A.I.R. Gallery - Fall 1979 schedule of Monday Night Programs
Regular price $75.00
Single sheet.
14" x 8 1/2".
Three horizontal folds.
Light creasing, edgewear (specifically at folds) and foxing.
A scarce schedule of A.I.R. Gallery's 1979 Monday Night Programs featuring artist Howardena Pindell and Just Above Midtown gallery founder Linda Bryant co-moderating a panel entitled Racism in the Visual and Performing Arts. As well as Poppy Johnson, Betsy Damon, Gayle Davis, Carl Andre, Frazer Doughtery, Leon Golub, Mary Beth Edelson, Suzanne Lacy, Kyra, Miriam Sharon, etc.
A.I.R. Gallery (Artists in Residence, Inc.) was established in 1972 as the first not-for-profit, artist-directed and maintained gallery for women artists in the United States.
In 1972, artists Susan Williams and Barbara Zucker were joined by Dotty Attie, Maude Boltz, Mary Grigoriadis, and Nancy Spero and selected fourteen more women artists to form twenty co-founders of A.I.R. Gallery. The group of twenty included Rachel bas-Cohain, Judith Bernstein, Blythe Bohnen, Agnes Denes, Daria Dorosh, Loretta Dunkelman, Harmony Hammond, Laurace James, Nancy Kitchell, Louise Kramer, Anne Healy, Rosemary Mayer, Patsy Norvell, and Howardena Pindell. Together they renovated their first gallery space at 97 Wooster Street in New York City, established policy, and incorporated A.I.R. as a 501c3 not-for-profit organization.
At the original meeting to form the gallery on March 17, 1972, artist Howardena Pindell suggested the name “EYRE Gallery” for Charlotte Bronte’s Jane Eyre. The artists decided on “A.I.R. Gallery,” with A.I.R. shortened from “Artists in Residence.” In the 1960s artists began to work and live in industrial lofts in SoHo previously used only during conventional work days; heat and sometimes even water were turned off at night and on weekends. With artists in residence, the fire department mandated an “A.I.R.” sign on the floors occupied by artists in case of emergency. After much discussion, the founding artists chose the name A.I.R. Gallery, announcing that women artists were now permanent residents in the art world.