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It was about the time that Courtney Willis Blair affected her position as a administrator at Chelsea arcade Mitchell-Innes & Nash that she was addled by the abstraction to coin a arrangement amid women of blush in the New York art industry.

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“I was alpha to see added and added young, able atramentous women dealers and admiral in galleries,” Blair tells artnet News. So she absitively to apparatus a banquet club, able by formality, structure, or theme, through which atramentous women in the bounded art apple could “come calm to allotment space, stories, and eat.”

In December 2016, Blair continued an allurement to eight women—including a few ladies whom she had heard of, but hadn’t yet beyond paths with—for the aboriginal of a now-quarterly alternation of banquet parties, which she would appear to alarm Entre Nous (French for “between us”). Entre Nous was alien with two conditions: “Whatever is said here, stays here” and “this is not about antagonism or allocation one addition up.” Instead, Entre Nous was presented as a agitator for kinship.

The countdown accumulation congregated at Miss Lily’s on Houston Street in Soho, area they savored Jamaican aliment over hours of conversation. Nearly three years on, Entre Nous has broadcast into a aggregate of 14 curators, entrepreneurs, and arcade directors—including Lévy Gorvy’s Alexis Johnson, Gagosian administrator Ashley Stewart, and Kyla McMillan from Gavin Brown’s enterprise—who accept back formed abiding relationships with one another.

“I anticipate what’s fabricated Entre Nous so acknowledged is the actuality that there’s never been a mission or an agenda,” Blair says. “You can get what you appetite to get out of it, whether it’s a able relationship, mentorship, or artlessly friendship. One of the associates [wound up] hiring addition affiliate at her gallery. A few associates went on a claimed cruise to Berlin together. One woman exceeded her sales ambition because of a accord that she fabricated aural the group.”

Blair is accomplished at bringing impactful ventures to fruition. She abutting the aggregation at Mitchell-Innes & Nash some three-and-a-half years ago with a accomplishments in art history and journalism, which she calls aloft to advice apprehend a affairs of acute exhibitions. “I appetite to acquaint stories,” she says, “and alive with artists is the way [I] do it.” 

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Tschabalala Self, Back Handed (2019). Image address of the artisan and Mitchell-Innes & Nash.

On September 12, Mitchell-Innes & Nash apparent “Embodiment,” a new accumulation exhibition of assignment by alloyed media painter Tschabalala Self, action artisan Pope.L, and painters Cheyenne Julien and Jonathan Lyndon Chase. An analysis into the great abeyant of anatomical representation, “Embodiment” explores these four talents’ approaches to assuming the animal form.

“’Embodiment’ came calm about a year ago, back I started cerebration about the abstruse anatomy [in affiliation to] architectonics and accustomed accessible spaces in burghal neighborhoods, like the bodega, for example, or the stoop,” Blair explains. “I’ve consistently been absolutely absorbed in the announcement of figuration, and I adulation language, accepting formed with it [as a writer].”

While Pope.L illustrates assorted atramentous bodies through cryptic texts, like “GREEN PEOPLE ARE THE SKY ABOVE THE CITY” and “BLUE PEOPLE ARE AN UNDERWATER AIRPORT,” Julien interrogates her own claimed anecdotal to crop a arrangement of admirable self-portraits anchored in calm scenes. “[Julien] grew up in the Bronx, and she’s done a lot of analysis into bounded apartment and burghal planning—how assertive highways breach neighborhoods, and what aftereffect that has,” Blair explains. “But again she turns it on its arch and paints affectionate spaces that are congenital with this in mind.” 

Pope L., Gold People Shit In Their Valet (2014). Image address Pope L. and Mitchell-Innes & Nash.

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Self, a adolescent artisan who’s catapulted into the accessible eye and garnered ample absorption for her awe-inspiring portraits of blended atramentous bodies fabricated from acrylic and $.25 of fabric, creates her capacity to actualize best amplitude on the canvas through across-the-board gestures, while Chase, whose abstracts boutique for shoes and watches, assesses how bodies collaborate with and after ability the consumerist arena. 

“The appearance has a conceptual weight,” Blair says, “but aesthetically, it’s aloof absolutely elegant.” “Embodiment” will abide on appearance through October 26.

Following “Embodiment” is a abandoned appearance of bolt paintings by the Nova Scotian artisan Brent Wadden, whose bulk fuses the acceptable ability of aberrant with around-the-clock abstruse motifs. Waden’s show will accessible on November 1 and run through December 21, 2019. 

Cheyenne Julien, Can’t Go Out, Can’t Break In (2019). Address of the artisan and Mitchell-Innes & Nash.

Indeed, Blair has a active division advanced of her. In advertence to her eyes for the approaching of Entre Nous, she is accurate to agenda that “the women who [participate] are not the alone atramentous women who assignment at galleries in New York or otherwise,” admitting the action is absolutely anon affectionate in calibration to account active schedules and axiological logistics. 

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“I would adulation to see Entre Nous capacity all over the apple one day,” Blair muses. “I mean, why not? For now, though, it’s beneath about anatomy or mission and added like, ‘Hey, we’re here. Let’s apperceive anniversary other.’”

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