HEY G - 2006_03.ForWeb.jpg March, 2006 - Hallwalls
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March, 2006

Detail from work by Wheez Von Klaw.Detail from work by Wheez Von Klaw.

Hallwalls Calendar: March, 2006.

Artists associated with this publication:
Associated Artists for Propaganda Research, Tobias Brill, Chris McGee, Wheez Von Klaw, Ji Hoon Park, Jules Rosskam, Harun Farocki, Jill Godmilow, George Landow, Owen Land, Stephen Vitiello, Paul Chan, Jem Cohen, Eyal Press, Samuel R. Delany, William Parker, Matthew Shipp, Dave Rempis, Anton Hatwich, Tim Daisy, Frank Rosaly


Some events connected to this publication:
March 3, 2006 - WAYS IN BETWEEN GENDER: LATINA, ROME AND THEIR FAMILY & TRANSPARENT
March 4, 2006 - EPICENTER CITY/PURPOSEFUL DERANGEMENT
March 4, 2006 - NOW AGAIN THE PAST: REWIND REPLAY RESOUND - THE INEXTINGUISHABLE FIRE & WHAT FAROCKI TAUGHT
March 4, 2006 - Associated Artists for Propaganda Research Epicenter City
March 4, 2006 - Tobias Brill, Chris McGee, Wheez Von Klaw
March 7, 2006 - Eyal Press journalist & author of Absolute Convictions: My Father, a City, & the Conflict That Divided America

March 10, 2006 - William Parker Buffalo Orchestra
March 18, 2006 - George Landow REVERENCE: FILMS OF OWEN LAND - Programme One
March 19, 2006 - George Landow REVERENCE: FILMS OF OWEN LAND - Programme Two
March 23, 2006 - Matthew Shipp
March 24, 2006 - Samuel R. Delany EXHIBIT X
March 25, 2006 - Stephen Vitiello BUFFALO BASS DELAY
March 30, 2006 - Paul Chan TIN DRUM TRILOGY
March 31, 2006 - Jem Cohen CHAIN
April 4, 2006 - The Rempis Percussion Quartet


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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.
 

Katie Bell
Abstract Cabinet


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.