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ANNUAL HALLWALLS AUCTION

The Bruce Adams Memorial Auction

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The Bruce Adams Memorial Auction JUNE 3 — 6, 2021 ONLINE AT: HALLWALLS.CBO.IO

With Special Thanks to our AHA! Sponsors Curbell Inc. Hodgson Russ Dent Neurological Cannabis Clinic Buffalo Spree Cannon Design Twin Village Recycling John and Carolyn Yurtchuk Lippes Mathias Wexler Friedman Elizabeth Licata and Alan Bigelow Merrill Lynch—The Kane Fasanello Group Ciminelli Real Estate Corporation Oxford Pennant Symphony Property Managment Lehigh Construction Group Crowley Webb PLAY/GROUND Arc Building Partners

HALLWALLS BOARD OF DIRECTORS Joshua Lawrence, President, Marketing & Membership Co-Chair Elizabeth Licata, Vice President, Special Events Chair, Board Development Co-Chair Sean McCabe, Treasurer, Audit & Finance Chair Scott Mercer, Secretary Brooke Lebouf, Fundraising Chair Abigail Cooke, Planning Chair Emily Reynolds, Marketing & Membership Co-Chair Greg Addo, Board Development Co-Chair Johanna Doninguez, Madison Georgi, Kristine Kemmis, Rob Lynch, Katalin Mechtler, Tracy Mendocino, Shaanta Murshid, Ben Siegel, Renata Toney, Michael Tunkey, Bridget Williams

BRUCE ADAMS PAST PRESIDENTS COUNCIL Anita Greer, Don Lawrence, Catherine Linder Spencer, Collette Schoellkopf, Jennifer Gottdiener, Matthew Ryan, Maki Tanigaki, Beth Smith (Immediate Past President, Council Chair), Joshua Lawrence 4

SPECIAL EVENTS & AUCTION COMMITTEE Elizabeth Licata, Chair Kristine Kemmis, Joshua Lawrence, Rob Lynch John Massier, Katalin Mechtler, Emily Reynolds Ben Siegel, Emily Tucker, Bridget Williams

HALLWALLS STAFF Steve Baczkowski • Music Director Edmund Cardoni • Executive Director Polly Little • Deputy Director for Finance John Massier • Visual Arts Curator Bill Sack • Technical Director & Webmaster Emily Tucker • Director of Development & Communications Rebecca Wing • Curatorial Assistant

BRUCE ADAMS

VICKI BENNETT

LAYLAH ALI

MILLIE CHEN

CHARLES CLOUGH

BLEU-RUBY DANIELS-TAYLOR

DOROTHY FITZGERALD

MARLA HLADY

DEBORAH ASCHHEIM

JACKIE FELIX

WAYNE GONZALES

RICHARD HUNTINGTON

KEVIN CHARLES KLINE

JULIAN MONTAGUE

DAVID KRAMER

ESTHER NEISEN

CINDY SHERMAN

PATRICK WILLETT

ERIN FINLEY

LEE GOREAS

MICKEY HARMON

VANDANA JAIN

JACOB KASSAY

HEIDI KUMAO

ROBERT RUSCH

KIKI SMITH

BETTY TOMPKINS

NANCY TREHERNE CRAIG

virocode

JILLIAN McDONALD

KATHLEEN SHERIN

CHRYSANNE STATHACOS

KURT VON VOETSCH

CHRISTIAN WILLIAMS

IMANI WILLIAMSON

The Bruce Adams Memorial Auction Besides bringing his work to their attention, Bruce, as was always his nature, befriended all three of them, becoming a close advisor and tireless volunteer. Robin formed a support group called the Visual Art Committee (VAC), and Bruce was one of the first artists she invited to join the group, whose role was further expanded under subsequent curators Cathy Howe and especially Sara Kellner.

painting by MJ Myers

Bruce remained active (and, not surprisingly to anyone who knew him, outspoken) on the VAC as long as it continued, throughout the 1990s. But what I invited him to join in addition in 1991 (a pivotal moment of existential crisis for our organization in particular, as well as the height of the “Culture Wars” nationally) was the Board of Directors (BOD), the formal body charged with legal governance, fiduciary oversight, and fundraising. For Hallwalls and organizations like it, it always was and remains critical to have practicing artists on the BOD, to ensure faithfulness to the organization’s core mission as artist-centered, which Bruce most definitely did. But I’ve learned that it’s equally important that artists on the BOD embrace its primary function of governance, oversight, and fundraising, and Bruce took that role very seriously as well, over a dozen or more years, until 6-year term limits were instituted (with his participation) in the early 2000s. I can honestly say Bruce helped Hallwalls (and me personally) survive that crisis of 1991, and thanks to him and many others, here we are today, 30 years later and counting.

Dedicated to Bruce Adams (August 19, 1952–March 5, 2021) One of the first and smartest things I did after being named Executive Director 30 years ago this spring (April 1991) was to invite artist Bruce Adams to join the Board of Directors. Bruce had already been involved with Hallwalls since 1983, as an exhibiting artist in a couple of solo and group shows curated by Robin Dodds (as well as that year’s and every subsequent Members Show). Robin had moved to Buffalo from NYC to serve as Hallwalls’ staff curator for what turned out to be a couple of years, succeeding another NYC-based curator, Claudia Gould, who had also returned to NYC after a two-year tenure to continue her distinguished career, including directorships of Artists Space and the Jewish Museum. After Robin left Buffalo, she was succeeded as curator by artist Cathy Howe, a Buffalo native and recent UB MFA graduate who would herself move on to NYC at the end of the 1980s to work as a curator at White Columns and pursue her own career as a painter. 6

