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WOMEN ON THE LINE


WOMEN ON THE LINE


This catalogue was published on the occasion of a 2017 exhibition, Women on the Line, of women artists from A.I.R. Gallery in New York at Studio 44 in Stockholm, Sweden.


Table of Contents / Innehållsförteckning Acknowledgements

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Introduction by Joan Snitzer Introduktion av Joan Snitzer

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Artists / Konstnärer Susan Bee Daria Dorosh Yvette Drury Dubinsky Maxine Henryson Carolyn Martin Louise McCagg Jayanthi Moorthy Sylvia Netzer Ann Pachner Kathleen Schneider Joan Snitzer Susan Stainman Erica Stoller Nancy Storrow Jane Swavely Julia Westerbeke

16 18 20 22 24 26 28 30 32 34 36 38 40 42 44 46

Galleries / Gallerier A.I.R Gallery Studio 44

50 52


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We would like to extend a special thanks to Mari Rantanen, curator of Another Nature at A.I.R. Gallery (February 11 - March 13, 2016), whose support has been invaluable to this exhibition; Mira Dayal, curatorial assistant, who has facilitated the design and organization of this catalogue and exhibition; and AndrĂŠa HĂśsel and Jane Swavely, for their advice and significant contributions to Women on the Line.


INTRODUCTION / INTRODUKTION


10 Women on the Line explores the formal and metaphorical implications of lines. To suggest that someone or something is “on the line” is to acknowledge both its vulnerability and necessity. This metaphor is particularly potent for the artists of A.I.R. Gallery, whose 45-year-old mission has always been to support a demographic of artists whose work has been systematically underrepresented and critically under-recognized. Their feminist desires and demands have been embedded into the structure of the gallery and continue to unfold in their artistic practices. To this day, some A.I.R. artists explicitly create feminist projects while others address feminism in more abstract modes. The intent is not to identify an essentializing femininity; rather, Women on the Line demonstrates how feminist artists today are furthering women artists’ concerns through formal and emotive techniques. Lines may appear to be abstract but contain the potential for a multiplicity of significations. Time-space boundaries collapse in habitual mark-making, fields of collage, and cartographic references. Works in printmaking and collage by Yvette Drury Dubinsky are literally cartographic in their marks but also represent an archive of the artist’s travels in other geographic territories. Daria Dorosh uses the languages of fashion and photography to create digitally manipulated works that translate textures into two-dimensional vocabularies. Graphic and material referents are also important to the works of Joan Snitzer, whose hybrid language of abstraction and representation takes the domestic as both subject and object, pouring commercial imagery and personal demands into a single plane. The delicacy of a line drawn by hand contrasts with the rigidity of a printed line. Carolyn Martin’s drawings candidly capture scenes that utilize the motif of the fence, which could be considered the execution of a physical line in space. Jayanthi Moorthy uses the printed line to trace ephemeral performances that were conducted with the artist’s own hands and body; her photographs are one component of a practice based in ritualistic and meditative processes. Similarly meditative are Ann Pachner’s archival prints, whose concentric circles and parallel lines unfold in vibrant hues. New intersections of visual information are also evident in Kathleen Schneider’s works, in which the artist digitally weaves together printed images.


