Media Arts Program
 

Saturday, September 9, 2006

ARCHIVAL REVIVAL: THE WOMEN OF HALLWALLS

Presented at:
Hallwalls


Still from Ann Magnuson performance

Highlights from the Hallwalls Video Collection, featuring recently restored documentation of historic Buffalo performances by Laurie Anderson, Ann Magnuson, Karen Finley, Rachel Rosenthal, Constance DeJong, and Ethyl Eichelberger.

Since 2004, selected recordings from the Hallwalls Video Collection have been preserved thanks to support from the National Endowment for the Arts and the National Television & Video Preservation Foundation. Hallwalls has worked with Michael Basinski and his staff at UB's Poetry Collection to make the Hallwalls Archive, including screening DVDs of these treated video recordings, accessible to researchers interested in the history of Hallwalls and the performing arts. For more information, visit Hallwalls' archives page.

Newly preserved and restored videos presented by curator Joanna Raczynska including video documentation of performances by Laurie Anderson (LIKE A STREAM, 1978), Ann Magnuson (AFTER DANTE, 1983), Karen Finley (I LIKE THE DWARF ON THE TABLE WHEN I GIVE HIM HEAD, 1982), Rachel Rosenthal (GAIA, MON AMOUR, 1983), Constance DeJong (RELATIVE, 1990, with video by Tony Oursler), and Ethyl Eichelberger


Some publications related to this event:
September, 2006 - 2006

 
 
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.