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Faith Ringgold Interviewed by Dena Muller Date: Sunday, Nov
NYFAI Interview: Faith Ringgold interviewed by Dena Muller Date: Sunday, Nov. 25th, 2007 D.M. O.k. it’s November 25th of 2007, we’re at Faith Ringgold’s studio in New Jersey, and conducting the oral history interview for the New York Feminist Art Institute. My name is Dena Muller interviewing Faith Ringgold. So, we’re going to start just talking about the earliest history of the New York Feminist Art Institute. The gala to raise money to open the New York Feminist Art Institute was in March of 1979 and it was at the World Trade Center and the piece there by Louise Nevelson was being featured as part of the gala celebration and Louise was there. F.R. An outdoor piece. D.M. No, the indoor piece that was there (in lobby). F.R. The indoor piece. Now I’m completely foggy on that one. D.M. I raised it just to say do you remember the gala at all? You were involved in the New York Feminist Art Institute later, but do you remember the gala happening or do you remember hearing anything about it. F.R. Well, I’ll tell you, I’ve been in so many galas (laughter). D.M. We just want to . F.R. I remember there were lots of exciting things that happened. Most every week there was something, something to remember, something really historically moving that had to do with the feminist movement. And I know now that there is nothing. There is nothing. D.M. (hesitate) Right. F.R. -
Annual Report 2012
Cover Back Spine: (TBA) Front PMS 032U Knock out Annual Report 2012 LETTER FROM THE MAYOR 4 PART I: 2007–2012: A PERIOD OF AGENCY INNOVATION 11 PART II: AGENCY PORTFOLIO, FY12 37 PROGRAMSERVICES 39 PROGRAM SERVICES AWARD RECIPIENTS 40 CULTURAL DEVELOPMENT FUND PANELISTS 50 CULTURAL AFTER SCHOOL ADVENTURES GRANT RECIPIENTS 53 CULTURAL INSTITUTIONS GROUP 58 CAPITALPROJECTS 63 CAPITAL PROJECTS FUNDED 66 RIBBON CUTTINGS 68 GROUNDBREAKINGS 69 EQUIPMENT PURCHASES 69 COMMUNITY ARTS DEVELOPMENT PROGRAM 70 30TH ANNUAL AWARDS FOR EXCELLENCE IN DESIGN RECIPIENTS 71 PERCENT FOR ART PROGRAM 72 MATERIALS FOR THE ARTS 74 RECIPIENTS OF DONATED GOODS 76 PARTICIPATING SCHOOLS IN ARTS EDUCATION PROGRAMS 88 CULTURAL AFFAIRS ADVISORY COMMISSION 90 MAYOR’S AWARDS FOR ARTS AND CULTURE 91 DEPARTMENT OF CULTURAL AFFAIRS STAFF 92 P HO TO CREDITSPHOTO 94 ACKNOWLEDGEMENTS 95 4 Letter from The Mayor NEW YORK CITY: STRENGTHENING INVESTMENT IN THE ARTS Our City’s cultural organizations are essential arts are to New York City’s vibrancy and to improving to ensuring that New York remains one of the world’s the lives of New Yorkers and visitors from around the great cities. A magnet for talent from around the world, world. In addition, the development of new information our creative community is also a thriving small business technology systems has enabled the Department to track sector that exists in every neighborhood throughout these services and further advocate on behalf of culture’s the five boroughs. That is why our Administration has tremendous impact on our City. made supporting the arts a top priority, and why over And we continue to push boundaries in expanding our the past five years—despite challenging times—we have service to the creative sector. -
Double Vision: Woman As Image and Imagemaker
double vision WOMAN AS IMAGE AND IMAGEMAKER Everywhere in the modern world there is neglect, the need to be recognized, which is not satisfied. Art is a way of recognizing oneself, which is why it will always be modern. -------------- Louise Bourgeois HOBART AND WILLIAM SMITH COLLEGES The Davis Gallery at Houghton House Sarai Sherman (American, 1922-) Pas de Deux Electrique, 1950-55 Oil on canvas Double Vision: Women’s Studies directly through the classes of its Woman as Image and Imagemaker art history faculty members. In honor of the fortieth anniversary of Women’s The Collection of Hobart and William Smith Colleges Studies at Hobart and William Smith Colleges, contains many works by women artists, only a few this exhibition shows a selection of artworks by of which are included