11 Exceeding the two-dimensional line altogether are several works employing sculptural elements. A mathematic logic collides with aesthetic concerns in Julia Westerbeke’s punctured paper works, which exceed the drawn versus printed binary altogether; though made by hand, the dots that compose each line expose the particulate nature, or collapsible structure, of every form. Susan Stainman’s cut paper works capture fluid gestures but similarly use line as a tool of reduction rather than addition. Inhabiting the space between two- and three-dimensional works, Erica Stoller’s sculptures invite free associations with materials and invoke the lines of architectural space. Completing the shift to sculpture, Louise McCagg casts her subjects’ faces and, with incredible precision, reveals how the lines of the face may also index personal histories. Of course, lines also congregate to compose other forms. Artists may develop new symbolic languages with which to communicate visually. Such languages are often founded upon the principles of repetition and recombination of simple forms. Susan Bee’s bio-fictional collages address the Surrealist fantasies of domestic life and may be read cohesively as a series of internal and external scenes. In Sylvia Netzer’s drawings, similar shapes routinely appear in rehearsed compositions of varying colors and sizes, so that each shape begins to inhabit a character of its own. Outside of an artist’s practice, lines may refer to natural and external stimuli. In Jane Swavely’s pastel drawings, performative lines rehearse durational experiences; with embodied forms and vertical compositions, the works invite the viewer into that psychological and physical territory of the landscape. Nancy Storrow communicates her observed and felt responses to the world through energetic compositions structured through repeated linear gestures. Maxine Henryson intentionally employs a nonlinear sequence to photographically document other cultures and transform their elements into poetic fields of color. Women on the Line completes an exchange of exhibitions of women artists at A.I.R. Gallery in New York and Studio 44 in Stockholm. Another Nature was shown in New York in February 2016 at A.I.R. Gallery. Both exhibitions investigate the relationships between the artistic practices of women in the US and in Sweden.

-Joan Snitzer, Curator, New York


12 Women on the Line utforskar de formella och metaforiska konsekvenserna av olika betydelser av det engelska ordet “line”. Att föreslå att någon eller något är “on the line” / “på gränsen” är att erkänna både dess sårbarhet och nödvändighet. Denna metafor gäller särskilt för konstnärerna från A.I.R. Gallery, vars 45-åriga uppdrag alltid varit att stödja en demografi av konstnärer vars arbeten varit systematiskt underrepresenterade och underbekräftade av kritiker. Deras feministiska önskningar och krav har bäddats in i galleriets struktur och fortsätter att utvecklas i medlemmarnas konstnärliga praktiker. Det är fortfarande så att en del av konstnärerna från A.I.R skapar tydligt feministiska projekt medan andra adresserar feminism på en abstraktare nivå. Avsikten är inte att identifiera något essentiellt kvinnligt skapande; snarare visar utställningen hur feministiska konstnärer idag främjar kvinnliga konstnärers oro genom formella och känslomässiga metoder. “Lines” kan tyckas abstrakt men innehar potential för en mängd betydelser. Grafiska arbeten och collage av Yvette Drury Dubinsky är bokstavligen kartografiska i sina avtryck, men representerar också ett arkiv av konstnärens resor i andra geografiska områden. Daria Dorosh använder modets språk och fotografi för att skapa digitalt manipulerade verk som översätter texturer till tvådimensionell vokabulär. Grafiska och materiella referenser är också viktiga i Joan Snitzer’s verk, vars hybridspråk bestående av abstraktion och representation tar det inhemska som både subjekt och objekt, genom att sammanföra kommersiella bilder och personliga behov i ett och samma plan. Skörheten hos en linje som ritats för hand kontrasteras av det statiska hos en tryckt linje. Carolyn Martin’s teckningar fångar på ett redovisande sätt scener som utnyttjar stängslet som motiv, en annan fysisk linje/gräns. Jayanthi Moorthy använder den tryckta linjen för att spåra efemära performances som genomförts med konstnärens egna händer och kropp; hennes fotografier är en del av en praktik som grundar sig i rituella och meditativa processer. Lika meditativa är Ann Pachner’s högkvalitativa tryck, vars koncentriska cirklar och parallella linjer utvecklas till vibrerande toner. Nya korsningar av visuell information är också påtaglig i Kathleen Schneiders verk, i vilka konstnären väver samman tryckta bilder digitalt. Flera verk överskrider den tvådimensionella linjen helt och hållet genom att utnyttja skulpturala element. En matematisk logik kolliderar med estetisk omsorg i Julia Westerbeke’s punkterade pappersverk som


