Community Cultural Hub: Rethinking CUE

CUE is offering a New Opportunity    

an annual open call 

for exhibition submissions!!!

The traditional gallery space is under scrutiny. There is a growing emergence of new and innovative ways artists share their work with the public, outside the commercial sphere. Additionally, collectivism and community outreach have become imperative to the survival and success of many artists’ creative practice. Recognizing the relevance of these current trends, CUE’s inaugural open call seeks proposals that utilize CUE’s space through rethinking the gallery’s function as a site for cultural exchange and re-evaluating the artists’ and the public’s role in a traditional exhibition space. Proposals must seek to utilize the gallery space in a non-traditional manner, address a wider audience than the regular, gallery-going public, and promote the activity of artists over the art object. Keeping in line with the spirit of inclusivity, proposals may not be for solo exhibitions; submissions must involve more than one artist in some manner. 

This theme is kept purposely broad by the organization, in hope that this will open the door for a wide variety of interpretations and ideas. As is core to our mission, CUE trusts that those immersed within their creative communities always provide the most interesting and enriching perspectives and ideas.

The theme for the open call will change each year, and the selected applicant will receive the entire gallery space for a 7-week long exhibition, a $500 stipend, and a maximum budget allotment of $2,000. The theme this year is: Community Cultural Hub: Rethinking CUE's Space. CUE is looking for applications that:

1. Utilize the gallery space in a non-traditional manner.
2. Address a wider audience than the typical gallery-going public.
3. Promote the activity of artists over the art object.
4. Involve more than one artist (2 or more).

These guidelines are purposely kept vague to help spawn as diverse a range of ideas as possible. Any person or group can apply. CUE is looking for artists, writers, curators, and everyone in between with great ideas. The applicant must be working or residing in U.S., Canada and Mexico. The deadline for this year's open call is March 31st, 2011.

CUE Art Foundation is a non-profit forum for contemporary art that provides extraordinary opportunities for under-recognized artists and compelling encounters for audiences. CUE gives artists, students, scholars and art professionals resources at many stages of their careers and creative lives. We also offer comprehensive arts education programs for artists and students, and interdisciplinary arts events for public audiences from our large storefront venue located in the heart of New York City’s Chelsea Arts District.

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UROS HOUSE by Grimanesa Amorós

The Armory Show, Times Square Alliance, and Nina Menocal Gallery are presenting Uros House, a lighting sculpture by Grimanesa Amoros during Armory Arts Week at Duffy Square.

 

The Public Art Program in collaboration with The Armory Show exhibit four large sculptures by Grimanesa Amorós, Tom Otterness, David Kennedy Cutler, and Niki de Saint Phalle between March 1-7, 2011. The exhibition is made possible with the support of the Rockefeller Foundation, the Rockefeller Brothers Fund, the New York City Department of Cultural Affairs and Artlog.com. 

Times Square at Duffy Square, 46th Street and Broadway

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Woman Made Gallery - Chicago

14th International Open

March 2011

March 4 - April 28, 2011
Artist Reception: March 4 / 6 - 9 p.m.
14th International Open, group exhibition juried by Laura Anderson Barbata
Solo Show by Priti Cox, first prize winner of 13th International Open
Artisan Gallery Exhibition functional craft works by women.

If you are in the Chicago area on March 4th  stop in !!!

Juror(s) : Laura Anderson Barbata
Born in Mexico City, Laura Anderson Barbata has exhibited internationally since 1986. She currently lives and works in New York City, Venezuela, and Mexico City, where she is Professor at the Instituto Nacional de Bellas Artes—Escuela Nacional de Pintura, Escultura y Grabado la Esmeralda.
Her work is included in various private and public collections, among them the Metropolitan Museum of Art, New York; Museo de Arte Moderno, Mexico City; and Landesbank Baden-Württemberg, Stuttgart, Germany.
Anderson Barbata has received several awards from the Instituto Nacional de Bellas Artes for her drawings, photographs, and children's rehabilitation toys. In 1999 she was the recipient of a six-year artist grant from the Fund for Culture and Arts of Mexico.
Since 1992 Anderson Barbata has worked primarily in the social realm, initiating projects in Venezuela, Trinidad and Tobago, Mexico, Norway, and the U.S.. Among these projects is her collaboration with Moko Jumbies stilt walkers. This project has been presented at various museums and schools, among them the Modern Art Museum of Fort Worth, Texas; The Museum of Modern Art, New York City; on 24th Street in Chelsea, Brooklyn, New York; and in Oaxaca, Mexico. For more information, visit www.lauraandersonbarbata.com/.