in this exhibition. The earliest women depicting women from The Collections of the work in our collection by a woman is an 1896 Colleges. The selection of works played off the title etching, You Bleed from Many Wounds, O People, Double Vision: the vision of the women artists and the by Käthe Kollwitz (a gift of Elena Ciletti, Professor of vision of the women they depicted. This conjunction Art History). The latest work in the collection as of this of women artists and depicted women continues date is a 2012 woodcut, Glacial Moment, by Karen through the subtitle: woman as image (woman Kunc (a presentation of the Rochester Print Club). depicted as subject) and woman as imagemaker And we must also remember that often “anonymous (woman as artist). Ranging from a work by Mary was a woman.” Cassatt from the early twentieth century to one by Kara Walker from the early twenty-first century, we I want to take this opportunity to dedicate this see depictions of mothers and children, mythological exhibition and its catalog to the many women and figures, political criticism, abstract figures, and men who have fostered art and feminism for over portraits, ranging in styles from Impressionism to forty years at Hobart and William Smith Colleges New Realism and beyond. -
The Evolution of Craft in Contemporary Feminist Art
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2010 The volutE ion of Craft in onC temporary Feminist Art Carolyn E. Packer Scripps College Recommended Citation Packer, Carolyn E., "The vE olution of Craft in onC temporary Feminist Art" (2010). Scripps Senior Theses. Paper 23. http://scholarship.claremont.edu/scripps_theses/23 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. The Evolution of Craft in Contemporary Feminist Art By: Carolyn Elizabeth Packer SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS Professor Susan Rankaitis Professor Nancy Macko May 3, 2010 This Senior Project is dedicated to my Grandmother, Gloria Carolyn Reich. Thank you for giving me the invaluable skills that have inspired my art and being the model for woman I strive to become. Thank you also to Professor Susan Rankaitis for inspiring my dedication to this project, and to Professor Nancy Macko for being such a supportive and encouraging advisor, thesis reader, and role model. 2 Women’s art is rooted in a long history of traditional craft practices. It is said that during the times of male-dominated society, if a woman had any brains she would explore her creativity through quilting, clothing design and needlework; creating utilitarian objects for the household to serve her husband and family. Being a part of an extended family lineage of talented and inspired craftswomen has provoked me to analyze the evolution of craft from a domestic practice into a higher form of feminist art. -
Susan Grabel Email: [email protected] Website
Susan Grabel email: [email protected] website: www.susangrabel.com RESUME Solo Exhibitions: 2017 Confluence: A Way Forward, Artspace@Staten Island Arts, Staten Island, NY 2016 Confluence: The Way Forward, Ceres Gallery, New York, NY 2015 The Venus Cycle, Gallery 66, Cold Spring, NY 2014 Faces of Alienation, Georgia College Museum, Georgia College, Milledgeville, GA 2013 The Venus Cycle, The MSB Gallery, NYU Langone Medical Center, New York, NY Venus Comes of Age, Ceres Gallery, New York, NY https://www.youtube.com/watch?v=hV94sYlbfPY 2012 Constructions of Conscience: The Social Art of Susan Grabel, Staten Island Museum, Staten Island, NY . http://www.youtube.com/watch?v=7HgwdS140Gk 2006 Venus Emerging, Soho20 Chelsea Gallery, New York, NY 2005 Re-Printing Venus (in collaboration with Jenny Tango), Vlepo Gallery, Staten Island, NY 2004 Earth Venus: Sculpture to Collagraph, Art Lab Gallery, Snug Harbor Cultural Center, Staten Island, NY 2003 Venus Pinups (in collaboration with Jenny Tango), Williamsburg Art Nexus, Brooklyn, NY 2001 Project Venus: Reinventing Venus (in collaboration with Jenny Tango), The Elizabeth Foundation, Ceres Project Rm, New York 2000 Reinventing Venus (in collaboration with Jenny Tango), Wagner College Gallery, Staten Island, NY 1996 Susan Grabel, Sonnenschein, Nath & Rosenthal, New York, NY 1993 Among the Shadows, Prince Street Gallery, New York, NY 1990 Susan Grabel, Wagner College Gallery, Staten Island, NY 1989 Homeless in the Land of Plenty, Prince Street Gallery, New York, NY 1985 Susan Grabel sculpture, -
