Visual Arts Program

Saturday, March 28, 1987 — Saturday, April 25, 1987

Co-sponsored/co-presented by:
National Endowment for the Arts and the New York State Council on the Arts.


Presented at:

A survey of recent visual art and artists' videos, which explore sexuality and gender representation, organized by Chris Hill and Catherine Howe. Featuring painters, photographers, and performance and video artists who examine sexuality, gender, and representation. At Hallwalls: Janet Cooling, Ame Gilbert, Lee Gordon, Daniel Levine, Bonnie Lucas, Grace Graupe-Pillard, Jody Pinto, Andres Serrano, Betty Tompkins, David Wojnarowicz, and Kevin Wolff. At Buscaglia-Castellani Art Gallery in Niagara Falls: Ida Applebroog, Ann Fessler, Jedd Garet, Mitchell Kane, Barbara Kruger, Mike Love, Adrian Piper, Cindy Sherman, and Carolien Stikker. Video artists include: Alan Sondheim and Kathy Acker, Martha Wallner and Miriam Loaisiga, Bruce Yonemoto and Norman Yonemoto, Julie Zando, Max Almy, Ayoka Chenzira, Phyllis Christopher, VALIE Export, Annie Goldson, Owen Land, Pier Marton, Martha Rosler, Lisa Steele, Vito Acconci, Lynda Benglis, Lyn Blumenthal, Hermine Freed, Richard Fung, Joan Jonas.

Some publications related to this event:
April, 1987 - 1987
March, 1987 - 1987

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

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

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.