Curating Thoughts

"Because I am an artist not a curator, when I was invited to curate the 14th International Open Exhibition for Woman Made Gallery I was at first hesitant to undertake this responsibility. After careful consideration, however, I decided that it was important for me to support this endeavor because I believe that the work of women artists needs more exposure.

I also wanted to experience the role of curator. Having been on the other side of the table in so many selection processes, I knew that I could learn much from this new perspective. I was interested in reversing the roles so that I could further understand the process a curator must go through to "choose" what is or is not included in an exhibition.

The challenge was far greater than I had expected. The sheer number of submissions was monumental. Furthermore, the level and range of professionalism, technique, medium, style, mode, voice, approach and experience was broad in every sense of the word. It was obvious to me that some artists had more experience and formal education in the arts, while others clearly had arrived to art-making through a different route. All of these, I might add, informed the submissions in interesting and unique ways.

As I reviewed the submissions, every one of them spoke with sincerity and courage. I was concerned over the inevitable reality that through my selection I would leave out many valuable perspectives. I wanted to include them all in the selection! Nonetheless, given that this was not an option, I carefully and thoughtfully reviewed each work and made every effort to assemble an exhibition that captures the rich diversity of expressions and voices of women artists today.
I applaud each courageous woman whose work I had the privilege of experiencing and am honored to have been chosen to dialogue with each of them through their work. Whether selected to participate in the exhibit or not, I encourage each one to continue to make her voice heard and to be relentless in her endeavors as an artist".

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Former A.I.R. Fellow Lauren Simkin Berke has recent work published in The LA Times and The Nashville Scene

Check out this articles illustrated by the artist Lauren Simkin Berke

"Strings Attached" by Judy Blundell

"Strings Attached" is an equally evocative work of midcentury modern storytelling. An elegantly written and meticulously plotted murder mystery that unfolds in the Northeast during the Korean War, "Strings" is an appealingly retro take on a coming-of-age story that is refreshingly novel in the modern YA genre, even if it does share similar character and subplot details with its predecessor: a war that weighs heavily on the culture, dividing a beautiful woman from a jealous man, and a death that reveals a covert affair, unraveling a tangled web of family secrets (...).

And also "Heart Conditions" in Mashville Scene

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Susan Broughel's exhibit

A.I.R Gallery former Fellow Susan Broughel's exhibition

Jones Hall Gallery to Feature New York-Based Artist Suzanne Broughel February 24-March 25

Suzanne Broughel a New York based artist working in sculpture, installation, and photography will show her work in "Lied, Tied & Dyed" at the U of M's Jones Hall Gallery (located in Jones Hall, room 109), February 24 through March 25. An opening reception will be held on February 24 from 5-7 p.m. Broughel and  

Michael Paul Britto will give an artist talk on February 23 at 6 p.m. 

Broughel's work addresses race and cultural identity from the perspective of a white American female raised in a racially charged environment. Using everyday household objects as art materials, she sifts through autobiography, history, and popular culture to address white skin privilege and question the construct of whiteness. Her work has been exhibited in New York City at P.S. 1/MOMA, Rush Arts Gallery, Longwood Art Gallery, JCAL, and Onishi Gallery, among others. She participated in the Emerge 8 Exhibition at Aljira Center for Contemporary Art and was a 2008 participant at Skowhegan School of Painting and Sculpture. She is currently a fellow at AIR Gallery in DUMBO, Brooklyn.