Nancy Azara Amy Brener Matthew Craven Melanie Daniel Jeffrey Gibson Emily Noelle Lambert September 12 - October 19, 2013 Trish Tillman
Nancy Azara Amy Brener Matthew Craven Melanie Daniel Jeffrey Gibson Emily Noelle Lambert September 12 - October 19, 2013 Trish Tillman Asya Geisberg Gallery is pleased to present Totem: an exploration of both the aesthetic qualities of totemic sculpture, as well as the symbolic, narrative, and trans-cultural borrowing of indigenous motifs endemic to much current art and culture. With a combination of sculpture, painting, and works on paper, the exhibition finds traces of a notion of totem whether in material or narrative choices, in works by seven artists from diverse origins. Jeffrey Gibson draws on his Native American heritage, and confounds the conventions of strict identity politics by combining it with Modernist abstraction, while Matthew Craven jumps across nations and cultures, disrupting strictly “authentic” narrative implications. Trish Tillman investigates her newly-discovered Native-American heritage for its suggested personal mythology, and conflates it with her pre-existing interest in the shamanistic rituals of everyday life. Melanie Daniel and Nancy Azara explore the narrative power and traditional totem’s use of figurative and animal parts, as symbolic, repetitive, and non-mimetic strategies. Amy Brener and Emily Noelle Lambert create towering, repetitive and stacked forms in freshly distinctive approaches and materials. Totems, in their original northwest coastal context, are an expression of ancestral pride, representing the divine origins of families. In their establishment of a constructed family lineage, they are akin to European heraldic crests. They also find parallels in carved figurative totems from Papua New Guinea, the anthropomorphic stacked Inushguks of the Inuktituk, African spirit totems, and the cross-cultural appeal of simple forms of cairns or a Louise Bourgeois or Brancusi sculpture. -
Winter 1989 CAA Newsletter
Newsletter Volume 14, Number 4 Winter 1989 CAA Makes Statement on Corcoran Decision At the October 14, 1989, meeting of the lectual self-expression. It would be a bition. but we must refrain from approach Board of Directors of the College Art breach of faith to our constituency if we did ing the Corcoran Gallery with proposals Association, Judith Brodsky, on behalf of not now speak out in support of the artists for events in conjunction with the 1991 the Artists Committee, of which she is who have over the past few months with national conference until such time as you chair, proposed a motion that CAA make a drawn their work from Corcoran-sponsored make progress in rethinking your goals statement on behalf of its membership exhibitions in protest over the cancel and policies to develop guidelines based on directed to the Board of Trustees of the lation of the Robert Mapplcthorpe show. the right to self-expression which has Corcoran Gallery of Art in Washington, We also want to go on record in our nourished the art of our country. We want D.C. The committee urged the Corcoran's own right as expressing our deep disap to express our encouragement for your board to respond to the Corcoran' s pointment over the revocation of your doing so. We also offer any expertise that cancellation of the Robert Mapplethorpe commitment to mounting that exhibition. might be helpful to you. exhibition. The following letter was sent We hope that in the wake of subsequent We realize the difficult nature of this to the Corcoran's Board of Trustees on events, you are in the process of develop situation, but we are confident that you will November 12, 1989: ing a policy of noncensorship. -
Matchmaker PR
