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DTSTART;TZID=America/New_York:20260905T080000
DTEND;TZID=America/New_York:20260905T170000
DTSTAMP:20260319T210615Z
CREATED:20260319T210002Z
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SUMMARY:Buffalo Farmer's Market — Clinton-Bailey Farmer's & Flea Market
DESCRIPTION:The Niagara Frontier Growers Co-operative Market\, Inc. was born in October 1930. The objectives of the co-op were to promote\, foster and encourage the intelligent and orderly marketing of agricultural products between producer and consumer. The co-op was also formed to make the distribution of agricultural products between producer and consumer as direct and efficient possible. \nNiagara Frontier Growers leased the land from the railroad until the 1950’s when it then purchased the land. Over the years \, the Market became known as the Clinton-Bailey Farmers Market and has become a vital link in Western New York’s food distribution. \nOver the years\, many Western New York farmers and growers have brought some of the finest locally grown products to the Market for distribution. Some farmers traveled more than 2 hours to sell their goods at the Market. In the early years of the Market many of the farmers would transport their goods by horse and buggy! \nToday\, the location of the Clinton-Bailey Farmers Market is central within the growing region and central within the “food distribution hub” of the City of Buffalo. Hundreds of thousands of customers pass through the Market each year to purchase fresh locally grown goods direct from the farmer insuring healthy eating and savings to the end consumer. \nThe Market has also become a desired destination for those looking to purchase flowers\, vegetable plants\, herbs\, shrubs and Christmas Trees. Many wholesale buyers include major grocers\, institutions\, neighborhood markets\, restaurants\, caterers\, garden centers and other farm market stands that come to the Market every Tuesday\, Thursday and Saturday morning as early as 4:00 AM. \nCLINTON BAILEY MARKET\n1443 – 1517 Clinton Street\nBuffalo\, NY 14206
URL:https://thebuffalohive.com/event/clinton-bailey-farmers-flea-market-2/2026-09-05/
LOCATION:Clinton-Bailey Market\, 1443 Clinton St.\, Buffalo\, NY\, 14206\, United States
CATEGORIES:Food & Drink
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DTSTART;TZID=America/New_York:20260905T100000
DTEND;TZID=America/New_York:20260905T140000
DTSTAMP:20260807T005325Z
CREATED:20260807T005325Z
LAST-MODIFIED:20260807T005325Z
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SUMMARY:Buffalo Art: Bethany Krull\, 'Home\,' at Buffalo Arts Studio
DESCRIPTION:Buffalo Arts Studio is thrilled to present Home\, a new body of work by ceramicist Bethany Krull\, on view from August 28 through October 31\, 2026. Home is an installation of ceramic and mixed media sculptures that investigates our complex relationship with the untamed natural world and the domestic spaces we build within it. An opening reception will be held on Friday\, August 28\, from 5:00 to 8:00 pm as part of M&T Fourth Friday at Tri-Main. \nOur relationship with the rest of the natural world is complicated\, messy\, and often contradictory. Even as we try to control the environment for power\, profit\, pleasure\, or preservation\, we seek separation from it. We build and maintain home spaces that physically cut us off from a world that feels increasingly less habitable. Then we try to bring pieces of that world inside through potted plants\, domesticated animals\, and artificial representations. We desire protection from and connection with nature. This paradox lies at the heart of Bethany Krull’s newest exhibition\, Home.   \nEvery tableau designed by Krull is a visual depiction of the tension between our sense of interior and exterior worlds. A living room chair sprouts grass in the echo of where someone once sat. A television lit with the crackling of wildfire flames is a portal to the volatile\, unconstrained nature beyond the room. A dresser drawer shelters a litter of kittens resting in a pile of clothing. A soft\, warm light shines through massive honeycombs in a ceiling light built as a wasp creates its nest. \nEach section of the exhibition imagines a home environment that wanders between our curated order and an ever-present wildness. Together\, they invite reflection on the home as a space safe from the unpredictability of nature—a nature that inevitably takes up residence on its own terms.  \nFor more information about Buffalo Arts Studio\, please visit www.buffaloartsstudio.org
URL:https://thebuffalohive.com/event/buffalo-art-bethany-krull-home-at-buffalo-arts-studio/2026-09-05/
LOCATION:Buffalo Arts Studio\, 2495 Main Street\, Suite 500\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260905T100000
DTEND;TZID=America/New_York:20260905T140000
DTSTAMP:20260812T163908Z
CREATED:20260812T163819Z
LAST-MODIFIED:20260812T163908Z
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SUMMARY:Buffalo Art: Robert Booth\, 'Presence\,' opening reception
DESCRIPTION:Buffalo Arts Studio is excited to present Presence\, an exhibition of sculptural and two-dimensional work by artist Robert Booth\, on view from August 28 through October 31\, 2026. Presence highlights the relationship between allegory and human existence\, encouraging reflection on how we make and mark meaning. An opening reception will be held on Friday\, August 28\, from 5:00 to 8:00 pm as part of M&T Fourth Friday at Tri-Main. \nEach varied work is packed full of recurring motifs\, common symbols that stretch across the entire series in different pairings and configurations. Booth presents scenes that suggest the passage of time\, consequences\, and memory of something that has or will happen. Everyday imagery\, such as houses\, pencils\, and chairs\, points to and suggests something deeper—a meaning that is in flux depending on the symbols surrounding it. Pulling from a series of artworks entitled Prompts\, the work in Presence reveals how Booth flips that core question we might ask when engaging with a work of art—“What does this mean?”—onto the viewer.  \nFor more information about Buffalo Arts Studio\, please visit www.buffaloartsstudio.org
URL:https://thebuffalohive.com/event/buffalo-art-robert-booth-presence-opening-reception-2/2026-09-05/
LOCATION:Buffalo Arts Studio\, 2495 Main Street\, Suite 500\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art
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END:VEVENT
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DTSTART;TZID=America/New_York:20260905T100000
DTEND;TZID=America/New_York:20260905T180000
DTSTAMP:20260819T153325Z
CREATED:20260819T003820Z
LAST-MODIFIED:20260819T153325Z
UID:10042637-1788602400-1788631200@thebuffalohive.com
SUMMARY:Buffalo Art: Let Us Gather in a Flourishing Way