13 sträcker sig bortom den tecknade vs tryckta binäriteten helt och hållet; Trots att prickarna som utgör varje linje av de intrikata formerna är gjorda för hand, avslöjar de den partikulära naturen, eller hopfällbara strukturen, av alla former. Susan Stainman’s verk klippt i papper fångar flytande gester men på samma sätt används linjen som ett verktyg för minskning snarare än tillägg. Erica Stoller’s verk befinner sig i utrymmet mellan det två- och tredimensionella, skulpturerna bjuder in till fria associationer med olika material och påkallar linjer utgörande arkitektoniska utrymmen. Louise McCagg’s verk avslutar övergången till skulptur, hon fångar sina motivs ansikten och avslöjar med otrolig precision hur linjerna i ansiktet också kan ses som ett kartotek över personliga historier. Naturligtvis sammanförs också linjer för att komponera andra former. Konstnärer kan utveckla nya symbolspråk, med vilka dessa kan kommunicera visuellt. Sådana språk är ofta grundade på principerna om upprepning och nya kombinationer av enkla former. Susan Bee’s biografiskt fiktiva collage riktar uppmärksamheten mot Surrealisternas fantasier om livet i hemmet och kan läsas sammanhållet som en serie av interna och externa scener. I Sylvia Netzer’s teckningar träder rutinmässigt liknande former fram i upprepade kompositioner av varierande färger och storlekar, så att varje form börjar bebo en egen karaktär. Utanför kontexten av en konstnärs praktik kan “lines” avse naturliga och yttre stimuli. I Jane Swavely´s pastellfärgade teckningar repeterar performativa linjer och streck löpande erfarenheter; med förkroppsligade former och vertikala kompositioner, bjuder verket in betraktaren i landskapets psykiska och fysiska territorium. Nancy Storrow kommunicerar sina observerade och upplevda reaktioner på världen genom energiska kompositioner strukturerade genom upprepade linjära rörelser. Maxine Henryson använder avsiktligt en icke-linjär sekvens för att fotografiskt dokumentera andra kulturer och omvandla dess komponenter till poetiska färgfält. Women on the Line avslutar ett internationellt kulturutbyte där utställningar av kvinnliga konstnärer på två konstnärsdrivna gallerier, A.I.R. galleri i New York och Studio 44 i Stockholm, producerats och visats. Båda utställningarna undersöker förhållandena mellan kvinnors konstnärliga praktiker i USA och i Sverige. -Joan Snitzer, Kurator, New York


ARTISTS / KONSTNÄRER


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SUSAN BEE My artwork, both painting and artist’s books, examines and questions gender roles and the portrayal of women in popular culture. As an artist, I believe strongly in the role of the imagination and the importance of poetry, humor, irony, memory, and fantasy in art. I also believe in idiosyncratic, individualistic, and eccentric art making. My education in feminism began in 1969, when I went to Barnard College. My college years were filled with actions against the Vietnam war and the emergence of the feminist, black power and gay rights movements. There were almost no women art teachers at Barnard. So I looked outside of college for role models. I had the example of the art of my mother, painter Miriam Laufer. In graduate school at Hunter from 1975 to 1977 there were also no women art teachers. So I went to panels at A.I.R., the women’s coop gallery formed in 1972, and heard Ana Mendieta, Mary Beth Edelson, Nancy Spero, and others. From 1979 to 1980 I worked as an editor at Women Artists News. In 1986, Mira Schor and I started M/E/A/N/I/N/G, which I coedited and designed till 1996. We started M/E/A/N/I/N/G Online in 2002. In 2007, we published issue #4, a Feminist Forum. M/E/A/ N/I/N/G has created a space in which feminist issues can be explored by women and men. While we embraced feminist theory, we didn’t endorse any single point of view. We have published artist’s writings on women artists, sexuality, censorship, racism, and artists as mothers. I have been a member of A.I.R. Gallery since 1996. I was on a panel, “Critics: A New Generation,” at A.I.R in 1982. In 1984, I was in “Women Artists of the 80’s: New Talent” at A.I.R. Since joining the gallery, I have had seven solo shows and participated in group shows. The decision to follow a feminist path in art has never been easy. Being political and announcing your difference is not the easiest way to proceed in the art world. That’s what makes maintaining an openly feminist space, a continuing challenge. I think it’s important that these spaces exist, even as women artists have made significant inroads into the mainstream. We still need a place of our own. Feminist issues remain inescapable for me in all aspects of my life. I hope the future of women’s art and art making will be strong, participatory, empowering, and inclusive.


