234:. In the essay "The Enemies of Women's Liberation in the Arts Will be Crushed", Art Historian Meredith Brown praises how A.I.R. "created a wide-ranging network of individuals and organizations that collectively rallied to counter the patriarchy of the art establishment". Art Historian Lenore Malen similarly acknowledges the influence of A.I.R. stating "New York City where I moved in 73 I saw how the women's collectives: A.I.R., Soho 20, and others were shaping the feminist art movement". While many acknowledge the influence of A.I.R. on feminist art, the gallery has received some criticism in its use of government funding. In her article "The Balance Sheet: A.I.R. and Government Funding", Meredith Brown argues that "A.I.R. began to rely on financial support from sources whose bureaucratic complexities necessitated the gallery shift its organizational structure, if not compromise its feminist principles".
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exhibitions, programs, and the overall direction of the gallery. Each artist pays membership dues and thus has ownership over the organization itself and their own career. In this way, the structure of A.I.R. differs from that of dealer-driven galleries. Incoming artists are chosen through a rigorous peer review process that includes reviewing the works of applicants, lengthy discussions and a studio visit by current members. Each artist has to curate her own show, which allows for experimentation and risks that are not always possible in commercial settings. The group soon acknowledged the importance of building a heritage; collaborations and international group shows, in parts curated by their members, were established. The fellowship program in its earliest years provided sponsorship on a case-by-case basis as funds were available.
40:(Artists in Residence) is the first all female artists cooperative gallery in the United States. It was founded in 1972 with the objective of providing a professional and permanent exhibition space for women artists during a time in which the works shown at commercial galleries in New York City were almost exclusively by male artists. A.I.R. is a not-for-profit, self-underwritten arts organization, with a board of directors made up of its New York based artists. The gallery was originally located in
173:, Christine Gedeon, Marni Horwitz, Fay Ku, Diane Meyer, Jinnine Pak, Hye-Kyung Kim, Jill Parisi, Sarah Blackwelder, Pattie Lee Becker, Soyeon Cho, Betsy Alwin, Megan Biddle, Margarida Correia, Stephanie Lempert, Brynna K. Tucker, Claudia Vieira, Lauren Simkin Berke, Barbara Hatfield, Kharis Kennedy, Katherine Dolgy Ludwig, Anita Ragusa, Hanna Sandin, Nivi Alroy, Monica Carrier, Ari Tabei, Elena Wen, Jennifer Williams, Jennifer Wroblewski,
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Fellows the opportunity to develop their work in preparation for a solo show, to build relationships with other artists and arts professionals, and acquire skills necessary to maintain a not-for-profit gallery or arts organization. The
Fellows leave the program with a series of naturally forged relationships, experiences, and essential skill sets that are necessary to continue their careers as visual artists.
132:. For the artists themselves, their work and exhibition goals were all about quality. Still, having to deal with feminist politics was in the center, which meant fighting prejudices and fears that the showings would be considered second-rate. After the opening, one man said grudgingly, "Okay you did it; you found 20 good women artists. But that's it."
201:, Jayanthi Moorthy, Laura Petrovich-Cheney, Susan Stainman, Ian Gerson, Shanti Grumbine, Jessie Henson, Sujin Lee, Hannah Smith Allen, Naho Taruishi, Aimée Burg, Annie Ewaskio, Bang-Geul Han, Einat Imber, Katherine Tzu-Ian Mann, Régine Romain, Željka Blakšić, Amber Esseiva, Sara Mejia Kriendler, Amanda Turner Pohan,
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show work as innovative, transitory and free of market trends as the artists' conceptions demands." Based on the feminist principles of economic cooperation and decision by consensus, A.I.R. continues to offer an alternative venue for women that protects the creative process and the individual voice of the artist.