DESCRIPTION:Image above: Rogelio Báez Vega (Lives and works in Santurce\, Puerto Rico). New York Department Store\, Bayamón Branch\, 2024–25. Oil\, beeswax\, and gold powder pigment on canvas / Óleo\, cera de abeja y polvo de oro sobre lienzo. 48 × 72 in. (121.9 × 182.9 cm). Courtesy of the artist. Photo: Courtesy of the artist  \n  \nLet Us Gather in a Flourishing Way explores contemporary Latinx artists’ innovations and interventions within established traditions of painting\, inviting discussion on a variety of themes and revealing the diversity and expansiveness present within the field. The fifty-eight artists in the exhibition—and those in the Latinx field more broadly—encourage us to interrogate the continued relevance of boundaries\, from political borders to disciplinary confines. This exhibition therefore celebrates artists whose expressions are first and foremost personal and subjective\, but whose heterogeneous and culturally specific interventions enrich one another and the history of American and contemporary art\, two fields from which such artists have been historically excluded. Inspired by former U.S. Poet Laureate Juan Felipe Herrera’s poem “[Let Us Gather in a Flourishing Way]\,” the show celebrates abundance and presents a vision of Latinx art that is\, like the diaspora itself\, infinitely complex. \n\n\n\n\n  \nDavid Antonio Cruz (Lives and works in New York). iknowyou’vebeenwonderingwherei’vebeen:adrift\,adraft\,astare\,atilt\,asigh\,exhale.but\,icamebacktoletyouknow\,gotathingforyou\,andican’tletitgo_the raft.\, 2024. Oil\, acrylic\, and ink on wood panel / Óleo\, acrílico y tinta sobre panel de madera. Two panels\, each 72 × 48 in. (188 × 121.9 cm). Overall 72 × 98 1/2 in. (188 × 250.2 cm). Collection of Igor DaCosta. Photo: Robert Chase Heishman\, courtesy of the artist and Monique Meloche Gallery\, Chicago \nThe show’s intergenerational and regionally broad dialogue is reflected in seven thematic groupings: (New) Histories\, offering new perspectives on personal\, cultural\, and global histories; Bodies & Figures\, representations of and by marginalized people\, considering the importance of the body\, and who is or isn’t seen in an image; Identity/Place\, a consideration of how identity and place shape each other with a diasporic lens; Land/tierra\, varied approaches to land and the built environment\, from the material to the imaginary; Community\, highlighting various communities—artistic\, blood\, and chosen—and their importance to populations within the diaspora; Pinturx\, contemporary Latinx approaches to traditional painting genres like still life and portraiture; and Abstractions\, exploring centuries-long Indigenous and European abstract traditions still in use by artists today. \nAllowing for cacophony and heterogeneity in its narratives\, the exhibition takes its cues from the artists themselves\, who are actively cultivating the landscape of contemporary painting as visitors will experience it in the museum. Rather than telling a finished story\, as survey exhibitions often do\, this exhibition gives audiences a peek into this vibrant and lively active network. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nYvette Mayorga (Lives and works in Chicago). The Brunette Latinx Self Portrait After François Boucher’s “The Brunette Odalisque\,” c.1745\, 2022. Acrylic nails\, acrylic marker\, false eyelashes\, collage\, plastic rings\, plastic nail charms\, rhinestones\, car wrap vinyl\, and acrylic piping on panel / Uñas acrílicas\, marcador acrílico\, cejas postizas\, collage\, anillos de plástico\, decoraciones de plástico para uñas\, diamantes de imitación\, vinil de auto y acrílico aplicado con manga pastelera sobre panel. Overall 60 × 120 × 2 in. (152.4 × 304.8 × 5.1 cm). Courtesy of the artist. Photo: Robert Chase Heishman\n\n\n\n\n\nVincent Valdez (Lives and works in Houston). The Sea\, 2020. Oil on canvas / Óleo sobre lienzo. 50 × 70 in. (127 × 177.8 cm). Courtesy Matthew Brown. Photo: Paul Salveson\, courtesy of Matthew Brown  \n  \n\n\n\n\n\n\nManuela Gonzalez (Lives and works in Lake Worth Beach\, Florida). Inanna\, 2024. Acrylic on mixed fabrics / Acrílico sobre tejidos mixtos. Overall 66 × 58 × 2 in. (167.6 × 147.3 × 5.1 cm). Collection of the artist.\n\n\n\n\n\nLilian Martinez (Lives and works in Los Angeles). Garden Club\, 2024. Acrylic on canvas  / Acrílico sobre lienzo. 50 × 65 in. (127 × 165.1 cm). Collection Buffalo AKG Art Museum\, Gift of Pamela and David Hornik\, 2025 (2025:9). Photo: Deen Babakhyi\, courtesy of the artist and OCHI\n\n\n\n\n\nEamon Ore-Giron (Lives and works in Los Angeles). Talking Shit with Illapa (variation I)\, 2023. Mineral paint and Flashe on canvas / Pintura mineral y Flashe sobre lienzo. 72 × 96 1/8 in. (182.9 × 244.2 cm). Collection Buffalo AKG Art Museum\, George B. and Jenny R. Mathews Fund\, 2024 (2024:6). Photo: Brenda Bieger\, Buffalo AKG Art Museum\n\n\n\n\n\nPatrick Martinez (Lives and works in Los Angeles). Promised Land\, 2022. Acrylic\, stucco\, neon\, Mean Streak\, ceramic\, spray paint\, latex house paint\, banner tarp\, ceramic tile\, tile adhesive\, and family archive photo collage on panel / Acrílico\, estuco\, neón\, Mean Streak\, cerámica\, pintura en aerosol\, pintura de látex para interior\, cartel publicitario\, azulejos de cerámica\, adhesivo para azulejos y collage de archivo fotográfico familiar sobre panel.  84 × 192 × 7 in. (213.4 × 487.7 × 17.8 cm). Collection Buffalo AKG Art Museum\, George B. and Jenny R. Mathews Fund\, 2022 (2022:78). Photo: Yubo Dong\, ofstudio photography\, courtesy of Charlie James Gallery\n\n\n\n\n\nCandida Alvarez (Lives and works in Baroda\, Michigan\, and Chicago). Flor de Caballo 3\, 2022. Acrylic on linen  / Acrílico sobre lino. 48 × 48 in. (121.9 × 121.9 cm). Courtesy of the artist. Photo: Robert Chase Heishman\, courtesy of the artist and Monique Meloche Gallery\, Chicago\n\n\n\n\n\nCarlos Rosales-Silva (Lives and works in New York). Peep Hole 3\, 2023. Crushed stone and glass bead in acrylic paint on panel / Piedra molida y cuentas de vidrio en pintura acrílica sobre panel. Overall 50 × 40 × 1 1/2 in. (127 × 101.6 × 3.8 cm). Courtesy of the artist and Sargent’s Daughters. Photo: Nicholas Knight\n\n\n\n\n\nPrevious slideNext slide\n\n\n\n\n\n\n\n\n\n\n\n\nLet Us Gather in a Flourishing Way is organized by the Buffalo AKG Art Museum and curated by Curator Andrea Alvarez. It will be followed by a national tour including presentations at the Des Moines Art Center\, the Museum of Contemporary Art Denver\, the Phoenix Art Museum\, and the Frye Art Museum\, Seattle. \n\n\n\n\n\n 
URL:https://thebuffalohive.com/event/buffalo-art-let-us-gather-in-a-flourishing-way/2026-09-05/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art
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DTSTART;TZID=America/New_York:20260905T100000
DTEND;TZID=America/New_York:20260905T180000
DTSTAMP:20260819T154415Z
CREATED:20260819T005516Z
LAST-MODIFIED:20260819T154415Z
UID:10045002-1788602400-1788631200@thebuffalohive.com
SUMMARY:Buffalo Art: Ali Banisadr: Temple of the Mind
DESCRIPTION:Image above:Ali Banisadr (American\, born Iran\, born 1976). Weighing of the heart\, 2023. Oil on linen. 48 x 60 inches (121.92 x 152.4 cm). © Ali Banisadr. \n  \nFriday\, June 26\, 2026–Sunday\, November 8\, 2026abstract\, Contemporary Painting\, painting \n\n\n\n\n\n\n\n\nRobert and Elisabeth Wilmers Building\n\nImitation is not inspiration\, and inspiration only can give birth to a work of art.\n—Albert Pinkham Ryder\n\nAli Banisadr merges the compositional elements of landscape painting with abstract mark-making to create an altogether new form of figuration. The resulting compositions are a carefully composed bedlam of forms that suggest but ultimately deny any specific narrative. Variously reminiscent of gardens of Eden\, the seasonal genre pictures of Flemish Renaissance painter Pieter Bruegel the Elder\, and Boschian depictions of Hell\, Banisadr’s contemporary abstractions call upon the history of painting. The title of the exhibition\, borrowed from Albert Pinkham Ryder’s enigmatic painting\, The Temple of the Mind\, serves as a conceptual framework for the project\, suggesting a space where perception\, memory\, and imagination converge. While the Romantic painter was admired for his pioneering\, semi-abstract style\, for Banisadr\, Ryder holds a space for contemplation amid rising uncertainties. \nAli Banisadr (American\, born Iran\, 1976). Return to Mother\, 2022. Oil on linen. 82 x 180 inches (208.28 x 457.2 cm). © Ali Banisadr.