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Mirror Stage, 2000 Mixed media collage, 30� x 24�


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DARIA DOROSH

I work in the intersection of art, fashion, and technology to show how these fields converge on the body. The Narcissus works are richly patterned digital images of iconic female beauty that reflect a somewhat menacing side. They question the commodification of beauty with its adverse impact on the environment and human consciousness. By combining a digital print with actual textiles, the digital multiple serves as the base layer for a series of unique works. I am interested in the similarities and differences between collage, the signature art movement of the 20th century, and the immaterial layering of color and pattern by digital code in the 21st. One difference between digital art and art based in material culture is that digital replication demonstrates the possibility of abundance and generosity, challenging the long standing belief in the necessity of scarcity. Making art digitally shows that in this universe, patterning is endless, with each variation as interesting as the next, and that fear of mistakes is over-rated. You can just unplug and reboot. In my current project, Texere, I remake articles of mass-produced clothing provided by my collaborators into unique art-to-wear. If the cell phone killed fashion, can the body be the site for a new public art?


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Narcissus 6, series 4, 2016 Digital print with machine sewn textiles, 17� x 22�


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YVETTE DRURY DUBINSKY

A fascination with organic forms, lines (often maps of old cities), and shapes are a significant inspiration for my work, while my internal reactions to life’s experiences are another muse. My work seems to be an attempt to make sense out of what is bothersome or upsetting, or on the other hand, what is astonishing and wonderful. I use a variety of materials and processes to investigate and articulate feelings­­- feelings not always clear to me at first. Meditations sometimes express themselves in complex compositions. Before the summer of 2014, I had been making work about the chaos that was beginning to take place in Syria, a place where I had traveled and had gotten to know people in late 2009. In 2013 I created an installation (From Aleppo to Damascus) comparing the situation in Syria to Picasso’s “Guernica”. Inspired by my own family’s migration from Europe to the United States and by those who have both left Syria and those who are trapped there, I am deeply concerned with the current migration out of Syria toward and through Europe. This work has people walking in circles, searching.


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IstanbulNot, 2016 Monotype, cyanotype, collage, handmade & Japanese paper, d. 37.5�


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MAXINE HENRYSON

A photographer and bookmaker, I explore cultures from around the world through the lens of color. I investigate visual memory, the female world and nature. Through chance encounters, the extraordinary is made visible in the ordinary. Hybrids of the abstract and the real, the painterly and the documentary, my photographic works present a vision that exists as much in my imagination as in the real world. Interested in the different ways of viewing the photograph, I create both large exhibition prints and intimate laparello books.


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Wedding cake, Rome, Italy, 2012 Archival pigment print, 36” x 54” Shadow play, Villa Massimo, Rome, Italy, 2012 Archival pigment print, 36” x 54”


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CAROLYN MARTIN

I have been exploring the image of the white picket fence. In my new work, I have further de-emphasized the image, reducing it to a spare scaffolding of faint lines, darkened just enough to be recognizable. Space is created by juxtaposing horizontal and vertical lines against irregular shapes of collaged paper. These shapes are crisscrossed in all directions with dark, smeared charcoal strokes that help to create the space. The result is a glimpse of the complexity and chaos of human life behind the stable architecture of society.


