Literature Program
 

Tuesday, November 13, 2018 at 7:00 p.m.

FREE

UB English Dept. & Hallwalls present

Exhibit X Fiction: Shelley Jackson

Shelley Jackson was extracted from the bum leg of a water buffalo in 1963 in the Philippines and grew up complaining in Berkeley, California. Bravely overcoming a chronic pain in her phantom limb, she extracted an AB in art from Stanford and a MFA in creative writing from Brown. She has spent most of her life in used bookstores, smearing unidentified substances on the spines, and is duly obsessed with books: paper, glue, and ink. Nonetheless, she is most widely recognized for an electronic text, Patchwork Girl, a hypertext reworking of the Frankenstein myth, and for SKIN, a story published in tattoos on the skin of volunteers. As for ink on paper, she has left her ineradicable stain on Conjunctions, Fence, Grand Street, The Paris Review, and many restaurant napkins. Her first book, The Melancholy of Anatomy, was published by Anchor in April 2002, her second, the novel Half Life, by Harper Collins in 2006. About her new novel—Riddance: Or: The Sybil Joines Vocational School for Ghost Speakers & Hearing-Mouth Children—Samantha Hunt writes: "A genius work of art; a lost history; a rollicking, wondrous, Borgesian library; and a haunting so gloriously conceived, reader, you will shudder." Riddance will be available from Catapult Books in November 2018.

 
 
341 DELAWARE AVE.
BUFFALO, NY 14202
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GALLERY HOURS:
Tues.—Fri. 11-6
Sat. 11-2
Sun. & Mon. closed

IN THE GALLERY
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 ...