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DTSTART;TZID=America/New_York:20230714T080000
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DTSTAMP:20260410T193134
CREATED:20230919T124126Z
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UID:3369-1689321600-1698609600@bornbuffalo.com
SUMMARY:A Light Under the Bushel: Paintings by Julia Bottoms
DESCRIPTION:A Light Under the Bushel: Paintings by Julia Bottoms\nOn View\nJul 14\, 2023 – Oct 29\, 2023\nThe practice of portraiture has historically served to not only represent the subject but to also preserve their spirit in its most honest form. For Buffalo-based visual artist Julia Bottoms\, traditional portraiture is a means to express the nuance and complexities of Black identity beyond limiting\, reductive stereotypes. Thinking through historic periods in which portraits were commissioned for figures of prominence\, Bottoms’ practice interrogates portraiture as a concept of record. The inclusion – or lack thereof – of Black and Brown bodies in classical portraiture has inspired a new series and conceptual direction in her work.  \nA Light Under the Bushel features work from this new series\, building upon the artist’s interest in expanding narratives around representations of Blackness. Black and Brown people certainly existed during times like the Renaissance and Victorian eras when classical portraits were created. However\, their inclusion in such works is rare and highly circumstantial\, their lives rarely deemed important enough to be documented by fine art. Bottoms’ new paintings push against this\, emphasizing that they have always been an important part of history. Inspired by portraits of these eras\, her work fuses the historic with the contemporary through her models’ dress. Her work is reminiscent of the recontextualization of blackness throughout history seen in the work of portrait artist Kehinde Wiley. However\, Bottoms moves in a different direction by employing soft\, gestural brush strokes and posing her models to emulate classical depictions of saints\, Madonna and Child\, warriors\, and other angelic beings\, imbuing her figures with an ethereal presence.  \nBottoms reflects on the allusion to religious iconography as twofold in an artist statement on the series:   \nFirst\, it’s meant to convey the intangible spiritual aspect of each person depicted. Second\, it is a reference to Black and Brown bodies as they relate to the history of Christianity. Growing up religious\, I often felt a disconnect between the Eurocentric imagery in religious art and what I knew to be the factual appearance of people from the regions described in the Bible. People from the Middle East and North Africa are people of color. The shades and features of Biblical characters would have varied\, but the fact that they were of color is undeniable. So it stands to reason that that would be reflected in classical art depictions. However\, that is not the case. This exclusion comes with an implication; The alignment of whiteness with purity/goodness and Blackness with corruption/evil has had far-reaching psychological ramifications for us all. In the case of Biblical depictions\, this is not only a lack of inclusion\, it is erasure.  \nAs I worked on the series\, a particular verse came to mind. In Matthew 5:15-16 Jesus says: “Neither do people light a lamp and put it under a bowl. Instead they put it on its stand\, and it gives light to everyone in the house. In the same way\, let your light so shine before others\, that they may see your good deeds and glorify your Father in heaven.”  \nI kept thinking about all the talents\, all the goodness\, and all the truly great accomplishments\, lost to time because a person’s skin color disqualified them from being recorded. How many lights were placed under a bushel and how deeply has humanity missed out on great minds for it? How many scientists\, poets\, mathematicians\, and philosophers have been lost to institutional bushels? The light we each possess is still subject in part to the roles we are forced into and the circumstances we must endure. But a light is still a light regardless of its location. In covering it\, the light does not cease to be what it is\, rather it is *us* who miss out on its illumination. \nOverall\, this series is meant to spark our imaginations. History cannot be re-written; however\, we can find value in reflecting on what inclusion could have looked like. Additionally\, perhaps this imagery can inspire an excavation of sorts\, in which we search for the accomplishments that have been recorded but ignored or distorted. It is my hope that the work will inspire the contemporary art world and artists going forward. Above all\, I challenge the viewer to value the light of every individual and to never be the bushel that conceals it. \nA Light Under the Bushel: Paintings by Julia Bottoms is made possible through the generosity of our presenting sponsor\, M&T Bank. For his leadership commitment\, we gratefully acknowledge Senator Sean M. Ryan\, with additional thanks to James & Dorothy Pappas and Gary & Willow Brost for their generous support.
