Media Arts Program

Friday, March 16, 2001


Presented at:


John Knecht presents his experimental computer processed animations, including: THE POXIOX STUDY: TALES OF THE END OF THE WORLD; 301 NAILS...NO AIR LOSS!; THE POSSIBLE FOG OF HEAVEN; THE WOBBLE DOBBLE SERIES

Artist-in-residence John Knecht will present his experimental computer processed animations, including The POXIOX Study: Tales of the End of the World, 301 Nails…No Air Loss!, The Possible Fog of Heaven, and The Wobble Dobble Series. The POXIOX Study (pronounced: pox ox), is a layering of narratives which Knecht describes as "the moment of rapture at the end of the world on New Years Eve at the dawn of the Third Millennium. Follow along with Nixy and Pickles, Shiva, Buster the Duck and Mr. Capricorn as they break through the pressure wall and enter the swirls of eternity." In The Possible Fog of Heaven "Elvis speaks for the first time from the afterlife, describing his experience in Heaven." The iconoclastic Knecht, who will be at Hallwalls from March 13 through the 17th preparing a multimedia installation in our gallery, will present these whimsical pieces in person.

Some publications related to this event:
March, 2001 - 2001

t: 716-854-1694
f: 716-854-1696

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

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.