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HALLWALLS ART AUCTION


Published in 1992

HALLWALLS ART AUCTION (January 15-February 14, 1992) Hallwalls Inc, Buffalo NY, 1992. [A 20 page black and white catalog published in conjunction with the auction of the same title. Includes a brief introduction by Edmund Cardoni (Executive Director, Hallwalls) and black and white photographs of auctioned works by the artists: Charles Clough (DECEMBER TWENTY-FIFTH, 1987-1988); Duayne Hatchett (UNTITLED, 1991); Bruce Adams (MEASURING MAN, 1989); Nancy Dwyer (BRIGHT IDEA, 1991); Patrick Mills (COPY OF SURPRISE, 1991); Biff Henrich (UNTITLED, 1991); Cindy Sherman (UNTITLED, 1990); Robert Longo (UNTITLED, 1991 and BODY OF A COMIC, 1991); Michael Zwack (HISTORY OF THE WORLD, 1986); Chuck Agro (SUBMARINE, 1991); John Toth (CORE SAMPLE #15, 1991); Rosemary K. Lyons (CHAOS/WAVE, 1991); Joseph Piccillo (EDGE EVENT II, 1982); and two items not shown by Kathie Simonds (AMERICAN GOTHIC/CLASSIC and OUR HOLY WARS FOREVER, 1991)

Artists associated with this publication:
Charles Clough; Duayne Hatchett; Bruce Adams; Nancy Dwyer; Patrick Mills, Biff Henrich; Cindy Sherman, Robert Longo, Michael Zwack; Chuck Agro; John Toth; Rosemary K. Lyons; Joseph Piccillo; and Kathie Simonds.


Some events connected to this publication:
January 15, 1992 - HALLWALLS ART AUCTION



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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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 ...