URL:https://bornbuffalo.com/event/a-light-under-the-bushel-paintings-by-julia-bottoms/
LOCATION:Burchfield Penney Art Center\, 1300 Elmwood Avenue\, Buffalo\, NY\, 14222\, United States
CATEGORIES:Art Event,Buffalo Event,Family
ATTACH;FMTTYPE=image/jpeg:https://bornbuffalo.com/wp-content/uploads/2023/09/JuliaBottoms-scaled.jpeg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230922T080000
DTEND;TZID=America/New_York:20231222T200000
DTSTAMP:20260410T193134
CREATED:20230919T182607Z
LAST-MODIFIED:20230919T182618Z
UID:3409-1695369600-1703275200@bornbuffalo.com
SUMMARY:Communities: Trust The Front Yard Film Screening Series
DESCRIPTION:Communities: Trust\nThe Front Yard Film Screening Series \nSep 22\, 2023 – Dec 22\, 2023\nThe Front Yard film screening series features seasonally changing projected media art programs\, highlighting the work of Western New York artists. The inaugural program revolves around the theme of communities: trust\, coinciding with The 2023 Buffalo Humanities Festival. Presentations will begin after dark each night and will run for three months. \nCommunities: Trust\, guest curated by Dorothea Braemer\, Lukia Costello\, and  Meg Knowles\, tackles the topic of community and trust through the lens of the diverse perspectives of 10 regional media artists. Tammy McGovern’sAutostorm presents a notion of community disappeared into the confines of our cars. Kyla Kegler’s Monster Society performatively studies alienation and finding ways to approach community. Her Own Hero by Lukia Costello and the late Tilke Hill tackles the history of women’s self-defense\, and Harlem Nights by Kaitlyn Lowe celebrates the community of radical artists of the Harlem Renaissance in the form of a visual poem.  In Savage Future\, Terry Jones interrogates the American-Indian boarding school experience and in Mrs. Snow\, Annette Daniels-Taylor explores the mindset of a mid-century  African-American domestic worker.  Olurotimi Akanbi’sUrban Transitions draws attention to the contrast between communities in urban and rural landscapes in and around Buffalo\, while Edreys Wajed’s The Sidewalk imagines community from the perspective of a sidewalk on Buffalo’s East Side. Interwoven throughout the program are pieces by Phil Hastings and David Mawer.   Three pieces from Phil Hasting’s poetic fragmentum series metaphorically address community through evocative studies of humans and nature.  Seven playful geometric studies from David Mawer reference landing sequences and the pull of gravity through patterns of undulating dots\, lines and shapes\, sometimes superimposed over maps. \nDorothea Braemer and Meg Knowles are filmmakers and professors in the media production major at Buffalo State University\, and Lukia Costello\, also a filmmaker\, is the founding director of the Spark Filmmaker Collaborative and the Micromania Film Festival. \nCommunities: Trust – Program Order and Credits:\nTammy McGovern  – Autostorm\, 2023   \nKyla Kegler – Monster Society\, 2022 \nDavid Mawer – Lerp Puppet Strings\, No. 1\, 2023 \nPhilip Hastings –  fragmentum 62 (c)\, 2017 \nDavid Mawer – Landing Sequence (for an Interdimensional Fleet)\, No. 3\, 2023 \nLukia Costello and Tilke Hill – Her Own Hero\, 2022 \nDavid Mawer – Algorithm for a Gravity Wave: Dots\, 2023 \nKaitlyn Lowe – Harlem Nights\, 2022 \nPhil Hastings – fragmentum 37 (b)\, 2018 \nDavid Mawer – Landing Sequence (for an Interdimensional Fleet)\, No. 2\, 2023 \nTerry Jones – Savage Future\, 2022 \nAnnette Daniels-Taylor – Mrs. Snow\, 2017\, 2018 \nDavid Mawer – Landing Sequence (for an Interdimensional Fleet)\, No. 1\, 2023 \nOlurotimi Akanbi – Urban Transitions\, 2022 \nDavid Mawer – Algorithm for a Gravity Wave: Grid\, 2023 \nPhil Hastings – fragmentum 43 (b)\, 2019 \nDavid Mawer – Landing Sequence (for an Interdimensional Fleet)\, No. 4\, 2023 \nEdreys Wajed – The Sidewalk\, 2018 \nTRT: 32 mins 48 seconds