Having participated as an installation artist in virtually every Artists & Models Affair from its conception by Tony Billoni in 1984, in 1994 Bruce worked with Tony and their fellow Hallwalls Board member Jamie Lembeck to turn the decade-old annual bash from Tony’s brainchild and personal passion project into a successful (eventually indispensable) fundraiser for Hallwalls, which we carried on (always with Bruce’s invaluable participation) for another twenty years. Thanks to Bruce’s day job as a high school art teacher and his resultant leadership within the New York State Art Teachers Association (NYSATA), Bruce had acquired strategic planning facilitation training and skills which he brought to Hallwalls as in-house facilitator of our first Strategic Plan, now a required document for any nonprofit organization. And a little over a decade ago, when we returned for the first time since 1992 to doing auctions as our major annual fundraiser, then added two semiannual Drawing Rallies to the mix, Bruce participated as an artist every time, giving generously of his works and talents, as we are blessed to have so many artists do, following his example. Back in December 2020, we all feared the new painting he donated to last year’s auction might be his last work of art. But during a brief respite in his illness in very early February, during which time he also resumed writing and filing Long Story Short, his weekly column in Buffalo Spree, he summoned the strength to make one more drawing for A Midwinter’s Draw, on a Zoom video with John for all to watch. But that really was his last. I was asked to focus my remarks in this year’s AHA! catalog on Bruce, to whom this auction is appropriately dedicated, as I have done. But in conclusion I want just briefly to extend my equally profound gratitude to all the artists who—like Bruce—have donated works, to our dedicated staff (especially John & Emily, who have been especially affected by the loss of Bruce), and to all the members of our Board of Directors, who, as Bruce was during his long tenure, are so vital to guiding and sustaining our organization.

Edmund Cardoni May 21, 2021

The unforgettable Bruce Adams By Elizabeth Licata His writer’s bio said it all: artist, educator, writer, gardener, magician, father, friend. There was probably even more, but that’s the most we ever included at the end of Bruce Adams’ stories for Buffalo Spree. As the years went by—Bruce started writing for Spree in 2003—we learned that, just like his bio, his knowledge and curiosity about all aspects of life were not to be confined to just one category. I should have guessed all that when his first art review for Spree, in December 2003, was of a show of dental art—yes—at the University at Buffalo Art Galleries. Here’s an excerpt: One point abundantly illustrated is that our fear of dentistry is not new; it’s rooted in historical reality. Dozens of predominantly European seventeenth and eighteenth century works broadly lampoon the practice of dentistry in pieces ranging from blunt genre scenes to cartoonlike caricatures. (Illustration is usually the primary artistic objective.) The images are populated by enough charlatans, thieves, itinerant hucksters, and brutal barber-dentists to populate the collected works of Charles Dickens. I don’t remember dentists in Dickens, but no matter. Though Bruce’s contributions to the magazine, which eventually ranged into gardening and physical fitness as well as art, were always enjoyable and invariably moved sharply toward well-conceived hypotheses, there are some pieces I’ll never forget. One was his observations on the sale of the Albright-Knox “antiquities.” “Ladies and gentlemen, Artemis has left the building,” he said, continuing:

The poster child for this contention is the classical bronze, Artemis and the Stag, though I’ve yet to personally run into anyone who recalls ever seeing this winsome statue. For years, many of the antiquities were incongruously gathered in a small upstairs gallery— the land of museum misfits. On most days you could rehearse the rumble scene from West Side Story in there without bumping into a visitor. And then, there was his masterful, multilayered narrative about posing nude, among many others, for Spencer Tunick’s massive shoot in the Central Terminal. No excerpt could do this story justice; suffice it to say that Bruce won a national award that year from the City and Regional Magazine Association, beating out such publications as Texas Monthly, Yankee, and Los Angeles. How did Bruce learn to write like this? I know it was difficult for him, but, once started, he couldn’t stop, and his final accomplishment for Spree was his weekly column Long Story Short, which was also nominated for several awards over its four-year tenure. And this is just Bruce the writer. I worked with Bruce the painter many times before I became editor of Spree. I remember sitting in his truck with him, on the way back, maybe, from a show of his I had curated in Olean in the nineties. We discussed, we argued, and I learned. I showed his work at the Castellani when I worked there, as well. I may have urged him to write an early artist’s statement. It’s all kind of a blur, now, as anyone can imagine. How could a thirty-year friendship avoid those blurred areas? But there is nothing blurry about Bruce’s monumental stature in the lives of all who knew and worked with him. He was a giant. He is a giant. We fought a lot of the time, but, now, I’m going to try to live up to him. Here’s to you, Bruce, with love.

photo: KC Kratt 7

LOT 100

Bruce Adams

(1952—2021) Untitled 051 (Bongos), 2020 oil and acrylic on canvas 40 x 30 inches $750/ $2,800

Bruce Adams is best known as a conceptually based figurative painter who references various painting styles. In exploring the act of painting, Adams peels back the layers of meaning inherent in art making and viewing. He has exhibited extensively regionally and internationally, and his work is included in numerous private, corporate, and museum collections including the Albright-Knox Art Gallery, Castellani Museum, UB Anderson Gallery, and Burchfield-Penney Art Center. In 2007 Adams was given an extensive mid-career survey exhibition titled Bruce Adams, Half Life 1980-2006 at the UB Anderson Gallery. In 2016. His body of work titled Myths and Lies was exhibited in a solo exhibition at the Castellani Museum in 2014. www.adams-studio.com

LOT 101

Laylah Ali

untitled, 2019 water-soluble wax pastels and ink on index card 6 x 4 inches $3,000/ $4,800

Laylah Ali is an artist best known for her paintings of meticulously drawn, colorful, allegorical figures, including her long running “Greenheads series” and her recent paintings, “The Acephalous series.” Ali’s works are included in the permanent collections of numerous public institutions, including the Albright-Knox Art Gallery, Buffalo, NY; the Museum of Contemporary Art Chicago, IL; the Museum of Modern Art, New York, NY; and the Walker Art Center, Minneapolis, MN, among many others.