\nGiven his deep interest in art history\, the Buffalo AKG has invited Banisadr to participate in the first-ever artist collection intervention. In addition to the installation in the Hemicycle Gallery\, a focused selection of Banisadr’s work will be installed throughout the Robert and Elisabeth Wilmers Building\, among the dreamlike imaginings of the Surrealists and the unbridled energy of the Abstract Expressionists. \nBanisadr reaches across time to draw on a wide range of influences. From art\, history\, literature\, and mythology to music\, film\, and technology\, he thinks of such sources as guiding his hand rather than driving his imagery\, and the powerful microcosms he creates are uniquely his own. Within these layered compositions\, subtle references to current events and the human condition—conflict\, migration\, and collective uncertainty—emerge and dissolve within the flux of his painterly language. Originating from one spontaneous moment to the next\, hidden figures and beguiling narratives reveal themselves to those who slow down in the present moment. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nAli Banisadr (American\, born Iran\, 1976). The Witness\, 2025. Oil on linen. 28 x 36 inches (71.12 x 91.44 cm). © Ali Banisadr.\n\n\n\n\n\n\n\n\n\n\n\n\nBanisadr’s works often evoke the natural world\, its shifting terrains and elemental forces\, while also suggesting cosmological dimensions that extend beyond the visible. Furthermore\, the artist’s unusual experience as a synesthete—a blending of the senses—also informs his practice. Over the years\, he has learned to allow his unique perceptions to guide his process\, leaning into the ways that color evokes specific sounds of harmony or discord. \nFrancisco de Goya (Spanish\, 1746–1828). Mucho hay que chupar (There is Plenty to Suck) from\, “Los Caprichos\,” 1799. Etching with aquatint. image area: 8 1/8 x 5 inches (20.64 x 12.7 cm); sheet: 11 1/2 x 8 1/8 inches (29.21 x 20.64 cm). Collection Buffalo AKG Art Museum. Gift of Frederic P. Norton\, 1999 (P1999:6.209).\nThe presentation in the Hemicycle Gallery will also feature an installation that delves deeply into the artist’s influences and process through materials from his studio and an artist-curated selection of works from the museum’s collection. From Andō Hiroshige’s evocative woodcuts and Francisco de Goya’s intense\, sometimes nightmarish\, depictions of violence and superstition to the artist’s sketchbooks and other visual cues\, visitors are invited to immerse themselves in Banisadr’s curious\, fantastical world. \nThe exhibition will be accompanied by an audio journey voiced by Banisadr and will debut a new etching created with the team at Mirabo Press in Buffalo\, New York. A short-documentary film on the artist is also in development. \n\n\n\n\n\n\n\n\n\nAli Banisadr: Temple of the Mind is organized by the Buffalo AKG Art Museum and co-curated by the artist and Godin-Spaulding Senior Curator for the Collection\, Holly E. Hughes.
URL:https://thebuffalohive.com/event/buffalo-art-ali-banisadr-temple-of-the-mind-3/2026-09-05/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260905T103000
DTEND;TZID=America/New_York:20260905T103000
DTSTAMP:20260812T163016Z
CREATED:20260812T163014Z
LAST-MODIFIED:20260812T163016Z
UID:10041690-1788604200-1788604200@thebuffalohive.com
SUMMARY:Buffalo Art: Open Studio: First Saturday of the Month
DESCRIPTION:A free\, drop-in monthly art-making session open to all ages and skill levels; no registration required. September’s theme is Accordion Books.
URL:https://thebuffalohive.com/event/buffalo-art-open-studio-first-saturday-of-the-month/
LOCATION:Burchfield Penney Art Center\, 1300 Elmwood Avenue\, Buffalo\, NY\, 14222\, United States
CATEGORIES:Art
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ORGANIZER;CN="Burchfield Penney Art Center":MAILTO:burchfld@buffalostate.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260905T110000
DTEND;TZID=America/New_York:20260905T130000
DTSTAMP:20260819T210948Z
CREATED:20260819T210435Z
LAST-MODIFIED:20260819T210948Z
UID:10045766-1788606000-1788613200@thebuffalohive.com
SUMMARY:Buffalo Art: Bree Gilliam\, 'id\,' opening reception
DESCRIPTION:Buffalo Arts Studio is excited to present id\, a pop-up exhibition by visual artist Bree Gilliam that explores her complex lived experiences as an artist and woman\, navigating the expectations and assumptions connected to her identity as a Black woman in the United States. Through narrative-based self-portrait paintings\, the exhibition challenges harmful stereotypes and societal misconceptions. The exhibition will be on view from August 28 through September 5\, 2026\, with an artist reception held on Saturday\, September 5\, from 11:00 am to 1:00 pm.  \nContemporary social issues have long been a focus for Gilliam\, whose emotionally charged paintings highlight the challenges underrepresented individuals face in their daily lives. Her figurative paintings depict scenes\, moments\, and voices expressing to the viewer the joy\, trauma\, history\, and emotions these individuals carry. id follows in Gilliam’s exploration of these topics\, in a growing body of work currently consisting of six paintings that reflect different stereotypes and prejudicial expectations she has been confronted with. \nFor more information about Buffalo Arts Studio\, please visit www.buffaloartsstudio.org \n 
URL:https://thebuffalohive.com/event/buffalo-art-bree-gilliam-id-opening-reception/
LOCATION:Buffalo Arts Studio\, 2495 Main Street\, Suite 500\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art
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ORGANIZER;CN="Buffalo Arts Studio":MAILTO:sydney@buffaloartsstudio.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260905T120000
DTEND;TZID=America/New_York:20260905T170000
DTSTAMP:20260819T134831Z
CREATED:20260818T194141Z
LAST-MODIFIED:20260819T134831Z
UID:10045760-1788609600-1788627600@thebuffalohive.com
SUMMARY:Buffalo Art: With us at the center of our world: animals\, domestications\, dreams
DESCRIPTION:Exhibition hours: Tuesday–Saturday\, 12–5 pm\, extended hours through 8 pm on Wednesdays\, and by appointment\nOn view through September 11\, 2026\nSqueaky Wheel presents an exhibition and public programs thinking through and on non-human animals. The artists – working in animation\, essay films\, speculative narratives\, installation work\, among other forms – address domestication\, colonialism\, extinction\, and conservation\, and the toll humans extract from our co-inhabitants on earth. The exhibition features work by Amy Ching-Yan Lam\, Annika Eriksson\, Cameron A. Granger\, Christina Corfield\, Deniz Tortum & Sister Sylvester\, G. Anthony Svatek\, Miranda Javid\, and Noor Abuarafeh\, with films by Serge Avédikian\, Chris Marker\, and Wiame Haddad in the screening program. \nThe title of the exhibition – with us at the center of our world – is from John Berger’s quintessential essay “Why Look at Animals?”\, describing the place and role humans placed animals: how we may have seen and defined ourselves\, our world through and with them. The works take on various perspectives\, looking with and at animals\, and how the forces of capitalism\, control\, colonialism\, and war are now intertwined in our relationships with them. Thinking through these forces\, the collected works in the exhibition ask: what is the world that humans and animals are at the center of\, and are other worlds possible? \n\n\n\nThe exhibition features multiple strands for visitors to think through our relationship with non-human animals. Miranda Javid’s characteristically spectacular animated work Little Winds That Died Immediately features small animals as they try to survive under the force of humans using the artist’s signature transformative style\, with its subtle and evocative soundtrack heard through the gallery. Amy Ching-Yan Lam’s Looty Goes to Heaven is written from the perspective of Looty\, a small Pekingese dog that was stolen by British troops and gifted to Queen Victoria. The speculative fiction work—with Looty’s life told in the book and her restful afterlife in the video work made with Emerson Maxwell—speaks tenderly and often humorously to the obscene legacies left by the British empire on China during the Second Opium War. Cameron A. Granger’s stunning Just Below Heaven imagines the dreams and inner life