About the motivation for her work, Broughel notes: "Post-racial has become a buzzword, yet serious inequalities persist. The social movements of the 1960s and '70s had their successes and shortcomings, and global capitalism has found ways to cynically co-opt diversity. I grew up in a racially charged environment, but as an artist, it was difficult for me to enter the dialogue on race.  I learned that for me the personal, autobiographical voice is strongest. My art materials became everyday household objects.  adhesive bandages, soap, bed sheets, shoelaces, skin bronzers, things that we put on our skin, sleep on, and wear. So, even though they are commodities, they enter a realm of intimacy as we bring them into our homes and use them on our bodies. My focus is on addressing white skin privilege and economic racism, and the obtaining of materials is often an important part of my work. I've walked a forty acre parcel of land around Manhattan's African Burial Ground to inventory skin shades of adhesive bandages and searched for black-owned businesses in Newark, New Jersey from which to buy soap. Experiences such as these impact me and help inform my work."

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A Feminist Tea Party

Mira Schor 

An article about The Feminist Tea Party that was part of the Women's Caucus for the Arts LIVE space events at CAA

A Feminist Tea Party was held in New York City today, hosted by New York-based visual artists Caitlin Rueter and Suzanne Stroebe.

At "Ask Me, I Will Tell," a panel sponsored by the Women's Caucus for Art's LIVEspace at the College Art Association's Annual Conference, in the unlikely space of a narrow hotel conference room, Rueter and Stroebe offered panelists and the assembled audience of dedicated feminist women of all ages (and two hardy men!) a proper high tea complete with porcelain cups, slices of lemon, miniature pink-iced cupcakes, strawberries, and ginger cake. As always for these occasions, they were dressed in elegant 1950s clothing to slyly poke fun at the Tea Party movement's apparent nostalgia for a time when women were still ladies, and women's liberation was still but a gleam in their mother's eye. 

In the face of the bizarre "Mama Grizzly" equation between feminism and shooting moose, Rueter and Stroebe began their "A Feminist Tea Party" project last year as a response to the provocation of the Tea Party Movement protests. "I would love to have a conversation with a tea partier, which I've never have had the chance to do," Rueter told me. She and Stroebe were also motivated by Sarah Palin's occasional assertions that she's a feminist. While they support her or anyone else's right to be able to self-identify as a feminist, they wonder what it means for the feminist movement if the mainstream media or general public accept this identification, given that Palin's policies and those of the Tea Party movement are so often against the interests of women, including their position on abortion rights, education, healthcare, and environmental concerns, among others.  

(...) to read the entire article click here

 

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Jean Judd, Textile Artist

Textile artist Jean M. Judd of Cushing, Wisconsin has been juried into the Midland Arts Association 2011 Spring Juried Art exhibition to be held at the Museum of the Southwest in Midland, Texas. Her artwork, Contaminated Water #2 (Pond Scum), is one of the artworks selected for the exhibit. The exhibition will feature 74 artworks selected from 257 entries. 

 

The juror for the exhibition was illustrator Leslie D’Allesandro Hawes of Midland, Texas and Tucson, Arizona.  This program is partially supported by the Texas Commission on the Arts and the Arts Assembly of Midland.

The exhibition opens on March 10, 2011. An opening reception and awards presentation is on March 10, 2011 from 7 to 9 pm.  Over $4,000 in monetary awards will be given to exhibiting artists. The exhibition closes on April 10, 2011. The address of the facility is the Museum of the Southwest, 1705 West Missouri Avenue, Midland, Texas  79701. Visit the Midland Arts Association for the list of accepted artists http://www.midlandartsassociation.org/ and the museum’s web site, http://www.museumsw.org/  for more information about the exhibition or call 432-683-2882.

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Brainstormers invite you to a panel at CAA

Ask Me, I Will Tell

A conversational event, held in the set of a mid-century tea parlor. We will be addressing ways gender is performed among artists and curatorial collectives today.

Moderated by Yulia Tikhonova

Hosted by Suzanne Stroebe and Caitlin Rueter of A Feminist Tea Party

Panelists:

Elaine Kaufmann & Danielle Mysliwiec, The Brainstormers Lauren Denitzio, for the birds collective Petruska Bazin, Project Space

Thursday, February 10, 2011 / 10am - 12pm

Women's Caucus for Art, CAA Annual Conference

Hilton New York, 1335 6th Ave, 4th Floor

New York, NY 10019

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The DUMBO Arts Festival is a feast for the senses that attracts 200,000 visitors over 3 days with the participation of over 500 artists from a variety of disciplines, 100 studios, 50 galleries and stages and 100 programming partners. This year, the Festival will take place on Friday, September 23rd, Saturday, September 24th and Sunday, September 25th. The official Festival hours are Friday 6pm to 9pm, Saturday 12pm to 8pm, Sunday 12pm to 6pm and 6pm to midnight all three nights for all outdoor projections. 