LOT 102

Deborah Aschheim

Bunche No. 1, 2010 ink on duralar from the series Nostalgia for the Future 25 x 34.5 inches $1,000/ $2,600

Deborah Aschheim makes installations, sculptures, drawings, digital and social media projects and temporary interventions into public space. Her projects, often exploring memory and place, are based on historical research and community engagement. She was artist-in-residence at the Los Angeles County Registrar-Recorder/County Clerk; Rancho Los Amigos National Rehabilitation Center and UC San Francisco’s Memory and Aging Center. Aschheim’s solo exhibitions include the Richard Nixon Presidential Library; the Mattress Factory Museum in Pittsburgh, PA; Otis College of Art and Design and Laguna Art Museum. She has created public artworks across California. Aschheim has received grants from the Center for Cultural Innovation, the California Community Foundation, the Cities of Los Angeles, Pasadena and Glendale. She lives in Pasadena. www.deborahaschheim.com/projects This drawing is of Bunche Hall on the campus of UCLA, designed by Maynard Lyndon in 1964. It is from my series, “Nostalgia for the Future”. Here is what I wrote about this work at the time that I made it: Lately I have been thinking about memory and place and the idea of the future. When I was growing up, the future was limitless possibility, jet-age, space-age techno-utopia. “Modern” meant new. Now, modern means old and the future I grew up seems dated, irresponsible, obsolete. I miss the old future and newness of the modern buildings that are old now. The obsolete future is inscribed in the landscape of the cities where I spend my days and nights. Certain idiosyncratic, semi-iconic mid-1960’s buildings evoke in me an almost overwhelming nostalgia for the future that didn’t happen- some un-minimalist Edward Durrell Stone buildings, Bertrand Goldberg’s public housing projects for Chicago, the few built examples from the Japanese Metabolist movement. Some of these monuments to the future that didn’t happen have already been torn down, or renovated beyond recognition. Some, like Philip Johnson’s Tent of Tomorrow, built in Queens, NY, for the 1964 World’s Fair, are in virtual ruin (this site is on the world monuments watch list,) while others inspire dramatic battles between preservationists and developers. That is not what it is about for me. When I encounter these endangered or ruined monuments to the future from the past, gutted or restored or covered in scaffolding, I am moved beyond anything I can explain. I have a feeling of time travel. I feel sentimental about buildings I am not sure I would have liked when they were new. 11 I am the same age as the buildings. It is a kind of self-portrait.

LOT 103

Vicki Bennett

Welcome Abroad, 2011 archival pigment print 12.25 x 12.25 inches $250 / $1,000

Under the name “People Like Us,” artist Vicki Bennett has been making work available via audio publications, radio broadcasts, concert appearances, gallery exhibits and online streaming and distribution since 1992. Bennett has developed an immediately recognizable aesthetic repurposing pre-existing footage to craft audio and video collages with an equally dark and witty take on popular culture. She sees sampling as folk art sourced from the palette of contemporary media and technology, with all of the sharing and cross-referencing incumbent to a populist form. Embedded in her work is the premise that all is interconnected and that claiming ownership of an “original” or isolated concept is both preposterous and redundant. Most of the People Like Us back catalogue has been available for free online since 2002. For many artists, profit and publicity is more likely through free distribution (the gift economy) than independent publishers and distributors, which often struggle with limited resources. Online self-distribution allows an artist to keep their work available, resolving a tension between label production costs and the desire of an artist for work to be available. UbuWeb generously hosts the discography and filmography of People Like Us. www.peoplelikeus.org

LOT 104

Charles Clough

Clufffalo 074, 2015 latex on expanded pvc 24 x 32 inches $1,500 / $4,800

Charles Clough was born in Buffalo, New York in 1951. He attended Pratt Institute in Brooklyn, Ontario College of Art in Toronto, University at Buffalo and New York University and has taught at Columbia University and the Rhode Island School of Design. He established his art studio in 1971 and has presented his work in more than 70 solo, and, more than 150 group, exhibitions. He has received grants and fellowships from the New York State Council on the Arts, National Endowment for the Arts, Adolph and Esther Gottlieb Foundation and the Pollock-Krasner Foundation. His works are included in the collections of more than 70 museums, including the Metropolitan Museum of Art, National Gallery of Art and Smithsonian American Art Museum. In 1974 Clough founded Hallwalls Contemporary Art Center, with Robert Longo, Cindy Sherman, Michael Zwack, Nancy Dwyer, Diane Bertolo and others in Buffalo. Most recently, Clough is a recipient of a 2016 Fellowship in the field of Fine Arts from the John Simon Guggenheim Foundation. www.clufff.com

LOT 105

Jackie Felix

In Biloxi, 1984 monoprint on paper 24 x 30 inches $400 / $1,000

Jackie Felix (1929-2009) earned her Bachelor of Fine Arts (1981) and Master Fine Arts (1983) degrees from the State University of New York at Buffalo. She received many awards and residencies, including the prestigious Pollock-Krasner Foundation grant in 1997. Important artist residencies include the Millay Colony for the Arts in Austerlitz, NY in 1997; Artpark in Lewiston, NY in 2000 and Oberlin College in Oberlin, Ohio in 2000. Her art was presented in solo and group exhibitions in New York, Ohio, Pennsylvania, New Jersey, Maryland and South Carolina. She was commissioned to produce paintings and murals for public view in the Buffalo Museum of Science and Hallwalls’ former home in the Tri-Main Building. She also taught painting, printmaking and drawing at various institutions in New York State. The Burchfield Penney Art Center owns an enormous 11-panel storyboard painting, 2 large oil triptychs, 5 paintings on paper, and 5 monotypes. In 2012, a major retrospective of her work, Storyboard: The Sexual Politics of Jackie Felix was exhibited at the Burchfield-Penney Art Center, Buffalo.