Since 1973, a gallery promoting the work of women artists and serving the community through public events _________________________________ 547 W. 27th Street, Suite 301 New York, NY 10001 (212) 367-8994 (212) 367-8984 fax Tues. – Sat. 12 – 6PM [email protected] For Immediate Release: www.soho20gallery.com S BOARD OF DIRECTORS Matchmaker Nancy Azara Amanda Buonocore, Ginny Huo, Naoko Ito, Krista Peters and Allyson Darla Bjork Joan Giordano Ross Lucy Hodgson Eve Ingalls Jacqueline Joseph Desirée Koslin January 31 – February 25, 2012 Francine LeClercq Patricia Mann nd Cynthia Mailman Opening Reception: Thursday February 2 , 6-8pm Herb Maletz Nancy Myers Vernita Nemec Matchmaker is a group exhibition featuring the work of five artists who have been the recipient of the studio residency program at SOHO20 Chelsea gallery. Curated by gallery director Jenn Dierdorf, the BOARD OF ADVISORS selected works demonstrate each artist’s interest in joining disparate parts and seeking a new balance with the whole. To varying degrees their work can be viewed as reinterpretations of social paradigms Linda Cunningham Ann Sutherland Harris in relation to sex, communication, meme and myth. As each artist scrambles these familiar motifs we Harriet Lyons eventually arrive at a new and poignant vantage from which to look at ourselves. Cynthia Navaretta Faith Ringgold Miriam Schapiro Amanda Buonocore’s piece, Someone for Everyone, examines the public nature of the newspaper versus the privacy of the bedroom. Through various interventions Buonocore pushes the original GALLERY DIRECTOR intention of the author’s post far beyond the pages of the newspaper and into the world itself. -
Joan Arbeiter Interviewed by Dena Muller Date: September 20Th, 2006
NYFAI Interview: Joan Arbeiter interviewed by Dena Muller Date: September 20th, 2006 Edited for clarity by J.A. DM: When did you first become involved with NYFAI? JA: Shortly before NYFAI opened its doors in 1979, I spotted a brief notice about it in Ms. Magazine. It interested me so much that I can still recall exactly where I was when I saw it. DM: What was the notice? Was it advertising for administrative help? JA: No. It was the announcement of the Gala Opening of NYFAI at the World Trade Center. So, I went to the opening and saw Louise Nevelson make her dramatic appearance as honored guest. It was a celebration. Donna Henes wove us all together with string and symbolism. There were wonderful happenings that evening – which was my first experience with this kind of female energy. DM: Why did you become involved? JA: Well, I was ready to return to school after my marriage and children had reached a certain level of maturity. I was picking up the threads of my formal education, which I began as an art major in college. I was ready to get my MFA and wanted to become a college art teacher, a Professor of Art. I had recently enrolled in a patriarchal institution for my MFA, and one of the elective courses was finding yourself an Internship. I decided to use this course as an opportunity to get as much experience in as many places as I could – and one of these places was NYFAI. I became a working intern at NYFAI and other places, and in turn I received graduate credit. -
Aphrodite Désirée Navab CV Website: Email: [email protected]
A.I.R. Aphrodite Désirée Navab CV website: http://aphroditenavab.net/ email: [email protected] EDUCATION Ed.D. Teachers College, Columbia University Ed.M. Teachers College, Columbia University MA Teachers College, Columbia University AB Harvard University SOLO EXHIBITIONS/SOLO PERFORMANCES 2018 The Homeling, Johannes Vogt Gallery, New York, NY. Curated by Roxana Fabius, director of A.I.R Gallery The Homeling, public performance, curator-led discussion by Roxana Fabius 2016 The Blind Owl Meets the Hunger Artist. Studio 26 Gallery, New York, NY 2013 I Am Not a Miniature. SOHO20 Chelsea, New York, NY Friend/Doost/Philos. Performance art sponsored by The Feminist Art Project in conjunction with SOHO20 Chelsea. SOHO20 Chelsea, New York, NY 2011 Super East-West Woman: Forty Pillars. SOHO20 Chelsea, New York, NY The Undoing, Performance art in the series curated