Each year the DUMBO Arts Festival seeks to highlight Brooklyn’s commitment to and presence in the arts community by presenting the best in local, national, and international art amid the breathtaking backdrop of the Brooklyn Bridge and the Manhattan skyline.

Art revelers can enjoy: visiting artists in their studios or making murals on the street; musicians, dancers, poets, performance and circus artists throughout the neighborhood, on street corners, sidewalk stages and in the park; communing with instrument makers in workshops; hearing from tech gurus about the latest advances; and joining walking tours to hear city historians share little-­known stories of the neighborhood.

You are invited to participate in the festival that brings DUMBO’s creativity to the world and the world’s creativity to DUMBO every Fall.

We must stress that all projects must be open continuously during the official Festival hours. Please consider carefully if you are able to undertake this three day commitment before submitting your application. Projects that close early undermine the “official Festival hours” mandate of the event.

The Dumbo Arts Festival is produced by Dalzell Productions and Two Trees Management. Two Trees is also the Founding Sponsor of the event. Other sponsors support specific exhibition areas and projects.

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Dancing with the Dark

Dancing with the Dark

 
Joan Snyder Prints 1963-2010 

Dancing with the Dark: Prints by Joan Snyder 1963-2010, the first retrospective of the artist’s prints, displays the extraordinary range of Joan Snyder’s distinctive graphic achievement. A Rutgers alumna, nationally-noted painter, and 2007 MacArthur Fellow, Snyder has developed a powerful body of work that explores aspects of nature, humanity and identity. A pioneering feminist artist who was championed early in her career, Snyder has infused her works with physical energy and vibrant color to express deeply personal experiences. For over 45 years, she has created remarkable prints full of passion and zeal, in addition to her widely acclaimed paintings; over 110 prints will be featured in this exhibition. Her adventurous, if unorthodox, approach to printmaking challenges traditional uses of graphic media. Snyder restlessly combines different print techniques, then varies them with painterly applications of color ranging from melancholy darks to sensuous hues to shocking accents. The visual eloquence and vigorously applied techniques in the resulting prints, which are full of confessional and memorializing iconography, invite engagement with their raw emotional power.

This major exhibition presents rare uneditioned prints, unique hand-colored monoprints, and outstanding examples of editioned prints with selected variant impressions or working proofs. The exhibition ranges from Snyder’s earliest woodcut portraits, executed during her student years, to “hot off the press” prints. Many of the images and variant proof impressions are borrowed from the artist; other works are from the Zimmerli Art Museum’s collection or from other museums and private holdings.

 

This exhibition will be accompanied by the first illustrated monograph documenting Joan Snyder’s prints, with essays by Faye Hirsch, the noted contemporary arts writer and senior editor at Art in America, and Marilyn Symmes, the exhibition’s organizing curator and the Zimmerli’s Director of the Morse Research Center for Graphic Arts and Curator of Prints and Drawings.

Artist's Lecture Sunday, February 13, 2pm

Joan Snyder 

How it happens/Making Prints and Paintings

$10 admission; $5 Zimmerli members. Free to Rutgers faculty, staff, and students.

Zimmerli Art Museum

Rutgers University

71 Hamilton Street

New Brunswick, New Jersey

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A.I.R. Gallery and Meghan McInnis Host

Empty Track

Friday February 25, from 6PM to 8PM

A.I.R. Gallery is pleased to announce Empty Track, an interactive karaoke event by 2010-2011 A.I.R. Fellowship Artist, Meghan McInnis. The event is free and open to the public.

Empty Track invites the public to energize the gallery space: to perform and to participate. Karaoke allows it’s participants to interact in a liminal space where there is virtually no separation between performer and audience. As long as there has been Karaoke, it has been both culturally significant and accessible to the general public. In honor of A.I.R.’s history and its support of women in the arts, Empty Track will emphasize musical tracks from women artists, from 1972 to the present.