LOT 106

Erin Finley

Fierce Tennis, 2021 ink on paper 22 x 25 inches $250 / $1,000

Erin Finley is a Canadian artist whose work has been exhibited at Hallwalls (Buffalo), Paul Petro (Toronto), Sarah Lawrence (New York), Queen’s University (Kingston), CBGB’s (New York), La Porte Peinte Centre Pour Les Arts (Burgundy), Allegheny College (Pennsylvania) and Femina Potens Gallery (San Francisco). She has received research support from the Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council, University of Calgary, Université du Québec a Montréal, and the Alberta Foundation for the Arts. Erin Finley teaches drawing at OCAD University in Toronto and obtained an MFA from the University of Calgary in 2004. www.erinfinley.com 15

LOT 107

Dorothy Fitzgerald

Act Now, 2020 oil and graphite on paper 30 x 22 inches $500 / $1,400

She paints in a studio with Lake Ontario to the North and cornfields to the South. Her works are emotional responses to her life as a mother, a woman and her environment, to which she can authentically speak. She is primarily an oil painter who draws in her paintings because she feels line and its variations hold interest. She is intrigued by contradictions. SELECTED exhibitions include: Women”s Work (Hallwalls Contemporary Art Center), lakelines, (solo, Indigo Gallery, Buffalo), eco Art Fair ( Chelsea Highline Loft), Human Rights Permanent Art Collection (Texas and Mexico) International Museum of Art and Science (IMAS), I am not what I am, I am what I do with my hands (Indigo Gallery,Buffalo), Emerging Converging (Hallwalls, Buffalo), TOPSPIN 10 Retrospective (Castellani Art Museum, Lewiston), echo Art Fair (Buffalo), bookMARKS (Syracuse), Regional Artist Collection (Albright Knox Art Gallery, Buffalo), NY Collects Buffalo State (Burchfield Penney Art Center, Buffalo). Recalculating: take next right at roller coaster road (solo, Castellani Museum, Niagara University), Wolf Dreams and Irish Eyes (solo, Chautauqua Institution, Chautauqua), Who would like to see Mary again? (solo, Carnegie Art Center, N Tonawanda), Distance 2 Passage (solo, Asheville, NC). SELECTED International exhibitions include: Works on Paper (Geneva, Switzerland), Imagine Sicily (solo, Biancanvilla, Sicily), SELF (Ovenden Contemporary, England), Across The Border, (Monterrey, Mexico), The Hamilton Artist Exchange (Hamilton, Ontario). She received the Gottlieb Grant, Strategic Opportunities Stipends (SOS), a Technical Assistance Program Grant (TAP) (NYS Council of the Arts) and a Sabatic leave (Niagara Falls Board of Education). Her work has profiled and review in Creative Spaces, by Richard Christian and Steve Siegel, The Public by Patricia Pendelton 2015, ARTVOICE by Patricia Pendelton 2014, Buffalo Spree by Bruce Adams, 2014, The Buffalo News, and by Anthony Bannon in the Chautauqua Daily. She received a Master’s Degree from SUNY College at Buffalo. Collections in: United States, United Kingdom, Ireland, France, Switzerland, Italy, Sicily, Germany. Represented by: Resource:Art, A Samuels & Tucker Collaboration, www.resourceartny.com

LOT 108

Wayne Gonzales

Parking Lot Triptych, 2014 5 color reduction linoleum cut 11 x 19 inches edition of 24 $750/ $1,800

Wayne Gonzales (b. 1957, New Orleans, LA) received his BA from University of New Orleans in Louisiana. In March 2019 Stephen Friedman Gallery held Gonzales’ fifth solo exhibition at the gallery. Other notable solo exhibitions include: ‘Wayne Gonzales’, Stephen Friedman Gallery, London, England (2019); ‘Woman in the Garden’, May 68 Gallery, New York (2017); ‘Wayne Gonzales’, Arthur Roger Gallery, New Orleans (2016); Stephen Friedman Gallery, London, England (2015); Paula Cooper Gallery, New York (2013); ‘Wayne Gonzales: Works on Paper’, Stephen Friedman Gallery, London, England (2012); ‘Light to Dark/Dark to Light’, New Orleans Museum of Art, New Orleans, Louisiana (2011) and ‘Wayne Gonzales’, CAC Malága, Malága, Spain (2011); ‘Wayne Gonzales’, Stephen Friedman Gallery, London, England (2010); ‘Wayne Gonzales: Free and Clear: Online Project Room’, Dinter Fine Art, New York (2008) and ‘Judge – Vincent Katz and Wayne Gonzales’, Paula Cooper Gallery, New York (2008). Gonzales’ works are included in prominent international collections including Dallas Museum of Art, Texas; Guggenheim Museum, New York; Whitney Museum of American Art, New York; Microsoft Art Collection, Washington D.C.; Museum of Fine Arts, Boston, Massachusetts; Palm Springs Art Museum, California and Maramotti Collection, Reggio Emilia, Italy.

LOT 109

Lee Goreas

tomorrow, 2013 one-shot paint on aluminum panel 8.75 x 10.25 inches $200/ $750 18

Lee Goreas is a multidisciplinary artist known for making site considered installations using video, drawing, sculpture, digital animation, text and photography. His work has and continues to explore the seemingly whimsical relationship between language and objects. Goreas has received grants from the Canada Council, Ontario Arts Council, Toronto Arts Council and the British Columbia Arts Council. His work has been exhibited regionally, nationally and internationally and can be found in both public and private collections. In the summer of 2020, Lee was involved in EXC-19, an online video project designed by Toronto moving image artist Midi Onodera wherein he contributed to the production of 21 works as a sound designer and image editor. Currently Lee is preparing for an exhibition of seminal photographs and a new text based digital sign work entitled, Trios at the Darren Gallery in Toronto ON. The exhibition Opens virtually on May 6th, 2021.