of a pigeon trained for the machinery of American control; while Christina Corfield’s installation Pony Players Review thinks through the connections and settlements enabled in the U.S. by the Pony Express. Cutting together technology advertisements across decades that feature animals and nature in selling televisions\, G. Anthony Svatek’s A Whole New Species harkens to the everpresent narrative of ownership\, spectacle\, and control over our world. Thinking through curated forms of animal collection such as zoos—what Berger called “living monument(s) to their own disappearance”—Noor Abuarafeh’s Am I the ageless object at the museum? considers zoos\, museums\, and cemeteries through an evocative narrative and footage of zoos in Palestine\, Switzerland\, and Egypt. Paired in the center of the exhibition with Abuarafeh’s work\, Deniz Tortum and Sister Sylvester’s Our Ark documents the possibilities and consequences of efforts to backup virtual replicas of the world. Finally\, Annika Erikkson’s video The Community features a carpet with several street cats in Turkey\, opening a space for us to consider the roles and responsibilities of domestication\, and the possibility of creating new spaces for human animals and non-human animals to gather. \n\n\n\nAdditional work will be shared with a screening of films\, including Chris Marker’s Chats Perchés (The Case of the Grinning Cat) accompanied by the short films Serge Avédikian’s Chienne D’histoire (Barking Island) and Wiame Haddad’s Sang Titre. Avédikian’s animated film\, Chienne D’histoire\, tells the story of the 1910 dog exile and massacre in Ottoman Istanbul\, where thousands of dogs were rounded up and sent to a nearby Island to die in an attempt to modernize the empire in its final years; the film quite clearly asks us to make the connection between the event and the Armenian Genocide. Meanwhile\, Wiame Haddad’s brief and subtle film\, Sang Titre features mysterious Super 8 footage of a donkey that mourns the ongoing genocide in Gaza. The short films will be screened with Chris Marker’s iconic documentary of the 2000s\, Chats Perchés (The Case of the Grinning Cat)\, where the filmmaker reflects on French and international protest movements and culture at the start of the Iraq War through the sudden appearance of alluring portraits of grinning yellow cats through Paris. Click here to learn more about the screening on its respective page. \nSqueaky Wheel is excited to feature the work of former Workspace Residents Deniz Tortum\, G. Anthony Svatek\, and Miranda Javid in this exhibition. Curated by Ekrem Serdar. This exhibition is supported by Teiger Foundation and the Andy Warhol Foundation for the Visual Arts. Special thank you to Andreas Bertman at Filmform – The Art Film & Video Archive in Sweden\, Fırat Sezgin and Ecegül Bayram at the Institute of Time\, Luigi Loy at Sacrebleu Productions\, Bob Hunter at Icarus Films\, Carra Stratton\, Jenson Leonard\, Noor Abuarafeh\, Rachael Rakes\, Salome Kokoladze and Aurora Picture Show\, Sue Ding\, and Toleen Touq. \nVisitor and accessibility information:\nThe exhibition can be visited free of charge between 12–5 pm on Tuesdays\, Thursdays\, Fridays\, and Saturdays\, extended hours on Wednesdays from 12–8 pm. Appointments are also available; please email office@squeaky.org with the subject “Exhibition appointment”. \nSeating is provided for most work\, and additional seating is available upon request. See individual work descriptions for captioning and subtitle information. Works without captions have sound descriptions on wall labels.  \nClick here for Squeaky Wheel’s parking\, transportation\, and overall accessibility information. \nPublic programs and extended hours\nFriday\, June 12\, 6–8 pm\nExhibition opening\, with brief remarks by Curator Ekrem Serdar at 7 pm. \nWednesday\, June 24\, 7 pm\nArtist talk: Cameron A. Granger and Christina Corfield (click here for more information) \nWednesday\, August 5\, 7 pm\nScreening: Chris Marker’s The Case of the Grinning Cat\, with short films by Serge Avédikian and Wiame Haddad (click here for more information) \n\n\n\nAbout the artworks (click to expand)\n\n\n\nAmy Ching-Yan Lam\, Looty Goes to Heaven\nBook and video. Video made with Emerson Maxwell\, 4:30 min\, sound\, 2022 \n“Back at the gate to heaven\, Looty watched a hedgehog waddle its way through the hole in the thicket. Before she could go in\, she had to give the green-faced person a true account of her life. The green-faced person said\, in their gravelly voice\, ‘It can be as short or as long as you like. The only condition is that it must be absolutely true.’” \nA small Pekingese dog was taken from China at the end of the Second Opium War by British troops\, brought to England\, and gifted to Queen Victoria. This dog was renamed Looty\, in reference to how she was found during the looting of the Summer Palace (Yuanmingyuan) outside of Beijing. Looty lived for twelve years at the British royal palaces and died in 1872. It is not known where she was buried. \nThe Opium Wars were driven\, in part\, by the British demand for tea from China. In the 1800s\, the tea-drinking market\, including newly industrialized labour\, grew so big that British merchants cultivated a new\, exploitative opium industry to counter this trade deficit. Opium was grown by indentured labourers on plantations in South Asia\, then imported on a massive scale into China. Silver received from the sale of opium was then used to purchase tea. The objections of the Chinese state to this influx of cheap opium led to the Opium Wars. \nLooty was one of the first Pekingese dogs in England\, and her arrival informed new trends in chinoiserie\, dog breeding\, and eugenics. For close to fifty years\, Pekingese dogs were the most popular breed of toy dog in England.\nThis work was commissioned for the 2022 Commonwealth Games & Eastside Projects\, curated by Zoe Sawyer\, Tim Mills\, and Gavin Wade\, and supported by Canada Council for the Arts. Video: music by Hannah Guinan; sound mix by Michelle Irving; animation by Emerson Maxwell. \nNoor Abuarafeh\, Am I the ageless object at the museum?\nVideo Installation\, 15 mins\, Arabic with English subtitles\, 2018 \nThis video is based on a narrative developed through visits to various zoos and zoological institutions in Palestine\, Switzerland\, and Egypt. It is part of a larger body of work encompassing video\, video installations\, a novel\, and performances\, each exploring the concept of the museum from different angles. The projected video examines the construction of zoos and their historical relationship with museums\, as well as the connections between museums and cemeteries. These three entities share a common link to the discipline of history\, utilizing similar aesthetics in the representation and display of historical narratives. \nDeniz Tortum & Sister Sylvester\, Our Ark\nVideo\, 12:33 min\, English with open captions\, 2021 \nOur Ark is an essay film on our efforts to create a virtual replica of the real world. We are backing up the planet\, creating 3D models of animals\, rainforests\, cities and people. We are archiving as if ecological collapse could be staved off through some digital Noah’s Ark of beasts and objects. Writer/Directors: Deniz Tortum\, Sister Sylvester. Producer: Fırat Sezgin. Editing: Sercan Sezgin. Original Music: Alican Çamcı. Associate Producer: Ecegül Bayram \nChristina Corfield\, Pony Players Review\nVideo installation with sound\, corrugated cardboard\, acrylic paint\, ink\, construction paper\, hot glue\, string\, Amazon boxes\, packing tape\, 2020–Present \nPony Players’ Review is a video installation project featuring re-enactments and reimaginings of film scenes\, and a series of cardboard installation sets that focus on the popular representation of the 19th century messenger\, the Pony Express. \nIn 1860\, the Pony Express was the fastest coast-to-coast messaging system