publications
 
September, 2001



Hallwalls Calendar: September, 2001.

Artists associated with this publication:
Allan Wexler, Terence Van Elslander, Mehrdad Hadighi, James Cathcart, Frank Fantauzzi, Michael Jefry Stevens, Gebhard Ullmann, Joe Fonda, George Schuller, Eileen Myles, Chris Kraus, Kim Gordon, Thurston Moore, Matthew Shipp, Rob Brown, Mark Helias, Tom Rainey, Tony Malaby, Peter Kowald, Assif Tsahar, Hamid Drake, Tom Shepard, Carolee Schneemann, Ghen Dennis, Jonas Mekas, Lee Ranaldo, David Kramer, Peter Bowyer, Mark Abrahamson, Lauren Warner, Gregg Bendian, Nels Cline, Kermit Driscoll, Alex Cline, Leroy Jenkins, Felisha Norton, Charles Gayle, Sabu Adeyola, Virgil Day, William Hooker, Glen Hall


Some events connected to this publication:
September 7, 2001 - LEE RANALDO/GLEN HALL/WILLIAM HOOKER
September 8, 2001 - MATTHEW SHIPP AND ROB BROWN
September 14, 2001 - CONFERENCE CALL
September 15, 2001 - ALTERNATOR
September 16, 2001 - ANAGRAMMATICAL CINEMA PRESENTS:
September 20, 2001 - SCOUT BENEFIT
September 22, 2001 - ANAGRAMMATICAL CINEMA PRESENTS:
September 25, 2001 - PETER KOWALD/ASSIF TSAHAR/HAMID DRAKE
September 28, 2001 - MARK HELIAS' OPEN LOOSE
September 29, 2001 - TOM SHEPARD SCOUT'S HONOR
October 6, 2001 - LEROY JENKINS AND FELISHA NORTON
October 12, 2001 - CHARLES GAYLE TRIO



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.
 
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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 ...