Media Arts Program
 

Saturday, February 13, 1988 — Friday, March 25, 1988

POLITICS OF INFORMATION

Presented at:
Hallwalls

A Viewing in the Video viewing room organized by Barbara Lattanzi, with works including: RACE AGAINST PRIME TIME (David Schulman, 1984); IF IT'S TOO BAD TO BE TRUE IT COULD BE DISINFORMATION (Martha Rosler, 1985); FREEDOM OF INFORMATION TAPE 1: JEAN SEBERG (Margia Kramer, 1980); CONTINUOUS ENTERTAINMENT (Lee Murray and David Smith, 1987); propaganda pieces by the El Salvadorian army and oppositional guerilla forces including ATLACATL (1983); and TIEMPO DE ADACIA (TIME OF DARING) (1983); LOS REFUGEES (THE REFUGEES) (Michael Ach and Mark Brady, 1985); PRESCRIPTION FOR CHANGE (Tami Gold and Lyn Goldfarb, 1986); and THEY SAY THEY WILL (Zone Productions, 1987). Also as part of Politics of Information, paintings and photographs by Duncan Bethel, Lenore Bethel, Juan Cavazos, Huey Nei Chang, Kenneth Cooper, Terresa Ford, Ricky Gonzales, Eric McEntire, Curtis Robinson, and Terry Simpkons, all of whom are associated with the Molly Olga art school. 


Some publications related to this event:
February, 1988 - 1988

 
 
341 DELAWARE AVE.
BUFFALO, NY 14202
t: 716-854-1694
f: 716-854-1696

 
GALLERY HOURS:
Tues.—Fri. 11-6
Sat. 11-2
Sun. & Mon. closed

IN THE GALLERY
from Jan. 10, 2020
through Feb. 28, 2020
 

Sarah Sutton
Knots and Pulses


This exhibition by Ithaca-area artist Sarah Sutton will feature a series of monochromatic oil paintings that combine representational imagery with distortions and abstractions that create scenarios in flux. They are essentially landscape paintings, but Sutton's treatment of the landscape toys with its sense of space and the notion of the built vs. the natural environment.
 

Katie Bell
Abstract Cabinet


Katie Bell’s exhibition is a site-specific installation conceived of as a one-act drama starring anonymous artifacts. Functioning like a theatrical set, the gallery holds static characters that reference the interior architecture of corporate and commercial spaces. Sculptural objects are often fractured or untethered to a contextual structure. Functioning as a whole, the individual artefacts are a nod to players on a stage, held captive in space and time.