by Anne Apparu: The Hostess Never Lies. Johannes Vogt Gallery, New York, NY Super East-West Woman’s Sufi Dance: Egypt. Skylight Gallery, New York, NY 2010 Super East-West Woman’s Sufi Dance. Performance art, Zora Space, New York, NY She Speaks Greek Farsi. SOHO20 Chelsea, New York, NY HermAphrodite. Performance art. Zora Space, New York, NY 2009 Call Me Anar. Performance art. SOHO20 Chelsea, New York, NY She Speaks Greek Farsi. ICC Athens, Greece 2008 Selected Works sponsored by Washington Square Review. New York University, Lillian Vernon Creative Writers House, New York, NY 2007 Super East-West Woman: Living on the Axis, Fighting Evil Everywhere. Rhonda Schaller Studio, New York, NY 2005 Tales Worth Retelling. Charles Culpeper Photography Gallery, New York, NY Re-Collecting Iran. -
Nancy+ Azara+ CV
A.I.R. NANCY AZARA CV website: nancyazara.com email: [email protected] EDUCATION AAS Finch College, N.Y. BS Empire State College S.U.N.Y Art Students League of New York, Sculpture with John Hovannes, Painting and Drawing with Edwin Dickinson Lester Polakov Studio of Stage Design, New York City SELECTED SOLO EXHIBITIONS 2021 High Chair and Other Works, A.I.R. Gallery, Brooklyn, NY 2020 Gold Coat with Red Triangle, Gallery Z, Windows Exhibition, New York, NY 2019 The Meeting of the Birds, curated by Robert Tomlinson, Kaaterskill Fine Arts Gallery, Hunter Village Square, NY 2018 Nancy Azara: Nature Prints, a cabinet installation, curated by Claudia Sbrissa, Saint John’s University, Queens, NY 2017 Passage of the Ghost Ship: Trees and Vines, The Picture Gallery at The Saint- Gaudens Memorial, Cornish, New Hampshire 2016 Tuscan Spring: Rubbings, Scrolls and Other Works, curated by Harry J Weil, A.I.R. Gallery, Brooklyn, NY 2015 Allegory of Leaves, (3 person show) The Harold B. Lemmerman Gallery, New Jersey City University, Jersey City, NJ 2015 I am the Vine, You are the Branches, St. Ann & the Holy Trinity Church, Brooklyn, NY 2013 Of leaves and vines . A shiing braid of lines, SACI Gallery, Florence, Italy 2012 Natural Linking, (3 Person Show) Traffic Zone Center for Visual Arts, Minneapolis, MN 2011 Spirit Taking Form: Rubbings, Tracings and Carvings, Gaga Arts Center, Garnerville, NY 2010 Spirit Taking Form: Rubbings, Tracings and Carvings, Fairleigh Dickinson University, Teaneck, NJ 2010 Nancy Azara: Winter Song, Andre Zarre Gallery, NYC, NY 2009 Nancy Azara, Suffolk Community College, Long Island, NY 2008 Nancy Azara, Sanyi Museum, Miaoli, Taiwan 2008 Maxi’s Wall, A.I.R. -
N.Paradoxa Online Issue 13, Sept 2000
n.paradoxa online, issue 13 September 2000 Editor: Katy Deepwell n.paradoxa online issue no.13 Sept 2000 ISSN: 1462-0426 1 Published in English as an online edition by KT press, www.ktpress.co.uk, as issue 13, n.paradoxa: international feminist art journal http://www.ktpress.co.uk/pdf/nparadoxaissue13.pdf September 2000, republished in this form:January 2010 ISSN: 1462-0426 All articles are copyright to the author All reproduction & distribution rights reserved to n.paradoxa and KT press. No part of this publication may be reprinted or reproduced or utilized in any form or by any electronic, mechanical or other means, including photocopying and recording, information storage or retrieval, without permission in writing from the editor of n.paradoxa. Views expressed in the online journal are those of the contributors and not necessarily those of the editor or publishers. Editor: [email protected] International Editorial Board: Hilary Robinson, Renee Baert, Janis Jefferies, Joanna Frueh, Hagiwara Hiroko, Olabisi Silva. www.ktpress.co.uk n.paradoxa online issue no.13 Sept 2000 ISSN: 1462-0426 2 List of Contents Defining Experiences: Feminist Exhibitions in the 1990s 4 In September 2000, n.paradoxa asked a number of artists, critics and curators for a short quote or statement in response to the questions below: What is your most memorable experience of a feminist/ women's art exhibition in the past 10 years and why? Did it challenge or change your understanding of feminism? Responses from Yoshiko Shimada, Irina Aktuganova, Lynn Hershman,