Visual Arts Program
 


Saturday, September 16, 2000 — Friday, October 27, 2000

Co-sponsored/co-presented by:
The National Endowment for The Arts, and The Andy Warhol Foundation for The Visual Arts

CHARLES GOLDMAN

33 REVOLUTIONS PER MINUTE

Presented at:
Hallwalls

An installation in the Project Room by Hallwalls Artist-in-Residence Project (HARP) visual artist Charles Goldman including OUTTAKES, 1966-1999; HANGING AROUND PLAYING MUSIC; MIXTAPES and others.

New York artist Charles Goldman created a new installation at Hallwalls during his Hallwalls Artist in Residence Project (HARP) residency, June 3 - 28, 2000. For his installation entitled 33 Revolutions Per Minute, Goldman videotaped himself working in the space and produced hundreds of drawings of album covers from his own collection. His intent is to explore various notions of time as determined by a mild obsession with popular music. In today's world, music functions as the soundtrack to our lives. Songs often become stand-ins for real, lived experience. The same song could be playing while we are falling in love or while we are staring at the ceiling. But invariably, the real life situation plays out differently than the recorded one. Goldman is interested in how growing up with popular music has warped the expectations we have of our emotions, our lives, and of time in general.

Recent solo exhibitions include Scrapwood at DeChiara/Stewart, and 2 x4 x 8 x at Correct C.E. in New York. Group exhibitions include Far From the Soil at Rare in NY, Making Change at The Jewish Museum in San Francisco, and Almost at The Living Room in Los Angeles. HARP is made possible with major grants from The Andy Warhol Foundation for theVisual Arts and the National Endowment for the Arts (NEA).


Some publications related to this event:
September, 2000 - 2000

 
 
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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 ...