LOT 110

Marla Hlady

Proposition for Tracing a Conversation (study #10), 2004 ink on paper 15 x 11 inches 2.5 x 2.5 inches (drawing) $900/ $1,500

Marla Hlady draws, makes sculpture, works with sites and sounds and sometimes makes video. Hlady’s kinetic sculptures and sound pieces often consist of common objects (such as teapots, cocktail mixers, jars) that are expanded and animated to reveal unexpected sonic and poetic properties often using a system-based approach to composition. She’s shown widely in solo and group shows. She has mounted site works in such places as the fjords of Norway, a grain silo as part of the sound festival Electric Eclectic, an apartment window in Berlin, a tour bus in Ottawa, the Hudson’s Bay department store display window and an empty shell of a building. She also, at times, collaborates. She currently lectures in the Department of Arts, Culture and Media (University of Toronto Scarborough) and is Graduate Faculty in Visual Studies (Daniels Faculty of Architecture, Landscape and Design, University of Toronto). www.marlahlady.com

LOT 111

Richard Huntington

PIG, 1987 acrylic and collage on paper 30 x 22 inches $700 / $1,200

Richard Huntington is a painter and writer, and Critic Emeritus at The Buffalo News. His recent solo exhibitions include RE-MIXico (2014) at Casa de Arte, Buffalo, and Cottage Industry (2013), a series of works that parody the paintings of Thomas Kinkade, at Indigo Art, Buffalo. In 2010 his paintings were included in the international biennial Beyond/In WNY: Alternating Currents, organized by the Albright-Knox Art Gallery. A major survey of the artist’s work, Thus I Passe By: Selections from 19702008, was presented by the Castellani Art Museum (2009). Internationally, Huntington’s work has been shown at Carey Berkus, an art space in San Miguel de Allende, Mexico (2008 and 2009); and at the JR Konstallen in Linkoping, Sweden, with Richard Huntington: Halo By Mondrian: (2007). Among other essays, Huntington is the author of “Jackie Felix: Stories Only Half-told” for the Felix retrospective exhibition held at the Burchfield Penney Art Center, Buffalo, NY (2012); and “Falling Beams, Exploding Heads: A Look Back at Artpark” for Artpark: 1974-1984, an exhibition in the University at Buffalo Art Galleries (2010). Huntington holds a Bachelor of Fine Arts from Syracuse University (1961) and a Master of Art and Humanities from State University of New York at Buffalo (1965). richardhuntington.weebly.com

LOT 112

Vandana Jain

Turn On, Tune Out, 2016 artist tape on wood panel with UV acrylic medium 20 x 20 inches $1,200 / $3,800

Vandana Jain is an artist and textile designer based in Brooklyn, NY. She received her Bachelor’s from New York University and went on to study Textile Design at the Fashion Institute of Technology. Her work explores the intersections of pattern and symbol, and spirituality and consumerism. Jain’s work has been exhibited both nationally and internationally. In the last few years, she has had solo projects at Lakeeren Gallery in Mumbai, India (2012); Station Independent Projects, Lower East Side, NY (2013); and Smack Mellon and BRIC House in Brooklyn, NY (2014). She has received several awards for her work including the Emerging Artist’s Fellowship at Socrates Sculpture Park, the Lower Manhattan Cultural Council Workspace Residency, and the Joan Mitchell Painters and Sculptors Grant. Her work has been profiled in Artforum, The New York Times, Art Slant, Mumbai Boss, Kyoorius and Beautiful Decay. www.vandanajain.net

LOT 113

Jacob Kassay

Untitled, 2016 immiscible acrylic, oil stick on canvas 12 x 8 inches $9,000 / $10,000

Courtesty Concept, Paris photo: Claire Dore

Jacob Kassay (American, b.1984) is a painter, sculptor, and filmmaker, born in Lewistown, NY, and currently living and working in Los Angeles, CA. Kassay often incorporates silver in his paintings and sculptures, ultimately creating mirror-like works that interact with their environment through shifting color and light reflections. Kassay received his BFA in photography in 2005 from the State University of New York, Buffalo. While at Buffalo, he co-founded and directed a performance and exhibition space titled Kitchen Distribution. Kassay has had solo exhibitions at MoMA PS1 in New York, NY; ICA in London, UK; 303 Gallery in New York, NY; Off-Vendome in Dusseldorf, Germany; Art: Concept in Paris, France; The Kitchen in New York, NY; L&M Arts in Los Angeles, CA; and Eleven Rivington in New York, NY; and hallwalls Contemporary Arts Center, among others.

LOT 114

Kevin Charles Kline

More Stars Than The Sky #73 2013-14 found photograph and other print materials 10 x 8 inches $100 / $200

I make multimedia collage and sculptural work created with found print media materials including—but not limited to—books, Hollywood glossy portraits, and other various image sources. These materials are manipulated in serial and process specific sets that include divergent types of interventions, including sewing, cutting, gluing and painting. I take on the role of callow collector and curator of my own cabinet of media curiosities. More Stars is a series in which I collected 8x10 photo head shots from early Hollywood. The title is borrowed from the early MGM slogan “More stars than there are in heaven.” I wanted to use this photographic trope (the headshot) and dismantle their function while playing with the idea of how much is behind an image—both tangible history and metaphorical social meanings. The process is to remove the identifiable face of the image and replace it with random images drawn from other sources, layering them in no order and engage in a sort of improvisational collage technique. http://kevincharleskline.com 23

LOT 115

David Kramer

I Am A Very Complicated Person, 2007 ink and gouache on paper 15.25 x 10.5 inches $1,200 / $2,400