Empty Track will take place during McInnis’ solo exhibition at A.I.R. Gallery, Spiritus: our collected breath. The stage installations, studies of mosh pits and photos of isolated screaming faces reflect a community with a short history but strong bonds amongst its members. Our collected breath refers to the energy we carry with us, recognizable by others holding the same communal energy long after the show is over.

Meghan McInnis grew up in Florida, and lives and works in New York. She received her MFA from Parsons School of Design. Her photography has been exhibited at PhotoNOLA, featured in Photographers Forum Best of Photography 2010, Street or Studio at the Tate Modern, and in publications such as Nomenus Quarterly. For more information, visit her website at www.meghanmcinnis.com. Spiritus: our collected breath is her first solo show.

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Lady-Style

Revolution Lady-Style NOW! 

Permanent Wave’s Live Performance Series

 

GET OFF THE INTERNET AND REVOLUTIONIZE YOUR SUPER BOWL SUNDAY! Permanent Wave’s Feminist Performance Series, Sound Wave, kicks off Sunday, February 6th, 2011.

Music, Poetry, Art and Baked goods

This is a benefit for the Center Against Domestic Violence in Brooklyn, and the theme of the event is Relationship Violence.  Both showgoers and performers will have a chance to engage in activities relating to awareness and activism!

Permanent Wave is a feminist group that knows women are more than groupies and merch girls. We value art from female, trans, and LGBTQ people that challenges the norm. We believe that women should see other women as collaborators and inspirations, not rivals. We want to rip the band-aid off the halted conversations and change the way women are treated.

 $7 at the door / 8pm
 

Death By Audio
49 S. 2nd St. between Kent and Wythe
Brooklyn
L train to Bedford Ave.
JMZ trains to Marcy Ave.
G train to Broadway

 

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A.I.R. Alumnae artist: Sue Hettmansperger

Sue Hettmansperger is speaking on the panel: 

"Painting: Practice as Strategy" 

at the College Art Association Conference !

Chair and Discussant: Thomas G. Berding, Michigan State University

In the last half century the practice of painting has arguably undergone a fundamental shift, moving from a nearly tautological exercise to a language overflowing the confinements of past ideological constructs. Additionally, with the increasing number of screen-based experiences in contemporary life, the role of kinesthetic learning has been reanimated and the discourse between the artist project, the object, and audience resituated. While many critical positions have framed painting as a site of single authority, ahistorical significance, and ontological theory, this panel provides alternate narratives that address not only the strategy of painting but the particular humanistic and artistic opportunities it offers as a practice distinctly embedded in the world in its processes and its sources. Each presentation and the ensuing panel discussion explore how the painting practice activates multiple ways of knowing and engages divergent, indeterminate, and reciprocal material and conceptual processes.

Painting and Vigilance
Shona Macdonald, University of Massachusetts, Amherst

This paper encourages those engaged with painting to keep watch, to stay awake. “Vigilance” is defined as a state of “attention that must be sustained over time.”I investigate this state of vigilance through its relationship to painting in the following ways. We are vigilant of paintings’
history. We are vigilant of our hands moving in the studio. We are vigilant of how the work unfolds before us. We are then vigilant while we “watch” paintings in museums. We are vigilant of ourselves, our reactions, as we look. We are vigilant of others while they look at paintings. Finally, paintings are vigilant of us or, as Merleau-Ponty describes in Eye and Mind, painting is “the attempt to catch the ways in which the visible world shows itself back to us, almost looking back at us as it reverses our vision of it.”

Painting as Artifact
Sue E. Hettmansperger, University of Iowa

Artists hope the future will regard their work as an artifact of their era, an embodiment of important issues on what it is to be human today. Painting, as a continually renewable fictive arena, seeks to extend what is pictorially possible. It acknowledges sharing the stage with virtuality and can posit a topological space that mirrors a hybrid twenty-firstcentury world. As I combine representations of the body, botanical form, manufactured objects, and digital effects, I reflect on the current cultural moment. Paint’s material substance conforms with the structure of space, blending analogue and digital through a collision of unlike elements on the picture plane. These emblematic configurations present the disjunctive ethos of our time, where boundaries between organisms are increasingly blurred. Signaling the interdependence of human and botanical, organic and inorganic systems in a conflicted embrace, painting muses on cultural production, sustainability, and our problematic relationship with nature.

