Science & Art Cabaret

Wednesday, October 4, 2017 at 7:00 p.m.


Hallwalls, Buffalo Museum of Science, Technē Institute, and UB College of Arts & Sciences present

Science & Art Cabaret 19.0: COLOR

The 9th Ward @ Babeville, 341 Delaware Ave.

AJ FRIES, Temporary Mountain 2, 2015, acrylic on canvas
How You Were Taught Color Wrong

on Yves Klein

Quarks, Color, and Flavor

interviewed by John Massier
on Painting and Color Blindness

Buffalo's popular Science & Art Cabaret returns with a blunt topic of engagement: COLOR. participants will address the sundry considerations of this wide and familiar topic in The Ninth Ward at Babeville, 341 Delaware Avenue, Buffalo NY on Wednesday, October 4, 2017, beginning at 7pm. Admission to the cabaret, as always, is FREE.

Begun in the fall of 2009, the Science & Art Cabaret was established as an ongoing conversation about endless topics across all disciplines. Its underlying premise has always been intellectual pursuits that appear distinct—intellectual, scientific, artistic—actually cross paths far more often than we presume and share spheres of interest and meaning. We have found this to be true again and again, as we have mashed together unexpected speakers and watch them reveal, over the course of an evening, the commonalities in our collective search for knowledge. Each cabaret is centered on a theme and invited participants are asked to share their thoughts on that theme in short-form presentations. Without calculation or planning, cabaret events typically reveal, in incise and illuminating fashion, that disciplines superficially presumed to be disparate are actually parts of a larger commonality.

For its first cabaret of the 2016/17 season, the broad and familiar topic of COLOR is brought forth for consideration and discussion. A concept routinely taken for granted, the invited speakers for this theme will approach it from numerous directions—the quantum reality of color, the invention of a new and pure color, the educational missteps of teaching color, and even the reality of painting in riotous and dynamic color while being officially color-blind. Through these presentations, we expect to touch upon more than one meaning to define color and more than one perspective through which to question and consider this familiar subject.

"We could talk about Color for endless days," notes Hallwalls' Visual Arts Curator John Massier, "even if we consider it only within the scheme of work by one painter—say, Barnett Newman or Monet or Sol LeWitt. How color works with and against other colors, as well as the emotions is both represents and evokes. Once we introduce physics and scientific perspectives into the conversation, we find that it mostly serves to underscore all the ambiguous perceptual questions we use when discussing art—what's the difference not only between color but between the yellow you see and the yellow I see? What's happening between those perspectives? Is color adequately taught and how is that different from how it used to be taught? And what does it mean to be color blind and, even more, what if you're a color blind painter who paints in color? Like many cabarets, COLOR will solve nothing, but will open up the world of possibilities we are endlessly interested in exploring."

UB Professor of Physics Will Kinney, cabaret co-organizer, adds, "Likewise, color — the wavelength of electromagnetic waves — is a central tool in science: the color of an object gives us a wealth of information about its properties. Color indicates temperature, composition, velocity, distance. Color analysis (or spectroscopy) is a tool that spans a broad range of scientific disciplines, from archaeology to astronomy.

"But color shows up in other ways as well, in particular as a metaphor for fundamental processes that we would otherwise find it difficult to imagine. The 'color force' binding quarks is such an example, leading to the field of physics called 'Quantum Chromodynamics.'"

Dr. Salvatore Rappoccio of the UB Department of Physics, an expert on particle interactions at the Large Hadron Collider in Geneva, Switzerland, will provide an entertaining introduction to quarks, and the "color" that binds them.

The event series is supported by the Technē Institute for Arts and Emerging Technologies in the UB College of Arts and Sciences.

Participant biographies:

Bruce Adams is best known as a conceptually based figurative painter who references various painting styles. In exploring the act of painting, Adams peels back the layers of meaning inherent in art making and viewing. He has exhibited extensively regionally and internationally, and his work is included in numerous private, corporate, and museum collections including the Albright-Knox Art Gallery, Castellani Museum, UB Anderson Gallery, and Burchfield-Penney Art Center. In 2007 Adams was given an extensive mid-career survey exhibition titled Bruce Adams, Half Life 1980-2006 at the UB Anderson Gallery. In 2016. His most recent completed body of work titled Myths and Lies was exhibited in a solo exhibition at the Castellani Museum in 2014.

Formally trained in art education at Buffalo State College, Adams extended his education through his long involvement in the contemporary art scene starting in the nineteen-eighties as director/curator of peopleart bflo gallery, and then with Hallwalls Contemporary Art Center as an Artist Advisory Committee co-founder, long-time board member, and board president.

