This body of work has led me beyond exploration of texture, tone, shape and my acoustic linens into a deeper focus on the material themselves -- especially the paper. What is the edge? Why is the canvass almost always a rectangle? Why is the paper almost always a rectangle or square? Edges do not need to serve as borders but can be dynamic elements in composition itself.
Tearing produces organic marks that give paper independence of its own. Thinner pieces pulled or curled turning in on themselves and created shadows against the backfield adding further interest. I added larger openings that resulted in borderline 3D drawings, or perhaps small paper sculptures in a shadowbox--this is for you to decide.
"Repurpose | Reimagined"
at our core we are all really the same: we all love, we all laugh. there are no new ideas, we simply repurpose or reimagine our influences. art has the power to make us look at our world and ideas in new and exciting ways. this group exhibition will explore how we look at our world.
works by: dianne baker, tim brooks, joan hambleton, eileen pleasure
"Thank you for serving" - works by norman maffei
local artist norman maffie served our country in wwii. through art, he documented what he experienced. we at expo 68 & picture your walls want to pay tribute through this poignant collection and thank all who serve our country. we encourage you to send a note to say thank you to someone who has served.
"departures & arrivals"- works by barbara mink
“Departures and Arrivals” at expo68 features abstract landscapes and color-popping resin; wall-sized canvases and 5-inch minis, works on paper and pieces on board.
I grew up in Buffalo with art all around me. My father, Irving Mink, was an abstract painter, and visits to the Albright Knox or helping set up for Allentown were part of living.I started painting relatively late, and went through as many styles, subjects, and media as I could, before coming happily to rest in a world of texture, color and line. I find that I am continually pulled in new directions rather than staying with one style or point of view.
I moved to Ithaca,New York in 1976 where I pursued a PhD in Comparative Literature, was a freelance actor in television and radio commercials, News Director of WHCU radio. received an MA degree in History from Cornell University. served on the Tompkins County Legislature for 12 years, and founded and produced the Light in Winter Festival of Science and Art.. I have taught Management Communication at Cornell University’s Johnson Graduate School since 1986, which keeps me in canvases and paint.
I am proud to be a member of the Buffalo Society of Artists, have a home gallery, and am represented by Velvenoir for European sales. My work can be found in collections in throughout the United States and Europe, and online at Saatchi Art, Redbubble.com
there is life here: an immigrants story by markenzy cesar
it took my mom and i six frustrating years to get a visa to come to america and reunite with my dad who was already there. i was thirteen when i saw him again. it was like meeting him for the first time. i knew it was a sacrifice my parents were willing to make, even if it would take a toll on their marriage. why did we go? the movies and tv shows told us it was the promise land - that everyone was welcome and all you had to do is find a way to get there.
our plane landed in jfk on my birthday - a very cold wintery night. i didn’t feel the cold on the drive to our apartment on long island because i was in awe of all the intertwined highways- there was no one walking on foot. it felt like alice in wonderland. i went to a school that was 85% white and middle class. i didn’t understand why we had to switch classrooms every hour. i didn’t fit in with the black or white students. i’m sure they made fun of me but i couldn’t tell you what they said since the only english word i knew was ‘yes’. i was only comfortable with the universal language of math and i also liked gym a lot. because we haitians love martial arts movies, i thought i could take on anyone who would make fun of me. i remember getting off the bus to fight with a more hip black kid. i took my jackie chan stance and the fight never got on. i wished that i had what most of those kids had (money, nice clothes, a house) yet i never felt inferior. we had defeated the french (napoleon), so we had high self-esteem - whether real or not
i learned english quickly because i watched after-school cartoons and at least one movie every day. i wanted to become what i was inspired by. all types of art fields were an inspiration for me - whether it was dance (michael jackson), fashion, art (bob ross), music (prince), theater, movies, music videos, and so on. america was going to fill that void that i hungered for all my life. art is what i remember most in haiti before coming to american. as a kid growing up on the island, my family lived in a half-finished hotel owned by my godfather, and it was inside that place where i imagined what life was and what my life could be. the unfinished part of the building felt like being in a roman antiquity building. i would ponder the sunlight streaming in empty rooms, illuminating the dust in the air. i thought about god and the demons and angels all around me. i listened and watched voodoo dancers enthralled in their ceremonies. i slept with a blanket over my head (even though it was a tropical island) so i could keep watch for evil spirits that could eat me alive. i looked forward to rainstorms and would run, sometimes naked, into a foot deep water on the terrace which would act as our wave pool
when i first got here, assimilating was paramount. i had already gone through puberty so i couldn’t erase the accent, but i could dress differently and instead of putting on cologne, i could use anti-perspirant, choose to only speak english and only listen to american music. many years later, i realized i can’t escape who i am and that there is something special about being haitian. like most immigrants, we came to america to get what america had to offer. unknowingly, we were also giving back by parceling some of our culture into this great nation’s fabric through the arts, language, food and workforce.
the best part of an open jazz session is when the energy explodes as each musician is inspired by his fellow collaborators. this exhibition explores art that is inspired by the spirit of jazz. there will be weekly live jazz performances during the exhibition.
works by: tim brooks, john baker, tom coyne, betty pitts foster, enid edelman, cashis green, cherisse lipps, robin mols, shantelle patton, william rios, & gerald seals
jamm in - john baker
here comes grover - gerald seals
kind of blues - betty pitts foster
maafa - shantelle patton
fine arts league of buffalo 65th fall members juried exhibition