HEY G - 1998_10.ForWeb.jpg October, 1998 - Hallwalls
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October, 1998

Still from D.A. Pennebaker's Still from D.A. Pennebaker's "Don't Look Back"

Hallwalls Calendar: October, 1998.

Artists associated with this publication:
Alley Laughlin, Robin Smith, Sadie Benning, Eileen Pleasure O'Brien, Sheila M. Petrocy, Kelly Spivey, Gail Mentlik, Dona Michelini, Lydia Trombetto-Haupt, Traci Arkeilpane, Anne Borden, Judie Champlin, Cathy Pardike, Melissa Burch, Susan Stoltz, Craig Mclver, Tyrone Brown, Odean Pope, Dwaine Terry, Jorge Fiedler, Jody Lafond, Robin Smith, Beth Tauke, Mary Lum, Cecilia Vicuna, Apu Sansar, Vincenzo Mistretta, Chris Hegedus, D.A. Pennebaker, Philip Bosco, Julie Murray


Some events connected to this publication:
September 26, 1998 - CECILIA VICUÑA: CLOUD-NET / ILLAPA
September 26, 1998 - REMNANT/REFERENT
October 1, 1998 - YOUTH VIDEO ART
October 3, 1998 - MEHENDI WORKSHOP
October 3, 1998 - THE APU TRILOGY:
October 8, 1998 - DON'T LOOK BACK
October 9, 1998 - VINCENZO MISTRETTA
October 10, 1998 - WOMEN IN LIMBO PRESENT: WOMEN FROM BUFFALO-ART AND LIFE
October 16, 1998 - MOON OVER BROADWAY
October 18, 1998 - SADIE BENNING WORKSHOP
October 24, 1998 - ODEAN POPE TRIO
October 25, 1998 - CONSUMING PASSIONS
October 30, 1998 - JULIE MURRAY
October 30, 1998 - THE MEETING
October 31, 1998 - DIA DE LOS MUERTOS ALTARS
October 31, 1998 - DIA DE LOS MUERTOS PARTY
November 14, 1998 - SQUONK OPERA



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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.