Media Arts Program
 

Sunday, March 11, 1990

ABSTRACT FILMS OF THE 1920'S:

Presented at:
Hallwalls

PRESENTED BY FILMMAKER AND SCHOLAR WILLIAM MORITZ. Films include LICHTSPIEL OPUS NR. 1(Walter Ruttmann, 1921, black and white, 10min); FILM IS RYTHMUS (Hans Richter, 1921, black and white, 1min); LE RETOUR A LA RAISON (Man Ray, 1923, black and white, 2min); WACHS EXPERIMENTE (Oskar Flschinger, 1923, black and white, 8min); OPUS NR. 2, OPUS NR. 3, and OPUS NR. 3 (Walter Ruttmann, 1922 and 1923, black and white, 10min); DIAGONAL SYMPHONY (Viking Eggling, 1924, black and white, 6min); BALLET MECHANIQUE (Dudley Murphey, with Fernand Leger and Man Ray, music by George Anthell, 1924, black and white, 18min); ENTR'ACTE (Rene Clair, with Fracis Picabia, music by Eric Satie, 1924, black and white, 20min); JEUX DES REFLET ET DE LA VITESSE (Henri Chomette, 1923-25, black and white, 3min); ANEMIC CINEMA (Marcel Duchamp, 1926, black and white, 6min); R-1 EIN FORMSPIEL (Oskar Fischinger, 1925-27, black and white, 6min); ETUDE CINEGRAPHIC SUR UNE ARABESQUE (Germaine Dulac, 1928, black and white, 5min); DISQUE 957 (Germaine Dulac, 1929, black and white, 6min); IN DER NACHT (Walter Ruttmann, 1931, black and white, 6min).

 
 
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GALLERY HOURS:
Tues.—Fri. 11-6
Sat. 11-2
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IN THE GALLERY
from Jan. 13, 2012
through Feb. 24, 2012
 

Marla Hlady
Walls


For the past twenty years, objects and sound have played an ongoing and intimate part in the practice of Toronto artist Marla Hlady. Often, a rigorous and seemingly solid sculptural form has been injected with an element of seemingly spontaneous action—which generates its own sound score—as well as pre-recorded sound elements introduced innocuously into fabricated objects. There has often been a duality between the desire to contain and shape sound and motion and the impulse to let it find its own self-actualizing space.