publications
 
January and February, 1989.



Hallwalls Calendar: January and February, 1989.

Artists associated with this publication:
Ginny Durrin, Kate Davis, Jeffrey Skoller, Kathe Burkhart, Barbara Gallucci, Carter Hodgkin, Debra Jenks, Katharine Kuharic, Julia Kunin, Josie Robertson, Susan Tallman, Catherine Howe, Grahame Weinbren, Roberta Friedman, Paul Dickinson, Lenin Limbo, Brian Springer, Igor Aleinikow, Cine Fantom, Goscha Ostretsow, Helmut Merschmann, Juris Podnieks, Sergei Bodrov, Pappy Martin, T. Werner, H. Vollbrecht, M. Valentin, T. Frydetzkl, Charles D'Or, Konrad Wolf, C.M. Schlime, Sergei Bodrov, Brian Springer


Some events connected to this publication:
January 5, 1989 - FIRST THURSDAY: SIN BINGE
January 7, 1989 - VIEWING BABY FROM THE BLIMP
January 10, 1989 - RED: FIRST ENCOUNTERS WITH A CLOSED CULT
January 10, 1989 - RED: FIRST ENCOUNTERS WITH A CLOSED CULT:
January 11, 1989 - RED: FIRST ENCOUNTERS WITH A CLOSED CULT:
January 12, 1989 - RED: FIRST ENCONTERS WITH A CLOSED CULT; IN THE MIRROR TRAP
January 15, 1989 - JAZZ MEETS BLUES
January 25, 1989 - HALLWALLS WINTER HUDDLE
January 30, 1989 - RED: FIRST ENCONTERS WITH A CLOSED CULT:
January 31, 1989 - RED: FIRST ENCONTERS WITH A CLOSED CULT:
February 1, 1989 - RED: FIRST ENCONTERS WITH A CLOSED CULT:
February 6, 1989 - HOME VIDEO THEATER
February 10, 1989 - LENIN LIMBO
February 11, 1989 - NO SALESMAN WILL CALL
February 11, 1989 - THE ERL KING
February 11, 1989 - VULGAR REALISM
February 16, 1989 - BLUE: THREE ENCOUNTERS WITH OPEN ENDINGS
February 16, 1989 - BLUE: THREE ENCOUNTERS WITH OPEN ENDINGS:
February 21, 1989 - BLUE: THREE ENCOUNTERS WITH OPEN ENDINGS:
February 28, 1989 - BLUE: THREE ENCOUNTERS WITH OPEN ENDINGS:



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IN THE GALLERY
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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 ...