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Suspect, 2012 Charcoal, pigment, collage, print on paper, 22� x 30“


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LOUISE MCCAGG

As an artist of a generation that saw feminist art proliferate, my work is classical in method and contemporary in its political and social inquiry. I exhibit my work as freestanding sculptures, friezes, books, and as masks created for theatrical performances. I have cast the faces of hundreds of individuals from different parts of the world. Using a unique process I shrink the life masks. As my signature heads decrease in size, their connection to the original fades—they are not portraits—yet they could not exist without the original life mask. My work thus maintains the unique qualities and emotional depth of the individual, while showing the commonality among diverse cultures. Currently I am working on a series of drawings. These new works are more open to feelings of disorientation and uncertainty; they are a result of a calmer approach to my work and a more assertive relationship to drawing.


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Congregation, 1993 Pigmented cast paper, Dimensions Variable


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JAYANTHI MOORTHY

My versatile works explore personal and cultural identity and their contemporary interpretations. I translate cultural and religious references from India into my creative practice. Impermanence – a core Indian belief – is reflected in the choice of materials and practice of including the floor space in my work. In my drawings I use quotidian and ephemeral materials such as rice flour, sand and spices. The drawings are abstract, unplanned and done in the moment. Once the meditations are complete, I photograph them to make digital prints. Moving Through His Body depicts the emotion of being in a state of love. Red represents the female energy and black and grey the male energy.


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Moving Through His Body, 2016 Archival pigment print on paper, 18” x 24”


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SYLVIA NETZER

I am a sculptor. This series of drawings is composed of icons that refer to my lifelong sculpture practice. My sculptures are bright and colorful as are the markings in the drawings. I work a lot with multiples of forms and often string them together. It was challenging to work in a different way. In my current work, I am further exploring drawing.


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Trackways Drawing #6, 2013 Pen, colored ink on 100% cotton rag paper, 84� x 36�


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ANN PACHNER

As the truth is multi-layered and paradoxical, it is often necessary to utilize a varied approach to truly understand an experience. In my most recent A.I.R. solo exhibition, You Are My Dear Blossoms — Standing in Love... “Lotus Feet,” I use archival prints that originated as 4’ x 5’ pencil drawings and photography. I’ve invited eleven friend artists who have a Guru, practice yoga, or gave been in the presence of a Guru to remember and unfold experienced layers of the opening of the heart — a formlessness, a flow and a quickening. This journey of unfolding embraces the weight of the heart as well as its transcendence. What I hope to point to is that my experiences, my images, are not just mine. We all own these experiences and circle around in our own way


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Heart Opening, 2014 Archival digital print, 17� x 23�


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KATHLEEN SCHNEIDER

One thing leads to another. A sculpture is photographed and the images become a set of digital prints. The prints multiply, are cut out and reconfigured. The original form - a sphere/globe - is flattened into a fractal array of restless diamonds, curved in a jagged multi-hued periphery. Up close, the sharps are softened, bound and fuzzy. Pattern and cycle, hovering and haptic, abstract and familiar, metaphor and memory, no narrative - just being and breathing.


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No Borders No Fences, 2016 Archival pigment print, 20” x 68”


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JOAN SNITZER The Lattice Fence

There was a fence with spaces you Could see through if you wanted to. An architect who saw this thing Stood there one summer evening, Took out the spaces with great care And built a castle in the air. The fence was utterly dumbfounded: Each post stood there with nothing round it A sight most terrible to see. (They charged it with indecency) The architect then ran away To Africa – or –America Christian Morgenstern - 1905 (Trans. R. F. C. Hull) My project “Compositions” revolves around a central paradox: the improbable freedom of expression in pure abstract forms and the disillusionment with representing reality through photographic representations. To reconcile this paradox, I explore in painting the poetics of geometry and the poetics of representation through digital and print methods. In my work there are places that I can see but not touch and spaces that I can touch but that obscure recognizable imagery in a merging of forms, patterns and representations. I experience the world through abstraction and the production of contemporary images. My artistic process consists of alternating layers - some of the works have as many as 10 layers, producing an overall sense of compilation, abstraction, representation and mood. The paintings are composed of abstract gestures and the ink removed from print and digital media images. The final layer is a compositionally syncopated grid referencing Mondrian, my home, and Manhattan’s architectural structure. The materials used are acrylic, vinyl, and ink.


