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Sites and collections from this organization are listed below. Narrow your results at left, or enter a search query below to find a collection, site, specific URL or to search the text of archived webpages.
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Archived since: Jul, 2022
Description:
Howard Besser is Professor of Cinema Studies and founder of the Tisch School of the Arts Moving Image Archiving and Preservation program. The collection is made up of two of his websites, which contains information on the his scholarship, teaching, activism, and syllabi.
Subject: Computers & Technology
Archived since: Oct, 2022
Description:
Visual AIDS is a New York City based contemporary arts organization committed to HIV/AIDS prevention and awareness, a mission which the organization accomplishes through a number of visual art projects, by supporting artists living with the disease, and by honoring and preserving the legacies of artists who have passed away from HIV/AIDS-related complications. Visual AIDS produces public, inclusive, and accessible art projects that encourage reflection, dialogue, new scholarship and action. In addition to their exhibitions, public events, and publications, the organization collaborates year-round with teachers and students to facilitate research and special projects that address the underlying and related issues that contribute to and exacerbate the HIV/AIDS pandemic, such as poverty, homophobia, and racism.
Subject: Arts & Humanities
Archived since: Oct, 2022
Description:
A.I.R. Gallery was founded in 1972 as the first artist-run, not-for-profit gallery for women artists in the United States. The goals of A.I.R. are accomplished primarily through their exhibition programs: solo shows of Gallery Artists, sponsored solo shows for Fellowship Artists, group shows of National Artists, invitational solo shows through the Gallery II Program, and group shows designed to include a broader community of women artists such as the "Generations" invitational series and juried Biennial Exhibitions. The gallery also meets its mission by addressing topics of general concern to the public through lectures and symposia; by bringing the work of its exhibiting artists to the awareness of museums, collectors and critics; by working with interns and volunteers; and by making its archive of materials documenting the 30+ years history of A.I.R. available to the public. A.I.R. (Artists in Residence, Inc.) was founded in 1972 by the following women: Dotty Attie, Rachel bas-Cohain, Judith Bernstein, Blythe Bohnen, Maude Boltz, Agnes Denes, Daria Dorosh, Loretta Dunkelman, Mary Grigoriadis, Harmony Hammond, Laurace James, Nancy Kitchell, Louise Kramer, Anne Healy, Rosemarie Mayer, Patsy Norvell, Howardena Pindell, Nancy Spero, Susan Williams, and Barbara Zucker. Together they established policy, incorporated as a 501.c.3 not-for-profit organization and renovated the gallery space at 97 Wooster Street. The gallery doors opened on September 16, 1972, with a group show of ten gallery artists. The event was covered by a broad spectrum of publications from The New York Times to Ms. Magazine. From the first year, A.I.R. was host to many public- and community-oriented programs: an internship was established to give gallery experiences to students with art-related majors; a series of performances, panels and discussions on topics of art and feminism was created; and invitational shows, at that time called Open Air, invited non-member artists to exhibit. The membership of A.I.R. is kept at twenty New York artists who, through monthly meetings and participation on active committees (such as Finance, Membership, Gallery Maintenance, Legal), are the governing body of the gallery. The member-artists determine the direction of the gallery, vote in new members and help sit the gallery each month. Each artist is in charge of her own exhibition; that is, she curates and installs her work, allowing for experimentation and risk not always possible in commercial venues. In the spring of 1976 French critic Aline Dallier was asked to curate a show of contemporary French women artists entitled Combative Acts, Profiles and Voices. This was the first in a series of international shows sponsored by the Gallery, such as Women Artists from Japan (1978); Artists from Israel (1979); Dialectics of Isolation: An Exhibition of Third World Women Artists in the United States (1980, co-curated by Kazuko and Ana Mendieta); and Sweden Comes to New York (1981). The tradition of curated and invitational shows has continued to the present with such exhibitions as: Choice (1992, over 750 small works on the theme of reproductive rights); States of the Art 1993 (curated by Lowery Sims, Curator of 20th Century Art at the Metropolitan Museum of Art); Caught Between Mind and Body (1994, curated by Betti Sue Hertz of the Bronx Arts Council on the subject of women's health); Imprint (1994, a photography exhibition); and Members Choice (1995, a group show by young women artists). 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, and is now located at 511 West 25th Street.
Archived since: Feb, 2023
No description.
Archived since: Apr, 2024
Description:
Alliance for Cultural Democracy (ACD) was an activist arts organization active in the 1980s and 1990s. ACD began in December 1976 as the Neighborhood Arts Programs National Organizing Committee (NAPNOC). The founding meeting was held at the United Auto Workers’ Family Education Center in Black Lake, Michigan, in December 1976, bringing together two dozen community arts activists and allies from all over the country, many of whom had been supported through the Comprehensive Employment and Training Act(CETA). The organizers began publishing a newsletter, <emph render="italic">NAPNOC Notes</emph>, to maintain communication and dialogue. The organization was funded by the Department of Labor from 1977 through 1979. It grew to include over 150 cultural groups and many cultural workers based in urban, suburban, and rural settings, including muralists, theater people, videographers, craftspeople, musicians, photographers, publishers, organizers, and activists. As federal funding waned, the goals and definition of the organization evolved to encompass a broader vision of what became known as “cultural democracy”, the idea that cultural, racial, gender, national, ethnic, and other communities in global society had the right to exert their identities, practices, and arts through cultural, community, and aesthetic expressions at all levels. In 1983 the group changed its name to the Alliance for Cultural Democracy and <emph render="italic">NAPNOC Notes</emph> became <emph render="italic">Cultural Democracy</emph>, which was published on a mostly quarterly basis. Its most successful national campaigns were its efforts to promote a “Cultural Bill of Rights," as well as an effort to create an alternative to the 1992 Columbus Quincentennial. This campaign was inspired by the work of Indigenous and other BIPOC organizations in the U.S. and Latin America, and brought together a vast array of political, cultural, and community groups to counter the dominant culture’s narrative of the “discovery of the New World“ with one of resistance by Indigenous and other communities. ACD members played important roles in infusing cultural activism into organizing efforts around anti-gentrification and Central American solidarity, and also established ties with cultural activists in other countries. In the later 1980s and early 1990s, changing funding patterns for the arts, along with the urgency of the Gulf War and other national and international issues redirected much of ACD members’ energy. Additionally, the counter-quincentennial work raised concerns about how the organization addressed LGBTQ+ and BIPOC issues, and several BIPOC Board members resigned. Additionally, after the death of one of the key Board members in 1993 the organization began to slowly dissolve, formally ending around 1996.
Subject: Arts & Humanities, Society & Culture
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