Performance Art Program
 

Friday, June 2, 1995

Co-sponsored/co-presented by:
Franklin Furnace Fund for Performance Art, the National Endowment for the Arts (Commissioning & Presenting Program)

EMPTY ARMS

Presented at:
Hallwalls

First of two performance of multimedia work by Homer Jackson and Essex Hemphill. With performances by Will Anderson Brown (ABT), Dee LaMonte Perry (Mr. So and So), and Homer Jackson (Hawkins). The multimedia project, which was developed in residence at Yellow Springs Institute, incorporates and deconstructs Frannie Hurst's film AN IMITATION OF LIFE (produced in 1934 and 1956), as well as audio materials from a 1973 interview with Barbara Ann Teer (from the Folkways album "Black Drama").


NOTE: Co-creator Essex Hemphill—who himself had performed solo at Hallwalls five years earlier, on November 16, 1990—died just five months to the day after the June 4, 1995 performance of Empty Arms, at the age of 38.

"Essex Hemphill (April 16, 1957–November 4, 1995) was an openly gay American poet and activist. He known for his contributions to the Washington D.C. art scene in the 1980s, and for openly discussing the topics pertinent to the African American gay community" (Wikipedia).


Some publications related to this event:
May and June, 1995 - 1995

 
 
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 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.