HEY G - 1990_5.ForWeb.jpg May, 1990 - Hallwalls
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May, 1990


Hallwalls Calendar: May, 1990.

Artists associated with this publication:
Mark Leyner, Catherine Texier, Abiodun Oyewole, Robbie McCauley, James Klein, Roberto Echavarren, Constance De Jong, Tony Oursler, Charles Long, Shelly Lichenwalter-Barron, Danial Burke, Joel Peter Johnson, Dick Robideau, Mindy Tousley, Anne Moss, Katrin Jurati, Rosemary K. Lyons, Charles Long, Akua Kamau, Scott Sweeney, Jeff Sherven, Larry Brose, Terry Klein, Kevin Fix, Tony Bannon, Bill Brown, John Christopher, Don Owens, Douglas W. Adams, Ladies of the Lake, Nancy Barton, Michael Glass


Some events connected to this publication:
April 21, 1990 - BUTTER WOULDN'T MELT IN MY MOUTH
April 21, 1990 - ROSEMARY K. LYONS: FEELS LIKE A HUNDRED
May 3, 1990 - FIRST THURSDAY
May 4, 1990 - CONSTANCE DEJONG AND TONY OURSLER
May 4, 1990 - RELATIVES
May 5, 1990 - CONSTANCE DEJONG AND TONY OURSLER
May 5, 1990 - CONSTANCE DEJONG AND TONY OURSLER
May 6, 1990 - JAMES KLEIN:  LETTER TO THE NEXT GENERATION
May 10, 1990 - ATLANTIC CASINO
May 10, 1990 - CAFÉ TEATRO PRESENTS ROBERTO ECHAVARREN
May 10, 1990 - LETTER TO THE NEXT GENERATION: A LOOK AT KENT STATE 20 YEARS LATER
May 12, 1990 - DOWNTOWN DEPRESSION, SUBURBAN HORROR: A FESTIVAL OF FILMS SPOTLIGHTING BUFFALO
May 13, 1990 - FEELS LIKE A HUNDRED
May 13, 1990 - PERFORMANCE HOCKEY
May 18, 1990 - FEELS LIKE A HUNDRED
May 25, 1990 - MARK LEYNER AND CATHERINE TEXIER
May 26, 1990 - ABIODUN OYEWOLE
May 26, 1990 - DISCONSOLATE REVELATIONS
May 26, 1990 - CHARLES LONG: HUMANIFOLDESTINY



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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.