A child of the 1970s, David Kramer pulls from that formative decade, re-crafting its lifestyle advertisements and distinctive interior design into paintings, drawings, and installations both nostalgic and ironic. His compositions resemble the advertisements that, as he claims (with the tongue-in-cheek humor that shapes his output), modeled his future: “I felt certain that my future would look a lot like what I was looking at in those ads. […] I am still hoping to grow up and get my hands on those things.” Text is central to Kramer’s work. He overlays what he calls “one-liners” onto his images, revealing the falsity of the idealized vision they present and the disillusionment of adulthood. In Plan (2011), the phrase, “In case of emergency…plan B and C,” frames a still life of whiskey and cigarettes, motifs that appear in many of his works. American, b. 1963, New York, New York

LOT 116

Heidi Kumao

Wires, 1992 silver gelatin print 10 x 8 inches $100 / $250

Generating artistic spectacle through the intersection of cinema, sculpture, theater and technology, Heidi Kumao reframes ordinary gestures to explore their psychological underside. Her interests have manifested a wide range of hybrid art forms including: a game interface which empowers users to hack live CNN broadcasts, provocative electronic clothing, electromechanical girl’s legs that “misbehave,” experimental animations, and narrative video sculptures. Many of her works feature a minimalist theater set, a site for presenting simple actions such as writing, gardening, reading, or walking in order to call attention to these often overlooked acts. Through these animated tableaus, she demonstrates how small gestures, even the most private and poetic, can become significant acts of defiance. Kumao has received fellowships from the Guggenheim Foundation, the Creative Capital Foundation, New York Foundation for the Arts, AAUW (American Assn. of University Women), the National Endowment for the Arts, and the Mid-Atlantic Arts Foundation. She has exhibited her work nationally and internationally including one-person exhibitions at the Museo de Arte Moderno, Buenos Aires, Fundació Joan Miró, Barcelona, Arizona State University Art Museum, and Center for the Arts, Yerba Buena Gardens, San Francisco. Group exhibition venues include: ZeroOne San Jose, Museo Universtario Arte Contemporáneo in Mexico City, Wing Luke Asian Art Museum (Seattle), and the National Academy Museum in New York City. Her work has been reviewed in Artforum, ArtPapers, and Sculpture Magazine and is in a number of private and public collections including The Exploratorium, Houston Museum of Fine Arts and Light Work (Syracuse, NY). Her film, “Swallowed Whole,” has screened in numerous festivals including: the Ann Arbor Film Festival, Black Maria Film Festival, Tricky Women International Animation Film Festival, the Atlanta Film Festival, Filmfest Dresden: International Short Film Festival and Currents New Media Festival in Santa Fe in 2015. The film received awards for “Best Experimental Film” at the Female Eye Film Festival, Humboldt International Film Festival, and the Seoul International Extreme-Short Image & Film Festival She is a Professor at the Stamps School of Art & Design at the University of Michigan, Ann Arbor. https://heidikumao.net 25

LOT 117

Jillian McDonald

There Goes The Neighbourhood, 2007 archival digital print from the series Zombies In Condoland edition 2/10 17 x 23 inches $250/ $1,000

Jillian McDonald is a Canadian artist in New York who teaches at Pace University. Recent solo exhibitions include the Esker Foundation in Calgary, Clark Gallery in Montréal, and AxeNéo7 in Gatineau; group shows include FiveMyles in Brooklyn and Root Division in San Francisco. A CBC IDEAS documentary profiles her videos, which were also reviewed in The New York Times and Canadian Art. Critical discussion appears in books like The Transatlantic Zombie by Sarah Lauro. Awards include grants from The New York Foundation for the Arts and The Canada Council for the Arts, and residencies at Glenfiddich in Scotland and The Arctic Circle in Svalbard. http://jillianmcdonald.net

LOT 118

Julian Montague

nb 510, 2006 light-jet print face-mounted to plexiglas edition 2/4 25 x 31 inches $1,000/ $2,500

I’m an artist/graphic designer/Illustrator/photographer based in Buffalo, New York. My various practices often overlap and influence one another. I didn’t go to school for anything that I now do professionally, I suppose that means I’m “self taught” but somehow that doesn’t feel like a completely accurate description. My father taught art and design history, so I had a lot of exposure to the arts as a kid. My (contemporary) art work spans a wide range of mediums and approaches, from multi-year conceptual projects to abstract paintings. At one time I was known for a long term art project dedicated to developing an elaborate taxonomy for identifying stray shopping carts. More recently I’ve been working on making exhibition posters and other ephemera for a fictional 1970s art institution. In the past I have exhibited at spaces that include, Art in General (NYC), Black & White Gallery (NYC), Real Art Ways (CT), Hallwalls Contemporary Art Center (Buffalo) and Socrates Sculpture Park (NYC). I have work in the collections of the Albright-Knox Art Gallery, Martin Z. Margulies, Norton Museum of Art, The Progressive Insurance Company, and numerous private collections. See below for full art CV. I have been a one-man graphic design/illustration studio since 2006. I’ve done a lot of work over the years for cultural non-profits in my region, including: Just Buffalo Literary Center, Buffalo Public Schools, University at Buffalo SUNY (School of Architecture, School of Arts Management, School of Music), Buffalo Humanities Festival, Art Play/Ground NY. Nationally/Internationally my clients have included: Sonos, Continental Tires, The Atlantic, Black Ocean Publishing, Canada Playwrights Press, Cambridge University Press, Racquet Magazine, Nuits Sonores Music Festival (Lyon FR), Modernist Adelaide. Lately I’ve been working on more music projects, designing packaging or merch for JAZZ IS DEAD (Adrian Younge & Ali Shaheed Muhammad), Bronzerat Records, Heavy Trash (Jon Spencer), Sara Gazarek, Walter Smith III, Uncle Acid & The Dead Beats, Vacationer and many others. I also have work that falls in between my contemporary art practice and my client based graphic work. This takes the form of open edition print series (and tote bags!) I rarely apply for artist residencies, grants or design competitions, but I do have a Silver National Addy award for my 2013 poster series State of America for print Collection, and my book The Stray Shopping Carts of Eastern North America: A Guide to Field Identification won the 2006 Diagram/Booksellers Prize for the Oddest Book Title of the Year. http://www.montagueprojects.com 27

LOT 119

Kathleen Sherin

SAS, 2016 carborundum and collographic monoprint 34 x 27 inches $300/ $850

Kathleen Sherin began to explore printmaking as a graduate student in painting at the University of Buffalo (MFA 1985) and since has evolved unique methods of creating her one-of-kind prints. Sherin uses various combinations of techniques to create her energized abstract prints. Sherin’s work is in the permanent collections at Roswell Park and Burchfield-Penney Art Center as well as many private collections. She has exhibited her prints in over 100 feature and group exhibitions throughout the United States. Her work will be seen in summer 2017 at Buffalo’s Pausa Art House. Kathy has been a resident artist at Buffalo Arts Studio since 2002.

