Award-winning work PURO DESEO was named one of 2010 TimeOUT NY’s “Best of Dance”. She received the 2015 Austin Critic’s Award for Best Touring work for OTRO TEATRO, after being presented at the Fusebox Festival, and having premiered in 2014 at the Walker Art Center and NYLA. Her latest work, An Epilogue for OTRO TEATRO: True Love, premiered at Gibney Dance in December 2015 and was nominated for a 2016 BESSIE Award for Outstanding Production. Follow her new process as well as her ongoing The Pleasure Project on Instagram @achugarluciana.

Laina Dawes is the author of What Are You Doing Here? A Black Woman’s Life and Liberation in Heavy Metal (Bazillion Points Books, 2012). A music and cultural critic, her writings and photography can be found in various print, online publications and radio programs, such as The Wire (UK), Fader, Decibel Bitch, MTV Iggy, NPR, Cuepoint (Medium) and Bandcamp.  Laina has been invited to several colleges and universities as a guest lecturer and has spoken at a number of music and academic conferences in Canada and the United States. She also served as an adjunct Lecturer at Eugene Lang College / The New School. This fall, Laina will start her second year in Columbia University’s Ph.D. program in Ethnomusicology.

Michelle Young Lee (b. 1981, Los Angeles California) is an interdisciplinary visual artist. Her works have been featured in international exhibitions, festivals and magazines including Hearing Landscapes Critically at Harvard University, Boston, MA; 80 WSE Gallery, NYC, New York;  the Pingyao Photography Festival, Pingyao, China; 2013 Philosophy and Arts Conference,  NYC, New York;  Boda Center for Visual Arts, Seoul, South Korea; Museo Ex Teresa Arte Actual, Mexico City, Mexico; Sala Rekalde, Bilbao Spain; Schindler House/MAK Center, Los Angeles, California; Wolgan Sajin: Monthly Photo Magazine Korea and Glamour Magazine, France.  Lee received her BFA from California Institute of the Arts in 2006 and MFA from New York University in 2013. She lives and works in Brooklyn, New York. 

Candace Williams’ poetry has appeared or is forthcoming in Hyperallergic, Lambda Literary Review, and the Brooklyn Poets Anthology (Brooklyn Arts Press), among other places. Her first collection, Spells for Black Wizards, won the Atlas Review’s 2017 Chapbook Series. She’s earned an MA in Elementary Education from Stanford University, a Brooklyn Poets Fellowship, and scholarships from Cave Canem. She's performed, presented, and taught workshops at the Obie-winning Bushwick Starr Theater, the New Museum, Dixon Place, Eyebeam, and the Museum of Arts and Design.

Witches, Sluts, Feminists: Conjuring the Sex Positive

In conjunction with her exhibition, A Dangerous Body, A.I.R. Fellowship artist Naomi Elena Ramirez has invited Kristen Sollee, the author of Witches, Sluts, Feminists: Conjuring the Sex Positive for a reading and discussion Saturday, July 29th at 4pm. 

A Dangerous Body is on view at A.I.R. from June 29th to July  30th.
 

WitchesR3a.jpg
 

From the perspective of the witch and her story, Sollee has woven a radical vision of feminism and sexuality. Witch, Slut, Feminist are contested epithets that inform women as they encounter a tortuous history of misogyny and the struggle for empowerment. This innovative primer highlights sexual liberation as it traces the lineage of “witch feminism.” Juxtaposing scholarly research on the demonization of women and female sexuality that has continued since the witch hunts of the early modern era with pop occulture analyses and interviews with activists, artists, scholars, and practitioners of witchcraft, this book greatly enriches our current conversations about reproductive rights, sexual pleasure, queer identity, pornography, sex work, and more.

Kristen J. Sollee teaches gender studies courses at The New School, is founding editor of Slutist, an award-winning sex-positive feminist website, and curates the Legacy of the Witch charity festival in Brooklyn.

Ofri Cnaani: Drawing of Drawing Sessions

As part  of A.I.R at Governors Island, Cnaani will present a new participatory performance on Saturday, June 17th at 1pm. Join us at House 4A, Nolan Park, Governors Island!

