Performance Art Program
 

Saturday, November 19, 1988

WAYS IN BEING GAY

Presented at:
Hallwalls

Lillian Killian and Kate Stafford in RABBIT PLANTATION by Alison Rooney; FRUIT 'N’ FIBER: LESBIAN 'N’ GAY STAND-UP FROM NYC starring Sara Cytron, Reno, Jaffe Cohen, Danny McWilliams, and Bob Smith.

[First biannual WAYS IN BEING GAY festival, founded by Ron Ehmke. The title, (which like "Hallwalls" itself, everybody gets wrong) is taken from a recurrent phrase in a Gertrude Stein story. Features return engagements by Tim Miller and Holly Hughes in their pre-"NEA 4" days, along with dozens of other artists and writers from across the country. Hallwalls writer-in-resident Hughes appears as a featured participant in the First International Women Playwrights Conference, and organizes some conference events at Hallwalls. — E.C.]

ARCHIVAL NOTE: Around the time of Buffalo-born comedian Bob Smith's untimely death at age 59 on January 20, 2018, Ron Ehmke corrected our archival record, noting that Smith did not in fact end up appearing on this comedy bill.

Commenting on Colin Dabkowski's Buffalo News obituary, Ehmke wrote "he didn’t actually come to town with the rest of Funny Gay Males—I think he told me he just wasn’t ready to play his hometown" (1/25/18).


Some publications related to this event:
November and December, 1988 - 1988

 
 
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IN THE GALLERY
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.