Published in 1984
Curated by Claudia Gould
Essays by Edit DeAk and Duncan Smith

MOTIVES (March 2-29, 1984) Hallwalls Inc, Buffalo, NY, 1984. [A twenty-four page booklet printed in conjunction with a cooperative project between the Albright-Knox Art gallery, CEPA, and Hallwalls. Joseph Nechvatal and Christy Rupp exhibited installations at the Albright-Knox from February 28-April 1, 1984. Ashford, Bolande, Dickson, High, Nechvatal, and Rupp also exhibited at Hallwalls and CEPA. Eva Buchmuller's work was at SQUAT Theatre. Essay entitled "Motives" by Edit deAk with Duncan Smith. Artists' biographies and bibliographies researched by R.L. Keller. Black and white prints and photographs also included. The exhibit focused on political and social non-violent activism. The booklet was designed by Bill Smith studio.]

Artists associated with this publication:
Joseph Nechvatal, Christy Rupp, Doug Ashford, Jennifer Bolande, Eva Buchmuller, Jane Dickson, Kathryn High

Some events connected to this publication:
March 2, 1984 - MOTIVES

Hallwalls' Digital Archives were established to enhance public access to cultural content and are intended for noncommercial use only; copyright for any work on these pages remains with the original artists or their estates.
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 ...