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The
Fellowship Program, founded in 1993, is open to all self-identified women and non-binary artists who have never had a solo show in NYC, or who have not had a solo show in NYC in the last ten years, outside of an educational or not-for-profit venue. The Fellowship Program is structured to give the
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The first, self-renovated location for the inaugural A.I.R. exhibition was 97 Wooster Street, which opened on
September 16, 1972. After occupying a gallery space at 63 Crosby Street from 1981–1994, A.I.R. Gallery was located at 40 Wooster Street from 1994–2002, at 511 West 25th Street from 2002–2008
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Founded in 1972, A.I.R. is the first non-profit, artist-run gallery for women in the country. The announcement for the gallery's first exhibition elaborates its founding concept best, stating, "A.I.R. does not sell art; it changes attitudes about art by women. A.I.R. offers women artists a space to
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There are five tiers of membership programs for self-defined women artists at AIR Gallery. The New York Artist membership is open to self-identified women artists residing in the New York area. The
National Membership program includes 22 self-identified women artist throughout the United States.
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The gallery was structured to be both an exhibition space for art by women and a radical, progressive, and even subversive, not-for-profit institution. Its cooperative nature and its democratic structure have meant that the members vote on all decisions and participate in monthly meetings to plan
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Monday-Night
Program Series 1972–1981; Current Issue Series 1982–1987 (both programs included general-audience panels on criticism, the market, public art as well as "how-tos" – for example 'tax night', and so on); Exhibition Programs: Solo Shows of Gallery Artists; Sponsored Solo Shows for
537:, a.i.r. ways. From the Catalogue: A.I.R. Gallery: The History Show, September 16 – December 12, 2008, at Tracy/Barry Gallery, Bobst Library, NYU and A.I.R. Gallery: The History Show, October 2 – November 29, 2008, and November 6 to 29, 2008, at A.I.R. Gallery, Dumbo, New York
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Fellowship
Artists; Group Shows of National Artists; Group Shows designed to include a broader community of women artists such as the "Generations" invitational series and juried Biennial Exhibitions; Lectures/Symposia/Panels; Fellowship Program; Internship Program
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A.I.R. Gallery has played a widely recognized role in the art world since the institution's founding. In 1978, notable feminist painter Sylvia Sleigh commemorated the 21 current members (including Sleigh herself) of A.I.R. through her painting
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and opened a new space at 111 Front Street # 228, Dumbo - Brooklyn, New York, starting with The
History Show on October 2, 2008. In May 2015, A.I.R. Gallery moved to a new location. The current address is 155 Plymouth St, Brooklyn, NY 11201.
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Alumnae membership is open to any former New York, National, and
Fellowship Artists who wish to remain a part of the gallery. After maintaining 7 years of membership at A.I.R., artists will automatically be eligible for the Adjunct Program.
217:, Crys Yin, Melanie Crean, Isabella Cruz-Chong, Kim Dacres, Macon Reed, Gabriela Vainsencher, Zhiyuan Yang, Aya Rodriguez-Izumi, Caroline Wayne, Daniela Puliti, Dominique Duroseau, Karen Leo, Megan Pahmier, Aika Akhmetova, Destiny Belgrave,
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suggested "Jane Eyre". From that came "air" – then, "A.I.R." This was also a reference to the "Artist in
Residence" Certification given by the city to allow artists to live in otherwise illegal Soho commercial spaces.
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A.I.R. is a non-profit organization that aims to show the diversity and artistic talent of women, to teach, to challenge stereotypes of female artists, and to subvert the historically male-dominated
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Meredith A. Brown, 'The
Enemies of Women's Liberation in the Arts Will be Crushed': A.I.R. Gallery's Role in the American Feminist Art Movement. Smithsonian Archives of American Art publications,
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213:, Negin Sharifzadeh, Manal Abu-Shaheen, Elizabeth Hoy, Eleanor King, Marykate Maher, Alison Owen, Naomi Elena Ramirez, Rachelle Dang, H. A. Halpert, Sareh Imani, Victoria Manganiello,
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Meredith A. Brown, "The Balance Sheet: A.I.R. Gallery and Government Funding", vol. January 27, 2011, n.paradoxa: international feminist art journal pp.29–37
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Gardner-Huggett, Joanna (2012). "Artemisia Challenges the Elders: How a Women Artists' Cooperative Created a Community for Feminism and Art Made by Women".
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At the first meeting on March 17, 1972, in Williams' loft, women artists met, among them were Maude Boltz, Linda Vi Vona,
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Kat Griefen and Susan Bee, artists in residence: a short history. From the Catalogue: "A.I.R. Gallery: The History Show"
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until 2015. In May 2015, A.I.R. Gallery moved to its current location at 155 Plymouth St, Brooklyn, NY 11201.
