Media Arts Program

Tuesday, November 11, 2014 at 7:00 p.m.

$8 general, $6 students/seniors, $5 members

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Rewind: Buffalo Video Art 1985-1995

Rewind: Buffalo Video Art 1985-1995
Rewind: Buffalo Video Art 1985-1995

Curated by Laura McGough

Rewind: Buffalo Video Art 1985-1995 celebrates the lively media scene that erupted in Buffalo during the 1980s and early 1990s. At turns performative, political and playful, the videos featured in this program serve to partially document an immensely productive era in Buffalo's media history. Rewind includes work by Fred Bacher, Don Bernier, Kevin Fix, Richard Wicka, Armin Heurich, Chris Hill, Richard Kegler, Cheryl Jackson, George Scherer, John Saxe, and more.

Laura McGough has had a diverse career as an educator, curator, critic and grants administrator, working at organizations ranging from Hallwalls Contemporary Arts Center to the National Endowment for the Arts. Along the way, she organized exhibitions, screenings, Webcasts, and performances for arts organizations in the U.S., Australia, Canada, and Europe; published critical writing on the visual arts, media arts and new media; participated in numerous local, regional, and national grants panels; and received funding from the D.C. Commission on the Arts and Humanities, the New York State Council on the Arts, the Canada Council, and the British Council to support varied curatorial initiatives. She is currently completing a PhD in the Department of Media Study, SUNY University at Buffalo.

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

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

from May. 10, 2019
through Jun. 28, 2019

Ashley Smith
Three Fold Form

Inspired by Jungian psychology and mythology, Ashley Smith's process is an alchemical cauldron where personal narratives about womanhood, motherhood, research about art, stories, and myths of the wild woman archetype who represents the instinctive nature of woman are boiled together and transmuted to create abstract sculptural forms and installations that sprout from the wall and grow from the ground.

Stephanie Rohlfs
Put One Over

Rohlfs' work springboards from a clean surface appearance and concise formal gestures into a hybridized set of works that make the artist seem part minimalist, part colorist, part humorist. Rohlfs' sculptural gestures are so adroitly specific and contained that each element—a field of color, a drooping form, a slab of shelving—takes on more imminent and emphatic articulation ...