publications
 
THE FILMIC ART OF PAUL SHARITS


Published in 2000
Curated by Nancy Weekly
Essays by Charlotta Kotik, Anthony Bannon, John G. Hanhardt

THE FILMIC ART OF PAUL SHARITS Burchfield-Penney Art Center and Buffalo State College, Buffalo, NY, 2000. [A thirty-two page color booklet published in conjunction with the exhibition of the same title. Includes an introduction by Nancy Weekly (Curator, Burchfield-Penney Art Center), the essay "Painter Behind the Celluloid" by Charlotta Kotik (Curator, Brookyln Museum of Art), the essay "Interrogating the Cinematic Apparatus: Notes on '3rd Degree' by Paul Sharits" by John G. Hanhardt (Curator, Solomon R. Guggenheim Museum), and the essay "A Sketch" by Anthony Bannon (Director, George Eastman House). Includes color photos of work by Paul Sharits, a chronology of Sharits' life and work, a checklist of the eponymous exhibition, a film program for the works presented at Hallwalls, and a list of faculty at Burchfield-Penney Art Center. The full exhibition was presented at Burchfield-Penney Art Center February 26-May 21, 2000. The booklet was designed by Karl Scheitheir of SKA Graphics Ltd.]

Artists associated with this publication:
Paul Sharits


Some events connected to this publication:
March 17, 2000 - PAUL SHARITS RETROSPECTIVE:
March 19, 2000 - PAUL SHARITS RETROSPECTIVE:
March 22, 2000 - PAUL SHARITS RETROSPECTIVE:
September 23, 2000 - PAUL SHARITS PANEL DISCUSSION



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IN THE GALLERY
from Mar. 14, 2014
through May. 2, 2014
 

Kyle Butler
Mortality Tantrums


Across media including drawing, painting, sculpture, video, and performance, the work of Kyle Butler addresses multiple ideas—parallels between the built environment and human behavior with that sphere; the interplay of competing and cooperating systems and the limitations of those systems; fluidity in the face of bureaucracy; and ordered conduct as a remedy to the ambiguity of socialization.
 

Chantal Rousseau
Harbingers of Doom


Behind the ongoing gif work of Chantal Rousseau resides a drawing and painting practice. Electronically realized, her gifs are clearly hand-rendered, rather than cobbled together from other more technological means. It might seem like a subtle distinction but less so when one considers the work within the broad terrain of other electronically-based aphorisms such as emoticons, memes, and screen savers.