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Shades #10, 2016 Vinyl, ink, pigment on 300lb paper, 18” x 18”


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SUSAN STAINMAN

This work sits at the intersection of line and space. Combining the quick movement of automatic drawing techniques with the slow meditative hand cutting of the negative space of those drawings, I attempt to understand how layers of my mind and heart are revealed and hidden at any given moment. The line of each page, the shadows, and the wall behind are indistinguishable from far away. Only with close inspection and curiosity can the viewer see and understand each individual piece of paper as a separate object. This compression of space and form resembles those hidden aspects of our hearts and minds. I use beauty, specifically the simplicity of the curling black lines against the white paper, to draw the viewer in and to allow for the contemplation of these ideas.


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Untitled, 2016 Paper, ink, wood, 30” x 44” x 1.5”


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ERICA STOLLER

I’ve always been concerned with shape, line and color, and these are the working elements with my new wall sculptures. Even as the materials have changed to include plastic tubing, foam insulation, parachute cord and cable ties and other unexpected, industrial elements, the linear quality of earlier drawings remains part of the story. While the current work develops from the materials without preliminary drawings or even a plan ahead of time, I do see a calligraphic element with a memory of starting a line in the upper left corner of a blank piece of paper. While the new work has a physical presence, permanence is not the issue. In the studio, the pieces are made, installed, photographed, then revised or dismantled. This pragmatic solution to archiving the images rather than most of the pieces themselves is a is a reaction to the cost of materials and the difficulty of storage. Save the Earth is a secondary, but not an inconsiderable, thought. Given the number of sculptures that have been created and documented, very little material has actually been used. And the new, small “sketches” come right out of the scrap box, another aspect of this thrifty endeavor. Making work that I can handle by myself is also important. From lifting and loading the ingredients, to cutting, fastening, knotting and sewing and to the final installation, there’s a direct tactile pleasure in defining space with simple shapes and light materials. If it falls, it won’t break. It’ll be re-installed in a different way next time.


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3 Reds, 2016 Plastic, metal, nylon cord, 24” x 86” x 21”


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NANCY STORROW

My monochromatic graphite drawings are pared down to the essentials of hand and touch. I work with lines - simple and direct. Lines - of pressure, age, growth - like rushes, grasses, reeds. Lines - from the bottom to the top - like standing trees. I obliterate parts by erasing, rubbing, filling and smoothing. Lines circle back, move differently, making a storyline and a world of places.


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Old Growth #2 with leaf, 2016 Graphite, pastel on stonehenge, 30” x 22”


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JANE SWAVELY

My paintings shift between the zones of abstraction and narrative, applying the language of romantic landscape painting. Suffused with the play of color, light, and space, they act as a gateway into the psychology of visualizing a mood. The work uses compositional ambiguity and verticality to deconstruct the landscape. Fissures create entry points of immersion into passages that allow the viewer to become an inhabitant. The focus, the way that the marks slip around the edges of discernibility, makes the image undefined and thus potent with meaning. Color is not just color in these works but the source of light. The compositions possess the potential for growing light or devouring darkness, exploring the depth between the conscious and subconscious, surface and material.


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Pink Suite b, 2016 Pastel on paper, 19” x 13.75”