URL:https://bornbuffalo.com/event/communities-trust-the-front-yard-film-screening-series/
LOCATION:Burchfield Penney Art Center\, 1300 Elmwood Avenue\, Buffalo\, NY\, 14222\, United States
CATEGORIES:Art Event,Buffalo Event
ATTACH;FMTTYPE=image/jpeg:https://bornbuffalo.com/wp-content/uploads/2023/09/thecoming-scaled.jpeg
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DTSTART;TZID=America/New_York:20231013T080000
DTEND;TZID=America/New_York:20240128T200000
DTSTAMP:20260410T193134
CREATED:20230919T124713Z
LAST-MODIFIED:20230919T124720Z
UID:3373-1697184000-1706472000@bornbuffalo.com
SUMMARY:A Clearing View Charles E. Burchfield Reframed
DESCRIPTION:A Clearing View\nCharles E. Burchfield Reframed \nOct 13\, 2023 – Jan 28\, 2024\nCharles E. Burchfield was one of the great American artists of the 20th century\, but his work is sometimes overlooked as are many works on paper\, because they cannot be left on museum walls for years at a time. They are also shown behind glass\, which presents viewers with reflections of themselves\, distorting the work itself. This exhibition is the beginning of an effort to both literally and metaphorically reframe his paintings and offer an unencumbered view of his brilliant work\, properly presented and celebrated the way it can be today. \nThe 1930s were an important time in Burchfield’s career. It was during this decade that his work was featured in the first solo exhibition ever held at the then new Museum of Modern Art in New York City. After quitting his job at the Birge Wallpaper company in 1929\, Burchfield was finally able to devote all of his energy to painting. Around the same time\, he started building his own frames to display his work. On August 29\, 1934\, he wrote in his journal: \nWorking these last few days again on frames; it is hard work\, but at times enjoyable. Even the mechanical uncreative parts\, such as rubbing with sand-paper or using the rasp are a physical pleasure\, like walking or swimming. \nWorks from this period\, often presented in large dramatic frames with rustic finishes\, are excellent illustrations of how Burchfield himself intended for the work to be seen. Most of the best examples have little or no matt bordering the work and are presented in the way one might expect to see an oil painting. \nModern glass\, used in everything from windows and lenses to fiberglass and fiber optic cables\, is a building block for civilization. In windows\, it protects people from the elements. Lens technology has allowed people to see more clearly as their sight fails them. Burchfield himself needed glasses to continue painting. On November 24\, 1939\, he wrote: \nA.M. When I tried to draw in the studio\, I found I could not focus on the work at arm’s length. Alarmed\, I called Dr. Bennett\, who\, instead of assuring me it could be remedied\, said it presented quite a problem\, and would I see him at 5:00 P.M. So I had a bad hour or so\, until I reasoned out myself\, that an extra pair of glasses\, with more space for intermediate work\, and less for distance\, should do the trick.  \nIn his journals\, Burchfield often spoke of weather clearing after a storm as the rain or wind that ravaged the landscape moved away. This exhibition does the same. Like those new glasses\, it offers a clearing view of work too long distorted by obsolete glass. By reframing Burchfield’s work\, we also re-present his legacy and its importance in a world that needs his love of nature and his focus on the details in the world around us that anyone can connect with and enjoy.