LOT 120

Cindy Sherman

Untitled, 1985/1999 two C-prints in freestanding hinged double pewter frame edition of 25 AP 5/6 10.25 x 17 inches $ 5,000/ $7,000

Born in 1954 in Glen Ridge, New Jersey, Cindy Sherman is counted among the most influential artists of the last half-century. Upon graduating from the State University of New York at Buffalo in 1976, Sherman relocated to New York City where she began making the seminal Untitled Film Stills. She has gone on to photograph and cast herself in various roles through her masterful use of costume, setting and pose. Cindy Sherman has had one-person exhibitions at institutions that include: The Museum of Modern Art, New York (2012); San Francisco Museum of Modern Art (2012); Walker Art Center, Minneapolis (2012); Dallas Museum of Art (2012); Sammlung Verbund, Vertikale Galerie, Vienna (2012); Centre de la photographie, Geneva (2012); Martin-Gropius-Bau, Berlin (2007); Louisiana Museum of Modern Art, Copenhagen (2007); Kunsthaus Bregenz, Austria (2006/07)); Jeu de Paume, Paris (2006); Kestnergesellschaft, Hanover, Germany (2004); Serpentine Gallery, London (2003); Museum of Contemporary Art, Los Angeles (1997); Museum of Contemporary Art, Chicago (1997); Museum of Modern Art, New York (1997); Museum Boijmans-van Beuningen, Rotterdam (1996); Museo Nacional Centro de Arte Reina Sofia, Madrid (1996); and the Whitney Museum of American Art, New York (1987). Sherman has most recently participated in major group shows and biennials such as: Bad Thoughts: Collection of Martijn and Jeanette Sanders, Stedelijk Museum, Amsterdam (2014); Urban Theater: New York Art in the 1980s, The Modern Art Museum of Fort Worth, Texas (2014); Paparazzi! Photographers, Stars, and Artists, Centre Pompidou Paris; Schirn Kunsthalle Frankfurt; Musee de l’Eysee, Lausanne (2015); The Encyclopedic Palace 55th Venice Biennial (2013); NYC 1993! Experimental Jet Set, Trash, and No Star, New Museum, New York (2013); A Bigger Splash: Painting After Performance, Tate Modern, London (2012); Regarding Warhol: Sixty Artists, Fifty Years, The Metropolitan Museum of Art, New York (2012); ILLUMInations, 54th Venice Biennale (2011); 10,000 Lives, Gwangju Biennale, South Korea (2010); and The Pictures Generation: 1974-1984, The Metropolitan Museum of Art, New York (2009).

LOT 121

Kiki Smith

River, 2019 ink, watercolor, and pencil on Losin Prague paper 11.5 x 8 inches $1,750/ $2,500

Kiki Smith has been known since the 1980s for her multidisciplinary work that explores embodiment and the natural world. She uses a broad variety of materials to continuously expand and evolve a body of work that includes sculpture, printmaking, photography, drawing, and textiles. Smith has been the subject of numerous solo exhibitions worldwide including over 25 museum exhibitions. Her work has been featured at five Venice Biennales, including the 2017 edition. She is a member of the American Academy of Arts and Letters and the American Academy of Arts and Sciences, and in 2017 was awarded the title of Honorary Royal Academician by the Royal Academy of Arts, London. Previously, Smith was recognized in 2006 by TIME Magazine as one of the “TIME 100: The People Who Shape Our World.” Other awards include the Skowhegan Medal for Sculpture in 2000; the 2009 Edward MacDowell Medal; the 2010 Nelson A. Rockefeller Award, Purchase College School of the Arts; the 2013 U.S. Department of State Medal of Arts, conferred by Hillary Clinton; and the 2016 Lifetime Achievement Award from the International Sculpture Center, among others. She is an adjunct professor at NYU and Columbia University. https://www.pacegallery.com/artists/kiki-smith/

LOT 122

Chrysanne Stathacos

Three Graces, 1995 collage, hand-printed rose silk on rag paper 15.5 x 23 inches $800 / $3,200

Chrysanne Stathacos is a multidisciplinary artist of Greek, American, and Canadian heritage. Her work is heavily influenced by feminism, Greek mythology, the natural environment, eastern spirituality, and Tibetan Buddhism. Stathacos has exhibited for over 40 years in museums, galleries and public spaces internationally. She has had numerous solo exhibitions including Gold Rush at Cooper Cole, Toronto (2018-19) and Pythia, The Breeder, Athens, Greece (2017). Her recent installations have been featured in AA Bronson’s Garten der Lüste, KW Institute for Contemporary Art, Berlin (2018) and The Sculpture Park, Madhavendra Palace, Jaipur, India, (2018-2020). Stathacos will participate in the 13th Gwangju Biennale, / Minds Rising, Spirits Tuning, South Korea in 2021. https://chrysannestathacos.com

