Visual Arts Program

Saturday, February 16, 2002 — Friday, March 22, 2002


Presented at:

Drawings from Sydney, Glasgow, Sao Paulo. Curated on three continents by Martin Boyce, Ihor Holubizky, Projeto Linha Imaginaria (Imaginary Line Project), Ines Raphaelian, Simon Rees, & Hayley Tompkins.

Half the World Away
is a spontaneous drawing exhibition that collates work from three diverse locales, each approximately "half the world away" from Western New York.
Curators in Glasgow, Sydney and Sao Paulo were invited to compile as many and as varied a collection of contemporary drawing work as would fit into a specified size box for shipment to Hallwalls and subsequent exhibition. The enclosed drawings could be folded, serialized, and drawn in any media. So long as the collected drawings fit comfortably into the specified package, there was no limit on the number of drawings or the number of artists. The participating curators were invited to select at-will from what they perceived to be the most interesting drawing work in their region. This could include emerging or established artists.

Half the World Away is a companion exhibition to The Edge of Everything, curated by John Massier for the Koffler Gallery in Toronto in 1998. In The Edge of Everything, an allusive title (a sentence fragment from Don DeLillo's novel Underworld) was used as a point of departure to invite 21 artists to produce wall drawings directly in the gallery space during a one-week period. Not all the artists invited drew as a regular part of their practice-several were sculptors, some did not draw at all. It was a maneuver designed to establish an exhibition that highlighted drawing, a foundation practice (lying behind most other artistic pursuits, the "edge of everything") that often resides hidden in the sketchbooks and studio practices of artists, but is not often exhibited.

Like that earlier exhibition, Half the World Away utilizes a similarly allusive title (culled this time from a song by Oasis) as a point of departure for a companion exercise similarly intended to highlight the medium of drawing. Unlike that earlier exhibition, in which all 21 participating artists were Toronto-based, none of the artists in Half the World Away are Buffalo-based.

Instead, all the artists are geographically displaced from the site of the exhibition, brought together by a tenuous but adamant thread, the commonality of drawing as a vital and engaging practice.  The edge of everything from half the world away!

Featuring: Hany Armanious, Del Kathryn Barton, John Beagles and Graham Ramsay, Neil Bickerton, Karla Black, Martin Boyce, Leya Mira Brander, Jenny Brownrigg, Roderick Buchanan, Michael Bullock, Eugene Carchesio, Anne-Marie Copestake, Kate Davis, Katy Dove, Katie Exley, Alex Frost, Michael Fullerton, Kevin Hutcheson, Julian Kildear, Sarah Lowndes, Lorna Macintyre, Sophie Macpherson, Alan Michael, Andrew Miller, Rosana Monnerat, Victoria Morton, Scott Myles, Sally Osborn, Toby Paterson, Fred Pederson, Sidney Philocrean, Alex Pollard, Monica Rubinho, Luis Flavio Silva, Sarah Smith, Clare Stephenson, Ricky Swallow, Hayley Tompkins, Yvonne Rose Twaddle, Nathan Waters, Michael Wilkinson, David Wishart.

Some publications related to this event:
February, 2002. - 2002
March, 2002 - 2002

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Tues.—Fri. 11-6
Sat. 11-2
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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.