Media Arts Program
 


Thursday, June 14, 2007

Co-sponsored/co-presented by:
River Run and the University at Buffalo's Humanities Institute

CINEGAEL BUFFALO:

Presented at:
Hallwalls

(Ken Loach, 2006, 122 min.)
Best Picture, 2006 Cannes Film Festival, & 2007 European Film Award
Plus
Blot Out the Sun
(Harrell Fletcher, 2005, 22 min.)
Afterwords by Prof. Laurence Shine
$8 ($6 Hallwalls members)

"[The Wind That Shakes the Barley] is enthralling, devastating...beautiful. As alive and troubling as anything on the evening news" (New York Times).

Blot Out the Sun returns to Hallwalls' Cinema after being a hit of the Dissecting Portland [Oregon] program of short films screened here this past St. Patrick's Day. A gas station/garage in what must be the least green part of Portland is the setting for this conceptual re-working of James Joyce's Ulysses. The garage owner, Jay, mechanics, customers, and neighborhood denizens share narration and portray characters, reading lines from the novel off cue cards focusing on death, love, social class, and the relationship between individuals and the universe.

"If Ulysses is the sun in the firmament of our planet's great novels, Harrell Fletcher's Blot Out the Sun is the thumb of mere flesh that appears to cover it all if viewed from just the right angle. The entirety of Ulysses distilled like fine Irish whiskey into 22 minutes by the unlikeliest of Greek choruses."

Harrell Fletcher has worked collaboratively and individually on a variety of socially engaged, interdisciplinary projects for over a decade. His work has been shown nationally and internationally. In 2002 Fletcher started Learning To Love You More, an ongoing participatory web site with Miranda July.


Some publications related to this event:
June, 2007 - 2007

 
 
341 DELAWARE AVE.
BUFFALO, NY 14202
t: 716-854-1694
f: 716-854-1696

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

IN THE GALLERY
from Sep. 22, 2017
through Nov. 3, 2017
 

David Schirm
All The Glad Variety


Though distilled into broad symbolic forms or abstract landscapes, David Schirm's work often springs from his own experiences during the Vietnam War and paintings may allude to the scenes of horrific and senseless battles, the strafing of weapons across a landscape, "whose laser-like blazes of fired bullets gave a distinctive hum of un-worldliness to the darkness." Though his depictions of landscape forms even touch upon the pastoral in their depiction and use of color, Schirm's original point o ...