 

Drawing of Drawing Sessions is a participatory performance rooted in the conventional method of a plein-air landscape drawing session. In the picturesque setting of Governors Island every session will begin with one person sitting outside drawing the landscape; only a few meters behind, a second person will sit, working on a drawing of a person drawing a landscape; a short distance beyond the second, a third is seated, forming a line of drawers of drawers, turning the natural mise-en-scene into a pedagogical mise-en-abyme.

The first performative session is an hour and will include several canonical drawing assignments.  After each assignment, the first in line will move to the end, turning the performance itself into a drawn human line that is constantly moving through its surroundings.

This transdisciplinary investigation challenges the conversation between the concepts of skill, expertise, art training, and the act of seeing.

A.I.R. at Governors Island

JUNE - OCTOBER, 2017

A.I.R. is pleased to announce its fourth season of activities on Governors Island. Located at House 4A, Nolan Park, the program will include exhibitions, artist talks, performances, screenings, and will host the inaugural A.I.R. Summer Residency.

 

Inaugural Summer Residency
The A.I.R. Summer Residency is an eight-week program which offers an opportunity for artists aligned with A.I.R.’s mission, working in all disciplines, to advance their work in an immersive studio environment. On July 29th and 30th, and September 16th and 17th, visitors are invited inside the resident’s studio spaces for our open|STUDIOS weekend. The residency will culminate in an exhibition and a program curated by Patricia Margarita Hernandez and Alexis Wilkinson.

The artists participating in the inaugural A.I.R. Summer Residency are:
Sarah Anderson
Ofri Cnaani
Mira Dayal
Rachel Guardiola
Emily Oliveira
Macon Reed
Barb Smith
Victoria-idongesit Udondian
Allison Wade

The house will be open on Fridays, Saturdays, and Sundays from 12-5pm from June to October. A.I.R. will hold artist talks, performances, and screenings every Saturday throughout the season.

Two-day Quilting Bee

Join us at A.I.R. for a two-day quilting bee, Friday & Saturday (June 2 & 3), in support of a new project by former Fellowship artist, Rachel Farmer.

In progress, one of the eight ceramic figures for Ancestors Traversing Quilts, 2017

In progress, one of the eight ceramic figures for Ancestors Traversing Quilts, 2017

 

Drop-in anytime between 12-6pm and Rachel will teach you the basics of hand-tying a quilt using a needle and yarn. Then apply your new skills to help complete two quilts.

As a 2013-14 Fellow, Rachel created a site-specific work on Governor’s Island, combining her ceramic sculptures (of ancestral pioneer women) with a quilted landscape. She is expanding this idea for a new installation at the Leslie-Lohman Museum of Gay and Lesbian Art (July –early September), which follows two women helping each other climb a mountainous quilted terrain.

Rachel Farmer is a Brooklyn-based artist, originally from Provo, Utah. Her art encompasses a variety of media including sculpture, drawing, photography and video. She was awarded a 2013 – 14 A.I.R. Gallery Fellowship, which culminated in a solo exhibition. Group exhibitions include Torn and Fired: new work in collage and clay, curated by Jason Andrew (Outlet Fine Art, Brooklyn), Illegitimate and Herstorical, curated by Emily Roysdon (A.I.R. Gallery, NY), #throwbackthursday / #flashbackfriday, juried by Scott Chasse and Hrag Vartanian (Calico, NY), and Land + Place + Performance, curated by Laura Allred Hurtado (Granary Art Center, UT). Her work is included in the Feminist Art Base (digital archive, Brooklyn Museum) and in the collection of the Leslie-Lohman Museum of Gay and Lesbian Art. Rachel was a resident artist, through the Artist Studios Program, at the Museum of Arts & Design from February – May 2016. She received an MFA from the School of the Art Institute of Chicago and teaches at the Museum of Modern Art and the Whitney Museum of American Art.

For more information on the artist, visit rachelfarmer.com

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.