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Dena Muller, A.I.R. Gallery: a space-time continuum. From the Catalogue: “A.I.R. Gallery: The History Show”
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at that time had barely penetrated the New York Art scene and a 1970
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at 97 Wooster Street, and was located on 111 Front Street in the
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Artists whose works have been exhibited at the gallery include:
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The name "A.I.R." arose when, in a first meeting, artist member
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NYU's Fales Library Guide to the A.I.R. Gallery Archives
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Fellowship artists include (1993–2021): Tenesh Webber,
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Heresies: A Feminist Publication on Art and Politics
557:"Guide to the A.I.R. Gallery Archives ca. 1972–2006"
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642:The Oxford Dictionary of American Art and Artists
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221:, Kyoung Eun Kang, Sky Olson, Bat-Ami Rivlin.
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886:Elizabeth A. Sackler Center for Feminist Art
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494:Frontiers: A Journal of Women Studies
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952:The Women's Building (San Francisco)
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775:vol.January 27, 2011, pp. 29–37
640:Morgan, Ann Lee. "Sleigh, Sylvia".
942:Women's Art Resources of Minnesota
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1308:Cultural history of New York City
1274:Feminist movements and ideologies
728:"Reviewed and Sold: What's Next?"
644:, Oxford University Press, 2018.
189:, Meghan Mcinnis, Anne Percoco,
916:New York Feminist Art Institute
514:10.5250/fronjwomestud.33.2.0055
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678:. Accessed October 17, 2018.
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957:Women's Interart Center
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193:, Elisabeth Waterston,
187:Juliana Cerqueira Leite
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689:"The Founding Members"
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392:Sarah Beth Goncarova
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906:Lesbian Art Project
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987:Three Weeks in May
661:. January 8, 2012.
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714:"Artist Programs"
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316:Howardena Pindell
280:Loretta Dunkelman
256:Rachel bas-Cohain
238:Gallery locations
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16:(Redirected from
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563:. Archived from
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1187:Jane Kaufman
1172:Nancy Graves
1167:Mary Garrard
1142:Judy Chicago
1137:Norma Broude
1054:
1046:
1040:Publications
1028:
1009:
1001:
993:
985:
977:
901:Hera Gallery
880:
826:Feminist art
772:
731:. Retrieved
722:
708:
696:. Retrieved
692:
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636:
624:. Retrieved
620:
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569:. Retrieved
565:the original
551:
542:
530:
500:(2): 55–75.
497:
493:
487:
447:Elke Solomon
422:Ana Mendieta
407:Janice Kluge
397:Judith Henry
345:
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276:Daria Dorosh
250:
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91:Lucy Lippard
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37:
36:
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1237:Alma Thomas
1192:Lee Krasner
1182:Lila Katzen
1157:Suzi Ferrer
1106:Where We At
1059:(1972–1977)
1051:(1977–1992)
998:(1974–1978)
733:February 1,
452:Nancy Spero
437:Erin Siegal
412:Marcia Kure
402:Jungil Hong
357:Nancy Azara
352:Dotty Attie
320:Nancy Spero
272:Agnes Denes
268:Maude Boltz
252:Dotty Attie
130:Sari Dienes
106:Nancy Spero
95:Dotty Attie
18:AIR Gallery
1287:Categories
1242:June Wayne
979:Womanhouse
845:Precursors
479:References
304:Anne Healy
191:Sam Vernon
118:Ree Morton
88:art critic
1177:Eva Hesse
698:March 10,
657:Shapiro,
626:March 10,
571:March 16,
522:142825769
382:Enid Crow
362:Susan Bee
225:Reception
171:Enid Crow
1212:Yoko Ono
1066:" (1971)
153:Programs
80:Feminism
50:Brooklyn
1081:subRosa
342:Artists
63:History
1074:Groups
1014:(2007)
1006:(1979)
990:(1977)
982:(1972)
866:(1892)
860:(1889)
854:(1881)
520:
512:
1251:Lists
938:(WAR)
693:A.I.R
621:A.I.R
518:S2CID
510:JSTOR
46:DUMBO
735:2022
700:2024
628:2024
573:2018
140:Name
128:and
97:and
74:and
42:SoHo
502:doi
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