in the US. It was in service for only 18 months after which the transcontinental telegraph replaced the pony with its almost instantaneous information relay. Looking back at the Express can give the process of information relay a form through which to imagine what it means to send messages and be connected. At the same time\, it also helps us think about how the systems and devices we use to send messages add something to how we feel about those messages. Sometimes\, the stories we attach to those messengers and messaging systems become more memorable or valuable than the messages themselves. \nThe installations that make up Pony Players’ Review look at stories and myths that surround the Pony Express — stories that communicate a specific (white\, masculinist) “official” national history of the United States and the role of western expansion to national growth. This project ties romantic images of the Old West to myths of progress\, efficiency\, and information circulation (otherwise known as message delivery) — these are potent myths that remain alive in tech industries and digital culture today. But myths are fictions none the less that can be re-written or over-written\, and most certainly challenged or torn down. \nCameron A. Granger\, Just Below Heaven\nFound wood\, pigeon feet\, rusted nails\, video\, 8:54 minutes\, English with open captions\, edition of 2 plus II AP\, 18 ½ × 55 ½ inches\, 2025 \nUsing behavioral theorist BF Skinner’s series of studies on the rock dove\, also known as the common pigeon\, Just Below Heaven recasts Skinner’s theory of behavior and control as a stage where the cultural scripts and modes that fuel the machinery of American life are brought under scrutiny. A pigeon has a dream\, and finds each one of us in it. \nAnnika Eriksson\, The Community\nDigital video\, 4:30 min\, 2010. Courtesy of Filmform – The Art Film & Video Archive \nIn Annika Eriksson’s The Community\, we encounter a story about Istanbul’s homeless cat community. For many years\, the cats were cared for by local cat lovers\, but today\, the cats have disappeared\, the result of a clean-up initiative that altered the cityscape. In Ray Oldenburg’s pamphlet The Great Good Place\, he refers to ‘the third place’\, where people gather and move between work and family affairs. It is as a place of good company and discussions\, the root of democracy\, and the vitality of society. The Community invites us to think about the implications of public space and third places for a city’s inhabitants\, both human and not. \nMiranda Javid\, Little Winds That Died Immediately\nGraphite animation on paper\, 6:20 min\, sound\, 2019 \nSmall animals struggle to survive under the force of disembodied\, human features. Some of these creatures are crushed\, smushed\, melted\, and sizzled\, while a resilient few withstand their encounter and amble on. Thousands of rendered and shaded graphite drawings on paper. \nG. Anthony Svatek\, A Whole New Species\nDigital video\, 1950–2026 \nA Whole New Species is a found-footage video installation that critically examines a trope in advertising: using spectacular nature imagery to sell television sets. In these commercials spanning several decades\, beautiful landscapes\, adorable butterflies\, and giant blue whales adorn glowing screens – imitating wildlife to be experienced indoors\, as biodiversity declines outside. A Whole New Species shifts the focus away from the device’s novelty and onto the nature used in the ad. \n\n\n\n\n\nBiographies of the artists (click to expand)\n\n\n\nAmy Ching-Yan Lam is an artist and writer. Her practice looks to recover shared experience and feeling from the ruling structures of violence. She uses quotidian materials (like institutional debris) and processes (like jokes). Books and memories are often at the centre of her projects. Exhibitions\, performances\, and screenings have been presented at The Goldfarb Gallery\, York University (2025)\, Richmond Art Gallery (2023)\, Eastside Projects (2022)\, Seoul MediaCity Biennale (2021)\, SFU Galleries (2021)\, Centre Clark (2019)\, Truck Gallery (2018)\, aka artist-run (2018)\, the Western Front (2015)\, Art Gallery of Ontario (2013)\, and others. She is the author of Baby Book (2023)\, a finalist for the Governor General’s Literary Awards in Poetry; Property Journal (2024); and 83% Perfect (2025). Amy teaches creative writing in the English department of New York University. She was born in Hong Kong and lives in Lenapehoking / Brooklyn. Click here to visit her website. \nAnnika Eriksson is originally from Malmö and lives in Berlin since 2002. At the center of her artistic practice is an interest in social interaction: how do we live together\, what kind of societies do we create\, and what happens in the margins or in the transition from one social order to another? In her work\, the social has always involved a key emphasis on the slippages between the one ME into others – with a return to questions of interaction and exchange\, circular forms of communication\, self-abnegation and empathy. Her project also engages with the relations between humans and animals; of our interdependence\, slippages and connection\, but also registers of violation\, and the animal as a distinctively human projection surface. She has been exhibiting since the early 90s in various biennales and institutions\, for example the biennales in Istanbul\, Venice\, Sao Paolo\, Shanghai and Vienna; in institutions such as Bonner Kunstverein\, Tate Liverpool\, Hamburger Bahnhof\, Berlin\, Hayward Gallery\, London and Moderna Museet\, Malmö and Stockholm. \nCameron A. Granger is Sandra’s son & came up in in the Euclid\, Ohio. He likes pigeons\, video games\, & memes. Lately he’s been thinking about how myth making and narrative have been used as a means to police the imagination\, and making movies with his friends. He’s a lifetime member of MINT Collective\, long may it live\, and an alumni of Euclid Public Schools. Granger is an alumni of the Studio Museum in Harlem AIR program (21-22) and Skowhegan School for Painting & Sculpture (2017). His film\, Before I Let Go\, was awarded Best Experimental Film and the Audience Award at the 2023 BlackStar Film Festival. Granger lives and works between Columbus\, OH and Queens\, NY. Granger has exhibited his work in solo exhibitions at Kate Werble Gallery in New York\, NY\, No Place Gallery\, Columbus\, OH (2022); and Vox Populi\, Philadelphia\, PA (2018)\, among others. He has shown in group exhibitions at MoMA PS1\, Long Island City\, NY (2022)\, The Museum of Contemporary Art Detroit in Detroit\, MI\, Jack Shainman The School\, Kinderhook\, NY (2022)\, and The Bemis Center for the Arts\, Omaha\, NE (2021). \nChristina Corfield is a British-born interdisciplinary artist and media scholar. She has published her research in academic journals such as The Journal of Early Popular Visual Culture\, and the Journal of Cinema and Media Studies. Christina has exhibited her artwork in Europe and across the US\, most recently with a solo show at the Western New York Book Arts Center\, as well as Telematic Gallery\, San Francisco\, and Johansson Projects in Oakland\, CA. Her scholarly and artistic work focuses on media history\, media materiality and logistical media\, exploring how the perceived value of media and technology is negotiated through the stories we tell about them. \nDeniz Tortum (İstanbul\, 1989) works in film and immersive media. Among his recent work\, his feature documentary Phases of Matter (2020\, IFFR) explores a state-run teaching hospital in Istanbul; his essay video Our Ark (2021\, IDFA\, co-dir Sister Sylvester) reflects on our efforts to create a virtual replica of the real world\, a digital Noah’s Ark; and his virtual reality work Shadowtime (2023\, Venice Film Festival\, co-dir Sister Sylvester) explores the history of virtual reality and its relation to the climate crisis. Between 2014 and 