Performance Art Program

Friday, November 6, 1987


Presented at:

David Cale (born in Britain, visiting from New York City) presents The Redthroats. Cale's appearance is a touring presentation of THE KITCHEN. [NOTE: Video documentation of this event is at the Hallwalls archives in the Poetry Collection, a special collection of the State University of New York at Buffalo Libraries; to learn more about how Hallwalls is working to make this avaiable for future access, please visit Migrating Media, our partnership with Squeaky Wheel, the Burchfield Penney Art Center, and the Experimental Television Center.]

A 6/27/19 NY Times review of Cale's 2019 show We're Only Alive for a Short Amount of Time, which mentions The Redthroats.

"From The Redthroats, in 1986, you might recognize precursors to the new play’s avian imagery—not just those chickens but also the 'bird and animal hospital' young David maintains in an old shed at the back of his house.…Or if you saw A Likely Story in 2004, you will not be surprised to find Judy Garland popping up here as an effigy of tragedy and transcendence. Garland also figures in The Redthroats, as does a family called the Weirds, whose shy son and brutal father are a lot like the ones depicted in We’re Only Alive" (Jesse Green, NYT, 6/27/19).

Some publications related to this event:
November and December, 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.