Neither Pure nor Flat: Developing Frameworks for Painting
Mariangeles Soto-Diaz, Abstraction at Work

This presentation develops a model for “visual-conceptual” frameworks from which to theorize painting in ways that effectively liberate it from the structural isolation resulting from Greenberg’s entrenched notion of painting’s self-referential position. Using a combination of Gilles Deleuze and Félix Guattari’s spatial concepts and my own, each of the frameworks has a reconfigured abstract topography. Under this visualconceptual model, visual and conceptual planes shift, overlap, and merge as necessary; complexity and inclusion are privileged; doubt and chaos are understood as productive forces working to cast painting in
the affirmative light of potential.

Caught in Flux
Matthew Kolodziej, University of Akron

Painting is both an activity and an image predicated on contradictions of process and interpretation. Meaning forms in the making and in the viewing between collecting, assembling, manipulating, and describing. Today fragmentation, compression of information, and the quality of information are factors that form an urgent and dislocating space for painting. How a subject is defined has become more important than what is defined. Painting is a site situated between the fact of the material of paint on the canvas and the theater of representation. This paper focuses on how archaeology and science inform the making and meaning of an image. These filters appear to be ones that shed insight and clarity into representation. However, perceptions shift through overlapping processes of photography, drawing, mapping, collage, and entropy. This paper proposes that the vital quality of painting is its ability to navigate between assertion, confusion, and doubt in the image.

Serious Pleasure: The Stockholm Syndrome, or Learning to
Love My Captors
Su Baker, University of Melbourne

The twentieth-century practice of painting was dominated by strategies like a game of chess, a game of strategy and power. What happens if this shifts to a strategy of seduction? Are painters really compelled to fall in love with their captors, this continuity of discourse, out of
mortal fear, one that transforms into love? A new discourse of painting remains identified with its history but is not a captive of it, not a return to an anti-intellectual essentialism or a form of reductive formalism, or to the abandonment of narratives, or a single orthodoxy; on the contrary, it proposes an embrace of free-form complexity, multiple genres, and eclectic reference points, investing the silent, visual, and libidinal economy of painting with a sense of intellectual gravitas, to empower the scopophilic enjoyment of making and looking with an underlying seriousness—serious pleasure.

Friday, February 11, 9:30 AM-12:00 PM
Murray Hill Suite, 2nd Floor, Hilton, NY 

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Feminist Art in the 1970s: A Brief Overview 

 

of the Westcoast Women's Art Movement 

 

a lecture by Karen LeCocq

 

Sunday February 20th, 3pm

Craftswoman House, 929 North Oakland Avenue, Pasadena 91104 (free event)

 

 

 Professional artist and lecturer, Karen LeCocq is a mixed media sculptor who has shown nationally and internationally in galleries as well as major museums, among them: The Whitney Museum of American Art, New York, NY, The Los Angeles Museum of Contemporary Art and The Armand Hammer Museum, Los Angeles, CA. LeCocq was a member of the first feminist art program under the direction of Judy Chicago at CSUF and the second feminist art program at California Institute of the Arts under the direction of Chicago and Miriam Schapiro. At Cal Arts in 1971-72, she participated in the creation of WOMANHOUSE, the first public feminist collaborative art project and exhibition in the world. The project received international attention and was reviewed in TIME magazine as well as art publications around the globe.

 

 

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A Tavola !

A.I.R Gallery invite you to check out 

the Sculpture Magazine 

and learn more about Elke Solomon.

Harriet Senie wrote an article about Elke Solomon's last exhibition from March 31st through April 25th, 2010 at A.I.R Gallery. A Tavola brings together Solomon's engagement with both the personal and social value of food and the ritual of preparation and consumption. 

Closing the gap between art and life with wit and humor, her visual language appears so accessible that it may momentarily divert you from its layered complexity and sophistication.

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