URL:https://bornbuffalo.com/event/a-clearing-view-charles-e-burchfield-reframed/
LOCATION:Burchfield Penney Art Center\, 1300 Elmwood Avenue\, Buffalo\, NY\, 14222\, United States
CATEGORIES:Art Event,Buffalo Event,Family
ATTACH;FMTTYPE=image/jpeg:https://bornbuffalo.com/wp-content/uploads/2023/09/Burchfield-scaled.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231013T080000
DTEND;TZID=America/New_York:20240428T200000
DTSTAMP:20260410T193134
CREATED:20230919T190811Z
LAST-MODIFIED:20230919T193751Z
UID:3438-1697184000-1714334400@bornbuffalo.com
SUMMARY:John Wood: The System is Alive
DESCRIPTION:John Wood: The System is Alive \nOct 13\, 2023 – Apr 28\, 2024\nJohn C. Wood (1922-2012) was an educator and artist whose practice transcended divisions of media. Wood taught with distinction at Alfred University from 1954 to 1987 where he developed the photo\, graphic design\, book arts\, printmaking\, and foundation programs in the School of Art & Design. Wood was a revered and influential professor who described his aesthetic practice as “being in the state of drawing” and grounded in his personalized forms of “System Drawing.” These philosophies\, prominent throughout this exhibition\, are the connective tissue for his life’s work.  \nThe exhibition focuses on the relationship between Wood’s visual scholarship and its expression through diverse media\, extending through more than 25 different forms and variants. Among the media are drawings on various substrates\, including a range of papers\, rocks\, and sand\, and an equivalent variety of print media\, including intaglio\, etching\, lithographs\, woodcuts\, silkscreen\, and photography. The photographic works are themselves in a range of formats\, from cyanotypes to multi-media collages. Many of the works seen here have never been exhibited before. In his work\, Wood did not offer answers to questions\, instead presenting pathways for consideration. His work took on a range of subjects\, but ultimately\, they were platforms for conversation on topics of environmental\, political\, and social concerns.  \nNearly all Wood’s notes\, writings on art\, and preparatory works have been held and archived by members of his family. This record of achievement and discovery stretching from 1948 into the new millennium has not previously been studied.  John Wood: The System is Alive represents an in-depth examination of close to 400 of Wood’s notebooks\, sketchbooks\, one-of-a-kind experimental artist’s books\, and unframed preliminary drawings bringing forth a profound reinterpretation and radically new appreciation of the depth and breadth of an artist generally remembered as master photographer and educator.   \nWood’s artwork is in collections nationally. These include Baltimore Museum of Art\, Center for Creative Photography\, George Eastman House\, J. Paul Getty Museum\, Los Angeles County Museum\, The Museum of Modern Art\, The National Gallery of Canada\, The San Francisco Museum of Modern Art\, Sheldon Memorial Art Gallery\, and many others. This exhibition\, curated by Joseph Scheer and organized with help from the supportive team at the Institute for Electronic Arts at Alfred University is presented with support from the Tower Family Fund\, and the Wendt Foundation\, Thanks to Carol Wood and family for all of their great work and Anthony Bannon\, PhD for his review and advice on the broad spectrum of the artist’s career.
URL:https://bornbuffalo.com/event/john-wood-the-system-is-alive/
LOCATION:Burchfield Penney Art Center\, 1300 Elmwood Avenue\, Buffalo\, NY\, 14222\, United States
CATEGORIES:Art Event,Buffalo Event
ATTACH;FMTTYPE=image/jpeg:https://bornbuffalo.com/wp-content/uploads/2023/09/JohnWood-scaled.jpeg
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DTSTART;TZID=America/New_York:20231025T193000
DTEND;TZID=America/New_York:20231025T193000
DTSTAMP:20260410T193134
CREATED:20230915T144806Z
LAST-MODIFIED:20230915T144932Z
UID:3075-1698262200-1698262200@bornbuffalo.com
SUMMARY:Moulin Rouge!
DESCRIPTION:Pop the champagne\, Moulin Rouge! The Musical is the winner of 10 Tony Awards® — including Best Musical! \nEnter a world of splendor and romance\, of eye-popping excess\, of glitz\, grandeur\, and glory! A world where Bohemians and aristocrats rub elbows and revel in electrifying enchantment. Welcome to Moulin Rouge! The Musical! Baz Luhrmann’s revolutionary film comes to life onstage\, remixed in a new musical mash-up extravaganza. Directed by Tony Award® winner Alex Timbers\, Moulin Rouge! The Musical is a theatrical celebration of Truth\, Beauty\, Freedom\, and — above all — Love. With a book by Tony Award® winner John Logan; music supervision\, orchestrations\, and arrangements by Tony Award® winner Justin Levine; and choreography by Tony Award® winner Sonya Tayeh\, Moulin Rouge! is more than a musical — it is a state of mind.
URL:https://bornbuffalo.com/event/moulin-rouge-2/
LOCATION:Shea’s Buffalo Theatre\, 646 Main Street\, Buffalo\, NY\, 14202\, United States
CATEGORIES:Buffalo Event,Live Music,Theater
ATTACH;FMTTYPE=image/jpeg:https://bornbuffalo.com/wp-content/uploads/2023/09/MoulinRouge_1600x700.jpeg
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