2020\, he worked as a researcher at the MIT Open Documentary Lab and MIT Transmedia Storytelling Initiative. In 2019\, he was featured as one of the 25 New Faces of Independent Film by Filmmaker Magazine. His work has screened internationally\, including at the Venice Film Festival\, IFFR\, IDFA\, SXSW\, the Museum of the Moving Image among others. He is the co-founder of the interdisciplinary studio Institute of Time and the Istanbul-based film collective Görültü. He is currently leading a research project with Salt Istanbul about the 60s independent Turkish film scene; and developing Intrusions\, a film around spiritism and climate anxiety. \nHaving grown up at the foot of the Austrian Alps\, G. Anthony Svatek is awed by the living world and how it is increasingly impacted by our techno-urban lives. Anthony’s work screened at NYFF\, Intl FF Rotterdam\, Visions du Réel\, Ann Arbor\, Big Sky\, Prismatic Ground\, DOCNYC\, amongst others. Supporters include Ford Foundation JustFilms\, NYSCA\, Simons Foundation\, Austrian Cultural Forum NY. He is the recipient of the New Visions Golden Gate Award at SFFILM. Commissioned work includes projects for New York Magazine\, New York State Parks\, and Pioneer Works. He has staffed seasonally at the Flaherty Film Seminar\, The Climate Museum\, and the American Museum of Natural History. \nMiranda Javid is an animator\, curator\, and art educator living in the Hudson Valley of New York State. On her work\, collaborator Brendan Sullivan once said\, “Miranda’s work captures the pulsing network of the living\, the heft of bodies\, and the density of human experience. Her work is playful and also somberly scientific\, as it tracks time and decay with special attention to the body wading through it. There is a whole world in there\, traces of the big unknowables\, both the mystic and the muddled mess of human stuff. Within that unknowable mess\, ritual is the mark left in time.” Her films have shown nationally and internationally at festivals like the Ann Arbor Film Festival\, Slamdance\, Flatpack\, Images\, Eyeworks Film Festival\, The Maryland Film Festival\, and Animation Block Party. She is a former Kenan Fellow\, Denniston Hill and Squeaky Wheel resident\, a Sherman Fairchild grantee\, and a recipient of the Nancy Harrigan Prize\, given through the Baker Artist Fund. Her drawings have shown at The Baltimore Museum of Art\, and The Mint Museum of Art in North Carolina. \nNoor Abuarafeh is a Palestinian artist based between Jerusalem and Rotterdam. Her practice spans video\, performance\, publications\, and video installations\, with a focus on the themes of memory\, history and archives and the complexities of tracking absence. Noor’s videos and performances are based on texts and call the complexity of history into question: how it is formed\, constructed\, made\, perceived\, visualized and understood. She asks how all these elements are related and investigates the possibility of representing the past when the past is still present. Her videos and socially-engaged works are based on interviews\, workshops and other participatory encounters.\nIn the past Abuarafeh has shown in solo and group exhibitions at De Appel (2024)\, Art Jameel (2024)\, Jakarta Biennale (2024)\, Frieze Museum (2023)\, Venice Biennale (2022)\, Berlin Biennale (2020)\, and Sharjah Biennale 13 (2017). She also participated in the Off-Biennale Gaudipolis in Budapest (2017) and the Qalandia International in Jerusalem (2018)\, among others. In 2019\, she held her first solo exhibition\, The Moon is a Sun Returning as a Ghost\, curated by Lara Khaldi in Jerusalem. \n\n\n\n\nFeatured image: Still of Amy Ching-Yan Lam with Emerson Maxwell\, Looty Goes to Heaven (2022). A digitally animated photorealistic depiction of a small Pekingese dog. The dog is upside down with his paws in the air in a relaxed state. One of its eyes is open and looking at you.
URL:https://thebuffalohive.com/event/buffalo-art-with-us-at-the-center-of-our-world-animals-domestications-dreams/2026-09-05/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260905T140000
DTEND;TZID=America/New_York:20260905T140000
DTSTAMP:20260816T185406Z
CREATED:20260816T185404Z
LAST-MODIFIED:20260816T185406Z
UID:10042238-1788616800-1788616800@thebuffalohive.com
SUMMARY:WNY Music: Dog Days Of Summer Festival
DESCRIPTION:Photo City & My Last Day Presents: Dog Days Of Summer Festival\, featuring Melia\, Exham Priory\, Tokyo Monsters\, Imperfect\, After The World\, Self Reflected\, 7Wordz\, Alder Creek\, My Last Day\, and more. Tickets via dogdaysofsummereveningstar.eventbrite.com.
URL:https://thebuffalohive.com/event/wny-music-dog-days-of-summer-festival/
LOCATION:Evening Star Concert Hall\, 8810 Niagara Falls Blvd\, Niagara Falls\, NY\, 14304\, United States
CATEGORIES:Music
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260905T180000
DTEND;TZID=America/New_York:20260905T200000
DTSTAMP:20260103T162759Z
CREATED:20250221T015554Z
LAST-MODIFIED:20260103T162759Z
UID:10028822-1788631200-1788638400@thebuffalohive.com
SUMMARY:Buffalo Music — Duende:  Divi Romē Band
DESCRIPTION:Join us on the Main Bar Stage from 6-8pm.\n—
URL:https://thebuffalohive.com/event/duende-divi-rome-band-2/2026-09-05/
LOCATION:Duende at Silo City\, 85 Silo City Row\, Buffalo\, NY\, 14203\, United States
CATEGORIES:Music
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2025/02/divi-rom.jpeg
ORGANIZER;CN="Duende at Silo City":MAILTO:duende.silocity@gmail.com
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260905T193000
DTEND;TZID=America/New_York:20260905T223000
DTSTAMP:20260830T232938Z
CREATED:20260830T232938Z
LAST-MODIFIED:20260830T232938Z
UID:10046008-1788636600-1788647400@thebuffalohive.com
SUMMARY:Buffalo Music: Hit n Run @ The Hawk!
DESCRIPTION:HIT n RUN\, 9 time winners of Top Pop Rock Band by Buffalo Music Awards\, is coming to The Hawk! \nGet ready to jump\, sing\, and unleash your inner rockstar with Hit n Run\, the pop-rock party band that’ll have you dancing and partying all night long! \nFood and Drink Specials all night. \n$10 Live Music Cover Charge at the door (the cover charge is to help pay for the bands and allow us to bring in high quality acts.) \nBands are outdoors in the summer if Mother Nature plays nice\, indoors if it gives us a swift kick! \nDinner reservations recommended. diamondhawkgolf.com/reservations  or 716 651-0700
URL:https://thebuffalohive.com/event/buffalo-music-hit-n-run-the-hawk-2/
LOCATION:Diamond Hawk Golf Course and Pub\, 255 Sonwil Drive by the Buffalo Airport\, Cheektowaga\, NY\, 14225\, US
CATEGORIES:2026-27 Rock Series,Live Music,Music,Rock
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/08/flyer-251004-J45765_NO-DATE.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260905T200000
DTEND;TZID=America/New_York:20260905T200000
DTSTAMP:20260813T174440Z
CREATED:20260813T174437Z
LAST-MODIFIED:20260813T174440Z
UID:10042006-1788638400-1788638400@thebuffalohive.com
SUMMARY:Buffalo Music: It's A 2000's Party: Buffalo
DESCRIPTION:Get ready to relive the nostalgia of the 2000s with a curated playlist filled with iconic tracks from pop\, rock\, hip-hop\, and R&B that defined a generation.
URL:https://thebuffalohive.com/event/buffalo-music-its-a-2000s-party-buffalo/
LOCATION:Electric City\, 433 Pearl Street\, Buffalo\, NY\, 14202\, United States
CATEGORIES:Music
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/08/2852527949099638484-n7IpHc.jpg
ORGANIZER;CN="Electric City":MAILTO:noreply@facebookmail.com
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260905T200000
DTEND;TZID=America/New_York:20260905T200000
DTSTAMP:20260816T160328Z
CREATED:20260816T152258Z
LAST-MODIFIED:20260816T160328Z
UID:10042207-1788638400-1788638400@thebuffalohive.com
SUMMARY:Buffalo Music: Analversary '26
DESCRIPTION:Presented by Turbojugend Buffalo. Doors and show both at 8pm. Lineup: The Cops\, The Scratch n Sniffs\, Grab the Anchor\, The Strains\, Main Breaker.
