Special Events

Friday, October 24, 2014 at 7:00 p.m.

$15 general admission, $12 students/seniors, $10 members

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A/V Imbroglio: Redux - Archive Clips & Live Performances

Asbury Hall at Babeville

Admission includes Vores aftershow in the Ninth Ward.

Video still from I Like the Dwarf on the Table When I Give Him Head, Karen Finley's professional debut, performed live at Hallwalls, 700 Main St., Nov. 10, 1982.
As part of Hallwalls' 40th year celebrations, we will be showcasing selected portions of our prodigious and recently-preserved archives, new live performances by invited artists, and selected introductions and recollections. We would like to share some of our past and some of the present with our audience and community.

The event will take place in Asbury Hall on Friday, October 24, 2014 at 8:00 pm, with a 7:00 pm cocktail hour.

Forty years of multi-disciplinary events means a considerable heft of archival materials collected, piled, and thoughtfully hoarded throughout the decades—slides, video documents, catalogues, and ephemera. Much of the first 30 years of Hallwalls' history is safely housed in the Poetry Collection at the University at Buffalo Libraries, but even this storehouse of materials is neither completely indexed nor even completely complete, and documentation of our current programming continues as we speak.

Since our 30th anniversary, archive and preservation efforts have picked up steam. Under the direction of Carolyn Tennant, these efforts have moved into a higher gear: we have produced a more regular system of archive management that has facilitated the digitization of various materials, including the entirety of our history of printed calendars and the majority of exhibition catalogues, both of which are now available as downloadable pdfs on our website. And we continue to manage our documentation records, including nearly 20,000 35mm slides, and perhaps most delicately, our collection of older format audio and video tapes.

In April 2009, Hallwalls—in collaboration with Squeaky Wheel and the Experimental Television Center—launched a new partnership program, Migrating Media: Upstate Preservation Network. The new project, made possible by a generous donation of a SAMMA Solo by Jim Lindner, inspired the development of a new model to migrate analog videos to digital formats, assuring access and preservation for future generations. Today, the project is housed by our partner, the Burchfield Penney Art Center, and has been made possible by funding from the Electronic Media & Film program of the New York State Council on the Arts and the Media Arts program of the National Endowment for the Arts.

Archive documents featuring:

Live performances by:

Selected Introductions & Recollections by:

Tony BilloniRon EhmkeDon Metz

Hallwalls @ 40 Costume Contest! (optional)

Since Friday, October 24th is only a week before Halloween, audience members who opt to do so are invited to come to this event costumed as their favorite Cindy Sherman photo (Untitled Film Still or otherwise) or Robert Longo Men in the Citiesfigure. Such dress-up is optional, but we will take pictures of you posing and there will be valuable prizes awarded for the most convincing live recreation of two of two of our co-founders' iconic images of the '70s, '80s, or beyond.
This event supported in part by a grant from The Seymour H. Knox Foundation.

t: 716-854-1694
f: 716-854-1696

Tues.—Fri. 11-6
Sat. 11-2
Sun. & Mon. closed

from May. 10, 2019
through Jun. 28, 2019

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 ...