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JULIA WESTERBEKE In sculptures and drawing-based installations, I create abstract terrains that are by turns organic and curiously alien, at once familiar and foreign. Taking inspiration from science fiction and biological forms, I build intricate and textural surfaces onto 2D and 3D structures. The detail pays homage to the complexities of organic life as well as its ceaseless regeneration, flux and decay. Conversely, there is an alien element to the work. Visceral materials (lava-like slides of glue, crops of cilia-like drawings) offer a haptic quality, invoking organic matter but also the industrial, chemical or toxic. Ultimately the work speaks to our distorted and alienated relationship with nature, which is so deeply interwoven into our appreciation of it. I am fascinated by how we abbreviate and abstract from a boundless natural system. Nature becomes a mutation of itself, transformed by our desire to connect with it. Even our own bodies, insomuch as we can conceive of the microcosm, can appear to us as systems of alien marvel. I am interested in abstraction as a vehicle for the imagination and memory. It allows for an indeterminacy of form that activates the viewer, often encouraging him or her to complete an artwork with personal associations. In Gaston Bachelard’s writings on the oneiric and “psychic weight,” he argues that certain imagery, shapes and objects have an immediate intimacy, causing one to delve into personal memory. This is why I am interested in the familiar yet foreign dynamic allowed by certain forms of abstraction: the idea that pared-down and unfamiliar imagery can still create a connection with the viewer by way of subtle visual references. This distant, lingering sense of familiarity could be called a sculptural “psychic weight.” The detailed minutiae of the artwork also points to a childhood fascination with the strange, small and seemingly trivial. Gary Paul Nabhan has written about taking his family to the Grand Canyon; while the adults are drawn to the dramatic vista, the children are more engaged with what is immediately before them (inspecting glittering sandstone and feathers along the terrain). Much of my practice is motivated by an exploration of this innate fascination, as well as a study of intimacy in relation to objects and sculptural form.


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Afterimage VI, 2016 Punctured paper, 14” x 14”


GALLERIES / GALLERIER


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A.I.R. GALLERY

A.I.R. Gallery is a permanent exhibition space that supports an open exchange of ideas and risk–taking by women artists in order to provide support and visibility. As an artist-run organization, A.I.R. fosters involvement through multiple tiers of representation: New York, National, Adjunct, and Alumnae Artists. A self-directed governing body, the organization is alternative to mainstream institutions and thrives on the network of active participants. Collaborations and partnerships with outside organizations and individuals ensure a platform informed by a diverse community and representative of broad views. A.I.R. maintains a gallery space in Brooklyn, NY and exhibits the work of hundreds of women artists each year. In addition to public open calls: Generations, the Biennial, Currents, and the Postcard Show, A.I.R. hosts many events, lectures and symposia on feminism, art and much more. Our programs engage an audience across a broad spectrum of experiences while creating a lively discourse among artists. A.I.R.’s Fellowship Program For Emerging and Underrepresented Women Artists provides a year-long career development intensive for six artists each year as well as life-long support and collaboration. Since 1972, when a group of visionary women artists opened the first gallery space at 97 Wooster Street in Soho, A.I.R. Gallery has been leading the way in championing women artists, increasing their visibility and the viability of their endeavors.


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STUDIO44

Studio 44 was founded in 2003 by a group of Stockholm-based artists with the aim of creating an independent, non-commercial space for contemporary art. The gallery first opened in 2003, funded by Konstnärsnämnden, in a spacious location that it shares with CFF (Centrum för fotografi - Center for Photography ). Studio 44 is a dynamic organization characterized by its openness to different forms of expression. Studio 44 includes about 30 visual artists who manage the space together and show their own work on a regular basis, as well as invite other artists to participate in themed exhibitions. This process is organic and democratic, allowing different approaches to exist side by side. Looking to the future, Studio 44 wishes to develop its curatorial focus further, producing exhibitions that make connections between the members’ work while also including a wider artistic community.


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A.I.R. is supported in part by the New York Department of Cultural Affairs and The Lily Auchincloss Foundation. Private foundations include: The Milton and Sally Avery Arts Foundation, The Bernheim Foundation, PGS Millwork, The Scalapino O-Books Fund, The Segue Foundation, Inc., and from individual donations.


A.I.R. Gallery, New York Studio 44, Stockholm

Exhibition Catalogue: Women on the Line  

This catalogue was published on the occasion of a 2017 exhibition, Women on the Line, of women artists from A.I.R. Gallery in New York, USA...

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