LOT 123

Betty Tompkins

LUV, 2015 acrylic on paper 5.5 x 7 inches $500 / $1,200

Betty Tompkins is an American painter living and working in New York City and Wayne County, PA. In addition to being represented by PPOW, she is represented by Galerie Rodolphe Janssen, Brussels and Gavlak Gallery, Los Angeles and Palm Beach. Recent solo exhibitions include”Virgins” at PPOW, “Small” at Marlborogh Contemporary, “WOMEN Words Stories and Phrases at Flag Art Foundation and Gavlak Gallery in Los Angeles and Palm Beach, 2014 Art Basel Feature with Galerie Rodolphe Janssen, “Real Ersatz” at BHQFUG. Group exhibitions include Eic Troncy’s curated exhibition at Almine Rech in Paris, “The Shell (Shapes Places And Portraits)” Gea Politi’s curated exhibition “Venganza”in Milan and Kendell Geers curated exhibition “Eureka” in Istanbul as well as A Drawing Show at Matthew Marks in NYC. and Alison Gingeras’s “Black Sheep Feminism” at Dallas Contemporary. Her work is in the permanent collection of Centre Pompidou and the Brooklyn Museum. www.bettytompkins.com

LOT 124

virocode

Invasive Species, 2018 pigmented inkjet print from the series ReNatured 25 x 16 inches $300 / $500

Producing artwork since 1987, virocode is a collaborative effort of Peter D’Auria and Andrea Mancuso which has been exhibiting work in photography, video, installation and the digital arts throughout the United States and in Europe including: The Museum of Modern Art and The Kitchen in New York City; Artist Television Access, Artspace, Southern Exposure Gallery, and the Emanuel Walter and Etholl McBean Galleries in San Francisco; The Pacific Film Archive in Berkeley, California, Diverseworks Art Space in Houston, Texas, The University of Arizona Art Gallery, in Tucson, Arizona, Impakt Festival in The Netherlands, the European Media Art Festival in Osnabruck, Germany and at the Albright Knox Art Gallery, Burchfield-Penny Art Center, CEPA gallery, Squeaky Wheel and Hallwalls in Buffalo, New York. virocode began working together while completing undergraduate studies in Art and the Social Sciences at the State University of New York at Buffalo, studying with Marion Faller, Paul Sharits and Tony Conrad. Andrea Mancuso received a PhD in Visual Studies from the State University of New York at Buffalo in 2016 working closely with Jonathan Katz and Gary Nickard, and a MFA from the San Francisco Art Institute in 1993 studying and working closely with Doug Hall, Margaret Crane, John Winet, Kathy Acker and Tony Labat. Andrea teaches art specializing in photography and new media at Nichols School in Buffalo, New York. Peter D’Auria received a BA in art in 1989, an MA in Pathology in 1998 from the State University of New York at Buffalo School of Health and Biomedical Sciences, and a Physician Assistant Degree from Daemen College. He currently works in clinical practice in the Buffalo area, and is an adjunct instructor in the Physician Assistant Studies Department at Daemen College. 33

LOT 125

Kurt Von Voetsch

Untitled, 2020 pencil, acrylic, and wax on paper 24 x 36 inches courtesy Biff Henrich $350 / $1,000

Kurt Von Voetsch is a graduate of Carnegie Mellon University, in Pittsburgh. Ohio University, in Athens, Ohio, and State University College at Buffalo. Kurt has shown in group, and solo shows since 1987. Local Galleries, and Museums including The Albright Knox Art Gallery, Hall walls, University at Buffalo, Anderson Gallery. Big Orbit, Castellani Art Gallery, Burchfield Penney Art Museum. A-Space in Cleveland, Rochester Contemporary Art Museum, Rochester Memorial, Youngstown University, Chautauqua Institution. Since Kurt has been in a battle of personal cancer his artwork has been a method of purging fear. Death isn’t the end, it’s a new beginning.

LOT 126

Patrick Willett

Wave 3, 2021 ink, graphite, and watercolor on paper 15 x 22 inches $500 / $1,500

Patrick Willett is a contemporary American visual artist best known for his highly detailed work in watercolor and ink. Willett’s work explores our sense of place and direction often focusing on the details of places and objects burned into our memory. His work frequently evokes ancient archeological patterns juxtaposed into our contemporary world. Born: 1956, Buffalo, New York Currently living and working in Buffalo, NY https://patrickwillett.com

LOT 127

Various Artists: Millie Chen, Nancy Treherne Craig, Bleu-Ruby Daniels-Taylor, Mickey Harmon, Esther Neisen, Robert Rusch, Christian Williams, Imani Williamson

Postcards On The Edge, 2020 mixed media on paper 7.5 x 10 inches each box by Evan Hawkins: tiger maple with spalted maple lid, finished with Danish oil $500 / $2,500

Postcards on the Edge was a project spanning the summer of 2020, stemming from the desire to extend beyond the bounds of virtual programming during COVID-19. Eight artists were invited to create new, original artworks, which then were released as limited edition printed postcards. Each week, one artist’s work was available as a printed postcard in a numbered edition of 125, free to the public from a physical mailbox on the Hallwalls grounds. Accompanying their postcard artwork, each artist penned a public message, viewable when visiting the mailbox. Alongside these weekly postcard releases, Hallwalls’ outdoor mailbox also accepted and archived incoming notes, letters, and mail art for the duration of the project. Millie Chen Bleu-Ruby Daniels-Taylor Mickey Harmon Esther Neisen Robert Rusch Nancy Treherne Craig Christian Williams Imani Williamson

LOT 128

Bruce Adams

(1952—2021) Untitled, 2012 pencil and acrylic on paper from A Mid Summer Night’s Draw 7/25/12 18 x 12 inches, courtesy Alyssa Rabach Anthone $150/ $750

Vibrant Art. Remarkable Artists. Unwavering Commitment. CannonDesign is proud to support Hallwalls and its incredible legacy of supporting Buffalo’s artistic community every day and in the face of every challenge, opportunity and season.

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