Visual Arts Program

Tuesday, February 10, 1976 — Monday, March 1, 1976


Presented at:


Exhibition of works by Lynda Benglis, Ron Gorchov, Bill Jensen, Marilyn Lenkowsky, Elizabeth Murray, Judy Pfaff, Jane Rosen, Barbara Schwartz, and John Torreano.   

According to materials in the Hallwalls Archives at the University at Buffalo, the exhibition featured the following works: 
Untitled (Totem) (Benglis, 1971, Beeswax and damar resin on plaster, bunting, wire mesh, 81.5" x 5" x 3.75", courtesy Paula Cooper Gallery, NYC)
Untitled (To Malcolm Morley) (Gorchov, 1974, oil/canvas, 35" x 25", courtesy the artist)
VI (Jensen, 1976, oil on linen on wood, 40" x 10", courtesy the artist)
CATCH (Lenkowsky, 1974, oil/canvas, 48" x 48" x 30.5", courtesy the artist)
YELLOW PAINTING, RED ARC (Murray, 1974, oil/canvas, 15" x 68.5", Courtesy Paula Cooper Gallery, NYC)
CHARLEMAGNE (Pfaff, 1976, constructed and arranged in the small gallery while the artist was in residence at Hallwalls)
RED (Rosen, 1976, plaster, marble dust and cement on canvas, 9" x 10" x 6", courtesy of Lamagna Gallery, NYC)
ONYX (Rosen, 1975, plaster, cement and copper on cavnas, 10" x 9" x 5.5", courtesy of Lamagna Gallery, NYC)
SCHYLA (Schwartz, 1975, casein on hydrocal over wire mesh, 21" x 22" x 4.5", courtesy the artist) 
QUARONTO / TONQUARNO (Schwartz, 1975, casein on hydrocal over wire mesh, 42" x 32" x 4.",  courtesy the artist)
Untitled (Torreano, 1975, oil, acrylic, modeling plaster and glass on wood, 4' x 4", courtesy of Bykert Gallery, NYC)

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.