URL:https://thebuffalohive.com/event/buffalo-music-analversary-26/
LOCATION:Mohawk Place\, Mohawk Place\, 47 E. Mohawk St.\, NY\, 14203\, United States
CATEGORIES:Music
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2024/06/mohawk-place.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260905T200000
DTEND;TZID=America/New_York:20260905T233000
DTSTAMP:20260810T012721Z
CREATED:20260810T012721Z
LAST-MODIFIED:20260810T012721Z
UID:10041506-1788638400-1788651000@thebuffalohive.com
SUMMARY:Buffalo Music: Yheti & Toadface w/ Flintwick
DESCRIPTION:MNM Presents\n\nYheti & Toadface\nSleight Of Sound Tour\nw/ special guest Flintwick\nSaturday September 5th\nBuffalo Iron Works – 8pm \n\nYheti\nyheti.cloud\n\nYheti has written and released over 150 tracks across the internet datasphere. A fusion of a thousand inspirations Yheti’s live performances are self described as… “an ever morphing detailed sound sculpture that plays with the ears of those open to the more experimental\, surreal\, low end heavy side of electronic music. With the intention of creating a champion dance environment through innovative bass lines\, interesting rhythms\, and soul driven melodies.” \nOver the past 10yrs Yheti has performed at many major festivals\, headlined many venues across North America\, toured with many champions of sound and gained the support of a few  low-key famous people. 2030 will be a huge year for Yheti\, so look far into the future or very deep into the present\, put your ear close up to reality\, and you may hear the faint rumble of subwoofers in the distance. This is an exploration of sound\, technology\, psychology and how it all interacts with the complex human condition we all experience. Rooted in love for art and moving forward with gusto. \n\nToadface\ninstagram.com/toadfacemusic\n\n“I think my music is indicative of trying to make people have fun & be happy. One of my most popular tracks is called “Serotonin Machinegun” and that’s the energy I’m trying to recreate for all of my listeners.” \nToadface drew early inspiration from his brother\, Yheti\, who showed him bits and pieces of how to produce and electronic producers who were making great music. His unique production style flawlessly fuses elements of trap and dubstep together with amphibious grooves implementing their own twist.  His first solo-headline tour was in the Fall of 2018 and paired with his Bugs for Breakfast LP which was released via Liquid Stranger’s Wakaan Label. The LP was a huge success and has close to 2M plays on all streaming platforms. \n\nw/ special guest\n\nFlintwick\nflintwick.net\n\n\nProduced by \nMNM Presents
URL:https://thebuffalohive.com/event/buffalo-music-yheti-toadface-w-flintwick/
LOCATION:Buffalo Iron Works\, 49 Illinois Street\, Buffalo\, NY\, 14203\, United States
CATEGORIES:Music
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/08/Website-2026-09-05-01-lTWXwq.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260905T203000
DTEND;TZID=America/New_York:20260905T203000
DTSTAMP:20260825T154615Z
CREATED:20260825T152919Z
LAST-MODIFIED:20260825T154615Z
UID:10045916-1788640200-1788640200@thebuffalohive.com
SUMMARY:Regional Music: Chris Young
DESCRIPTION:Grand Ole Opry member and 14-time No. 1 country hitmaker touring behind his new album I Didn’t Come Here to Leave.
URL:https://thebuffalohive.com/event/regional-music-chris-young/
LOCATION:OLG Stage at Fallsview Casino\, 6366 Stanley Ave\, Niagara FAlls\, Ontario\, L2G 3Y5\, Canada
CATEGORIES:Music
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260905T210000
DTEND;TZID=America/New_York:20260905T210000
DTSTAMP:20260825T154549Z
CREATED:20260825T152740Z
LAST-MODIFIED:20260825T154549Z
UID:10045901-1788642000-1788642000@thebuffalohive.com
SUMMARY:Buffalo Drag: [adult swim]: a Drag Show
DESCRIPTION:Late-night drag show presented by Side Show Ghoul Productions and Milkie’s on Elmwood.
URL:https://thebuffalohive.com/event/buffalo-drag-adult-swim-a-drag-show/
LOCATION:Milkie’s on Elmwood.\, 522 Elmwood Ave\, Buffalo\, NY 14222\, USA\, Buffalo\, New York\, 14222\, US
CATEGORIES:Theater
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260906T080000
DTEND;TZID=America/New_York:20260906T170000
DTSTAMP:20260319T210615Z
CREATED:20260319T210002Z
LAST-MODIFIED:20260319T210615Z
UID:10039615-1788681600-1788714000@thebuffalohive.com
SUMMARY:Buffalo Farmer's Market — Clinton-Bailey Farmer's & Flea Market
DESCRIPTION:The Niagara Frontier Growers Co-operative Market\, Inc. was born in October 1930. The objectives of the co-op were to promote\, foster and encourage the intelligent and orderly marketing of agricultural products between producer and consumer. The co-op was also formed to make the distribution of agricultural products between producer and consumer as direct and efficient possible. \nNiagara Frontier Growers leased the land from the railroad until the 1950’s when it then purchased the land. Over the years \, the Market became known as the Clinton-Bailey Farmers Market and has become a vital link in Western New York’s food distribution. \nOver the years\, many Western New York farmers and growers have brought some of the finest locally grown products to the Market for distribution. Some farmers traveled more than 2 hours to sell their goods at the Market. In the early years of the Market many of the farmers would transport their goods by horse and buggy! \nToday\, the location of the Clinton-Bailey Farmers Market is central within the growing region and central within the “food distribution hub” of the City of Buffalo. Hundreds of thousands of customers pass through the Market each year to purchase fresh locally grown goods direct from the farmer insuring healthy eating and savings to the end consumer. \nThe Market has also become a desired destination for those looking to purchase flowers\, vegetable plants\, herbs\, shrubs and Christmas Trees. Many wholesale buyers include major grocers\, institutions\, neighborhood markets\, restaurants\, caterers\, garden centers and other farm market stands that come to the Market every Tuesday\, Thursday and Saturday morning as early as 4:00 AM. \nCLINTON BAILEY MARKET\n1443 – 1517 Clinton Street\nBuffalo\, NY 14206
URL:https://thebuffalohive.com/event/clinton-bailey-farmers-flea-market-2/2026-09-06/
LOCATION:Clinton-Bailey Market\, 1443 Clinton St.\, Buffalo\, NY\, 14206\, United States
CATEGORIES:Food & Drink
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260906T100000
DTEND;TZID=America/New_York:20260906T170000
DTSTAMP:20260819T153325Z
CREATED:20260819T003820Z
LAST-MODIFIED:20260819T153325Z
UID:10042638-1788688800-1788714000@thebuffalohive.com
SUMMARY:Buffalo Art: Let Us Gather in a Flourishing Way
