October and November, 2004.

Hallwalls Calendar: September, October and November, 2004.

Artists associated with this publication:
Edmund Cardoni, Franny Armstrong, Steve Reinke, Deco Dawson, Nelson Henricks, David Clark, Sarah Carne, Steve Hawley, Effie Gibson, Lily Markiewicz, Paul Bush, Lisa Steele, Velveeta Crisp, Jacques Thelemaque, Mark Achbar, Jennifer Abbott, Joel Bakan, Misha Manson-Smith, Bruce Jackson, Lars Von Trier, Jorgen Leth, Joseph Mealey, Michael Shoob, Dan Olman, Sarah Price, Chris Smith, James Miller, Phil Solomon, Dave Burrell, Full-Blown Trio, Ben Marcus, Matt McCormick, David Greenberger, Paul Sharits, Jozef Robakowski, Bobby Bradford, Frode Gjerstad Trio, Steve Tomasula, Fred Andersen, DeeDee Halleck, Stan Brakhage, Willem Breuker, Hermine Deurloo, Maarten van Norden, Boy Raaymakers, Andy Altenfelder, Andy Bruce, Bernard Hunnekink, Arjen Gorter, Henk de Jonge, Rob Verdurmen, Saadet Turkoz, Larry Ochs, Lisle Ellis, Donald Robinson, Steve Swell, Nate Wooley, Tatsuya Nakatani, Dave Burrell, William Parker, Andrew Cyrille, Cooper-Moore, Tom Abbs, Chad Taylor, Bobby Bradford, Frode Gjerstad, Oyvind Storesund, Paal Nilsen-Love, Fred Anderson, Hamid Drake, David Greenberger, Courtney Von Drehle, Bela Balogh, Michael Papillo, Craig Martin, Gary Irvine, Ed Rogers, Catherin Faust, Cindy Sherman, Carlo Cesta, Allen Topolski, Alfonso Volo, Suzy Lake, Laurel Farrin, Michelle Hines, Frederick Hayes, Eric Brown, Margaret Cogswell, Ben Marcus, Steve Tomasula, Christina Milletti

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from May. 10, 2019
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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 ...