Adams' experience includes work as a painter, installation and performance artist, educator, arts advocate, and award winning critical writer. He was selected as a participant in the NYFA MARK Professional Development Prorgam.. and the MARK Consultants Program. He is a lecturer at Buffalo State College. Adams' installations and performances have been staged in public venues such as Buffalo's First Night, the Urban Art Project, and most notably the Artists and Models Affair.

A.J. Fries is a painter who was born and raised in Buffalo, NY. A graduate of the State University of New York College at Buffalo, he has been called "unquestionably one of WNY's most serious, developed, and dedicated artists" by Scott Propeack, associate director of the Burchfield Penney Art Center.

Fries has exhibited in Buffalo at the Burchfield Penney Art Center, Buffalo Arts Studio, Hallwalls, and Big Orbit Gallery, among others. His work is included in many public and private collections, including those of the Albright-Knox Art Gallery and the Burchfield Penney. In 2001 he was awarded a 3-month residency at the International Studio and Curatorial Program in New York, and in 2007 he received a full fellowship for a month-long residency at the Vermont Studio Center. He is a founding member of Trans Empire Canal Corporation (TECC), a Buffalo-based collective responsible for the Burchfield Penney Art Center's 2014 multi-year project "Cultural Commodities: As Exhibition in Four Phases," informally referred to as the "art barge." Fries was designated one of the Burchfield Penney's first "Living Legacy" artists in 2012.

John Massier is the Visual Arts Curator at Hallwalls Contemporary Arts Center in Buffalo, NY.

Gary Nickard is a conceptual artist committed to exploring the interstices between visual art and literature while engaging such diverse topics as science, philosophy, psychoanalysis and various historical knowledge systems. He works in photography, installation and various time-based media as well as electronic music. He joined the UB Art Department in 1995.

Gary Nickard was born in Toronto, Canada and emigrated to the United States over three decades ago. He received a Bachelor of Arts (1978), Master of Arts Humanities (1982), and a Master of Fine Arts (1986), Master of Arts (2004) and Doctor of Philosophy (2006) in Comparative Literature, all from the University at Buffalo.

His prior professional experience includes stints as Executive Director / Curator of CEPA Gallery Buffalo, NY (81-88), Associate Curator, Alternative Museum, New York, NY (88-90), Director, Burden Gallery Aperture Foundation, New York, NY (90-91) and Director of Programs / Curator, Artists Space, New York, NY (92-94). He has published a number of critical essays in Afterimage, Exposure and Border Crossings Magazines (among others) and has done editorial work for Aperture Magazine.

Nickard has exhibited at The Albright-Knox Art Gallery, Anderson Gallery, Big Orbit Gallery, The Burchfield-Penney Art Center, CEPA Gallery, Hallwalls Contemporary Arts Center and The University at Buffalo Art Gallery, all located in Buffalo, NY. He has also exhibited at The Alternative Museum, Deitch Projects Entropy Gallery, 438 Broom Street Gallery and The Puffin Room Gallery, all located in New York, NY. In addition he has exhibited at The Castellani Art Museum, Lewiston, NY, The Fine Arts Gallery, Colgate University, Hamilton, NY, The Visual Arts Gallery, New Jersey City University, Jersey City, NJ, The Olin Gallery, Kenyon College, and SPACES Gallery in Cleveland, both located in Ohio, as well as Stewart Hall Gallery, Montreal, and YYZ Gallery in Toronto, both located in Canada. He has been Artist-in-residence at The George Eastman House, International Museum of Photography, Rochester, NY and at Light Work, Syracuse University, Syracuse, NY. Numerous exhibition catalogs of his work have been published and reviews of his work can be found in Artforum and Arts magazines (among others).

Salvatore Rappoccio is an expert on particle detectors and subatomic and elementary particles, such as protons, neutrons, electrons, quarks, neutrinos, muons and exotic particles. He can comment on particle physics in general, as well as on the development of particle detectors and the results of experiments conducted with these devices.

Rappoccio is a member of the Compact Muon Solenoid (CMS) collaboration, a team of thousands of scientists who run the CMS, one of two major general-purpose particle detectors at the Large Hadron Collider, the largest particle accelerator in the world. Researchers use the CMS to search for evidence of new particles and exotic physics.

t: 716-854-1694
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Tues.—Fri. 11-6
Sat. 11-2
Sun. & Mon. closed

from Jan. 10, 2020
through Feb. 28, 2020

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