publications
 
September, 2009


Detail of installation by Lewis Colburn,
Detail of installation by Lewis Colburn, "Interregnum (1815-1969)"

Hallwalls Calendar: September, 2009.

Artists associated with this publication:
Alison S.M. Kobayashi, Lewis Colburn, Burnt Sugar, Cooper-Moore, Assif Tsahar, Chad Taylor, Evan Parker, Ned Rothenberg, Pappy Martin, Paul H-O, Tom Donahue, Bill Jungels, Buffalo Sound Painting Ensemble, Marion Perry, Susan Dworski Nusbaum, Janet Baus, Dan Hunt, Reid Williams


Some events connected to this publication:
September 4, 2009 - Burnt Sugar the Arkestra Chamber
September 9, 2009 - Dr. Marion Perry & Susan Dworski Nusbaum Gray Hair Reading Series
September 11, 2009 - Lewis Colburn Interregnum (1815-1969)
September 11, 2009 - Alison S. M. Kobayashi Videos
September 11, 2009 - Lewis Colburn & Alison S. M. Kobayashi Opening Reception and Artist's Talks
September 12, 2009 - Guest of Cindy Sherman
September 17, 2009 - Bill Jungels Broken Branches, Fallen Fruit
September 17, 2009 - NYFA Artists' Fellowship Application and Information Seminar
September 23, 2009 - Pappy Martin's A Love Supreme "Remembering John Coltrane"
September 25, 2009 - Cruel and Unusual
September 26, 2009 - Digital Primitives
September 28, 2009 - Buffalo Sound Painting Ensemble
September 29, 2009 - Evan Parker / Ned Rothenberg Duo


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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 ...