Shelley Niro: 500 Year Itch celebrates more than a half century of Shelley Niro’s paintings, photographs, mixed-media works, and films. Accessible, humorous, and peppered with references to popular culture, Niro’s art delves into the timeless cultural knowledge and generational histories of her Six Nations Kanyen’kehá:ka (Mohawk) community to provide purpose and healing. The exhibition will be on view May 27, 2023–January 1, 2024 at the museum’s New York location.
Shelley Niro: 500 Year Itch
Shelley Niro, Waitress, 986. Oil on canvas. 36x48 inches. Courtesy of Art Gallery of Hamilton.
Shelley Niro, Rebel, 1987. Hand-tinted gelatin silver print. 8x10 inches. Courtesy of the Collection of the Artist.
Shelley Niro, Time Travels Through Us, 1999. Installation - three gelatin silver prints on fiber-based paper with three vitrines containing a feather fan, a cornhusk doll and a beaded bag. 63.5x83.8 cm. Courtesy of Thunder Bay Art Gallery Collection, Purchased with the support of the Canada Council for the Arts Acquisition Assistance Program, 1996.
Shelley Niro, La Pieta #1, 2007. Series of seven color/black and white prints on beaded red cloths; each 101.6x71.1 cm. Courtesy of the Collection of National Museum of the American Indian, Washington DC.
Shelley Niro, Ancestors M: Stories of Women, 2011. Color inkjet print. 152.4x101.6cm. Courtesy of the Collection of National Museum of the American Indian.
Shelley Niro, Abnormally Original, 2014-2017. Color inkjets on canvas. 137.2 x 86.4 cm. Courtesy of the Collection of the Artist.
Shelley Niro, Abnormally Original, 2014-2017. Color inkjets on canvas. 137.2 x 86.4 cm. Courtesy of the Collection of the Artist.
Shelley Niro, Abnormally Original, 2014-2017. Color inkjets on canvas. 137.2 x 86.4 cm. Courtesy of the Collection of the Artist.
See Also
“The terrific range of project proposals we receive each year speaks to the mobile and porous disciplinary boundaries of contemporary art practice, and to the rich and inventive ways writers approach art today. They are alert to the urgent need to expand the conventions of art history and criticism with ideas from other discourses, such as black studies, transnational and diaspora studies, gender and women’s studies, and LGBT studies. The work of lesser known and overlooked artists and art communities continues to be mined, with writers articulating new ways to counter the striking imbalances of race, class and gender that continue to affect the arts and the culture industry.”