HEY G - 1987.HallwallsSpaces.ForWeb.jpg HALLWALLS SPACES - Hallwalls
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HALLWALLS SPACES

Published in 1987
Curated by Chuck Agro, Catherine Howe, Craig R. L. Keller, Kathleen Sherin

HALLWALLS/SPACES ARTIST EXCHANGE, (Hallwalls: May 29-June 26, 1987 and Spaces: June 12-July 17, 1987), Hallwalls Inc, Buffalo NY, 1987. [A 32 page catolog for the SPACES/HALLWALLS exchange shows, featuring black and white images of works by participating artists with forwards by Susan Channing (Director of Spaces, Cleveland OH) and Catherine Howe (Exhibitions Curator, Hallwalls). Artists from Western New York were selected by Spaces curators Susan Channing, Jeffry Chiplis, Marcia Stuermer, Brinsely Tyrrell exhibited at Spaces (May 29-June 26, 1987) included: Roberley Bell; Jim Hartel; Jed Jackson; Eric Jensen; Barbara Lattanzi; James Morris; Gary Nickard; David Schirm; Ed Bak; Armin Heurich. Artists from Northeast Ohio were selected by Hallwalls curators Chuck Agro, Catherine Howe, Craig R. L. Keller, and Kathleen Sherin and exhibited at Hallwalls (June 12-July 17, 1987): Mark Soppeland; Roger Rapp; Paul O'Keefe; Scott Miller; James Lucas; Rob Mihaly; Don Harvey; Masumi Hayashi. Catalog was designed by Richard Sarian.] 0-936739-08-8

Artists associated with this publication:
Roberley Bell, Jim Hartel, Jed Jackson, Eric Jensen, Barbara Lattanzi, James Morris, Gary Nickard, David Schirm, Ed Bak, Armin Heurich, Mark Soppeland, Roger Rapp, Paul O'Keefe, Scott Miller, James Lucas, Rob Mihaly, Don Harvey, Masumi Hayashi


Some events connected to this publication:
May 29, 1987 - SPACES/HALLWALLS ARISTS EXCHANGE
June 12, 1987 - SPACES/HALLWALLS ARTIST EXCHANGE



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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.
 

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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.