DESCRIPTION:Image above: Rogelio Báez Vega (Lives and works in Santurce\, Puerto Rico). New York Department Store\, Bayamón Branch\, 2024–25. Oil\, beeswax\, and gold powder pigment on canvas / Óleo\, cera de abeja y polvo de oro sobre lienzo. 48 × 72 in. (121.9 × 182.9 cm). Courtesy of the artist. Photo: Courtesy of the artist  \n  \nLet Us Gather in a Flourishing Way explores contemporary Latinx artists’ innovations and interventions within established traditions of painting\, inviting discussion on a variety of themes and revealing the diversity and expansiveness present within the field. The fifty-eight artists in the exhibition—and those in the Latinx field more broadly—encourage us to interrogate the continued relevance of boundaries\, from political borders to disciplinary confines. This exhibition therefore celebrates artists whose expressions are first and foremost personal and subjective\, but whose heterogeneous and culturally specific interventions enrich one another and the history of American and contemporary art\, two fields from which such artists have been historically excluded. Inspired by former U.S. Poet Laureate Juan Felipe Herrera’s poem “[Let Us Gather in a Flourishing Way]\,” the show celebrates abundance and presents a vision of Latinx art that is\, like the diaspora itself\, infinitely complex. \n\n\n\n\n  \nDavid Antonio Cruz (Lives and works in New York). iknowyou’vebeenwonderingwherei’vebeen:adrift\,adraft\,astare\,atilt\,asigh\,exhale.but\,icamebacktoletyouknow\,gotathingforyou\,andican’tletitgo_the raft.\, 2024. Oil\, acrylic\, and ink on wood panel / Óleo\, acrílico y tinta sobre panel de madera. Two panels\, each 72 × 48 in. (188 × 121.9 cm). Overall 72 × 98 1/2 in. (188 × 250.2 cm). Collection of Igor DaCosta. Photo: Robert Chase Heishman\, courtesy of the artist and Monique Meloche Gallery\, Chicago \nThe show’s intergenerational and regionally broad dialogue is reflected in seven thematic groupings: (New) Histories\, offering new perspectives on personal\, cultural\, and global histories; Bodies & Figures\, representations of and by marginalized people\, considering the importance of the body\, and who is or isn’t seen in an image; Identity/Place\, a consideration of how identity and place shape each other with a diasporic lens; Land/tierra\, varied approaches to land and the built environment\, from the material to the imaginary; Community\, highlighting various communities—artistic\, blood\, and chosen—and their importance to populations within the diaspora; Pinturx\, contemporary Latinx approaches to traditional painting genres like still life and portraiture; and Abstractions\, exploring centuries-long Indigenous and European abstract traditions still in use by artists today. \nAllowing for cacophony and heterogeneity in its narratives\, the exhibition takes its cues from the artists themselves\, who are actively cultivating the landscape of contemporary painting as visitors will experience it in the museum. Rather than telling a finished story\, as survey exhibitions often do\, this exhibition gives audiences a peek into this vibrant and lively active network. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nYvette Mayorga (Lives and works in Chicago). The Brunette Latinx Self Portrait After François Boucher’s “The Brunette Odalisque\,” c.1745\, 2022. Acrylic nails\, acrylic marker\, false eyelashes\, collage\, plastic rings\, plastic nail charms\, rhinestones\, car wrap vinyl\, and acrylic piping on panel / Uñas acrílicas\, marcador acrílico\, cejas postizas\, collage\, anillos de plástico\, decoraciones de plástico para uñas\, diamantes de imitación\, vinil de auto y acrílico aplicado con manga pastelera sobre panel. Overall 60 × 120 × 2 in. (152.4 × 304.8 × 5.1 cm). Courtesy of the artist. Photo: Robert Chase Heishman\n\n\n\n\n\nVincent Valdez (Lives and works in Houston). The Sea\, 2020. Oil on canvas / Óleo sobre lienzo. 50 × 70 in. (127 × 177.8 cm). Courtesy Matthew Brown. Photo: Paul Salveson\, courtesy of Matthew Brown  \n  \n\n\n\n\n\n\nManuela Gonzalez (Lives and works in Lake Worth Beach\, Florida). Inanna\, 2024. Acrylic on mixed fabrics / Acrílico sobre tejidos mixtos. Overall 66 × 58 × 2 in. (167.6 × 147.3 × 5.1 cm). Collection of the artist.\n\n\n\n\n\nLilian Martinez (Lives and works in Los Angeles). Garden Club\, 2024. Acrylic on canvas  / Acrílico sobre lienzo. 50 × 65 in. (127 × 165.1 cm). Collection Buffalo AKG Art Museum\, Gift of Pamela and David Hornik\, 2025 (2025:9). Photo: Deen Babakhyi\, courtesy of the artist and OCHI\n\n\n\n\n\nEamon Ore-Giron (Lives and works in Los Angeles). Talking Shit with Illapa (variation I)\, 2023. Mineral paint and Flashe on canvas / Pintura mineral y Flashe sobre lienzo. 72 × 96 1/8 in. (182.9 × 244.2 cm). Collection Buffalo AKG Art Museum\, George B. and Jenny R. Mathews Fund\, 2024 (2024:6). Photo: Brenda Bieger\, Buffalo AKG Art Museum\n\n\n\n\n\nPatrick Martinez (Lives and works in Los Angeles). Promised Land\, 2022. Acrylic\, stucco\, neon\, Mean Streak\, ceramic\, spray paint\, latex house paint\, banner tarp\, ceramic tile\, tile adhesive\, and family archive photo collage on panel / Acrílico\, estuco\, neón\, Mean Streak\, cerámica\, pintura en aerosol\, pintura de látex para interior\, cartel publicitario\, azulejos de cerámica\, adhesivo para azulejos y collage de archivo fotográfico familiar sobre panel.  84 × 192 × 7 in. (213.4 × 487.7 × 17.8 cm). Collection Buffalo AKG Art Museum\, George B. and Jenny R. Mathews Fund\, 2022 (2022:78). Photo: Yubo Dong\, ofstudio photography\, courtesy of Charlie James Gallery\n\n\n\n\n\nCandida Alvarez (Lives and works in Baroda\, Michigan\, and Chicago). Flor de Caballo 3\, 2022. Acrylic on linen  / Acrílico sobre lino. 48 × 48 in. (121.9 × 121.9 cm). Courtesy of the artist. Photo: Robert Chase Heishman\, courtesy of the artist and Monique Meloche Gallery\, Chicago\n\n\n\n\n\nCarlos Rosales-Silva (Lives and works in New York). Peep Hole 3\, 2023. Crushed stone and glass bead in acrylic paint on panel / Piedra molida y cuentas de vidrio en pintura acrílica sobre panel. Overall 50 × 40 × 1 1/2 in. (127 × 101.6 × 3.8 cm). Courtesy of the artist and Sargent’s Daughters. Photo: Nicholas Knight\n\n\n\n\n\nPrevious slideNext slide\n\n\n\n\n\n\n\n\n\n\n\n\nLet Us Gather in a Flourishing Way is organized by the Buffalo AKG Art Museum and curated by Curator Andrea Alvarez. It will be followed by a national tour including presentations at the Des Moines Art Center\, the Museum of Contemporary Art Denver\, the Phoenix Art Museum\, and the Frye Art Museum\, Seattle. \n\n\n\n\n\n 
URL:https://thebuffalohive.com/event/buffalo-art-let-us-gather-in-a-flourishing-way/2026-09-06/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art
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DTSTART;TZID=America/New_York:20260906T100000
DTEND;TZID=America/New_York:20260906T170000
DTSTAMP:20260819T154435Z
CREATED:20260819T004950Z
LAST-MODIFIED:20260819T154435Z
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SUMMARY:Buffalo Art: Ali Banisadr: Temple of the Mind
DESCRIPTION:Image above:Ali Banisadr (American\, born Iran\, born 1976). Weighing of the heart\, 2023. Oil on linen. 48 x 60 inches (121.92 x 152.4 cm). © Ali Banisadr. \nFriday\, June 26\, 2026–Sunday\, November 8\, 2026 \n\n\n\n\n\n\n\n\n\n\n\nRobert and Elisabeth Wilmers Building\n\nImitation is not inspiration\, and inspiration only can give birth to a work of art.\n—Albert Pinkham Ryder\n\nAli Banisadr merges the compositional elements of landscape painting with abstract mark-making to create an altogether new form of figuration. The resulting compositions are a carefully composed bedlam of forms that suggest but ultimately deny any specific narrative. Variously reminiscent of gardens of Eden\, the seasonal genre pictures of Flemish Renaissance painter Pieter Bruegel the Elder\, and Boschian depictions of Hell\, Banisadr’s contemporary abstractions call upon the history of painting. The title of the exhibition\, borrowed from Albert Pinkham Ryder’s enigmatic painting\, The Temple of the Mind\, serves as a conceptual framework for the project\, suggesting a space where perception\, memory\, and imagination converge. While the Romantic painter was admired for his pioneering\, semi-abstract style\, for Banisadr\, Ryder holds a space for contemplation amid rising uncertainties. \nAli Banisadr (American\, born Iran\, 1976). Return to Mother\, 2022. Oil on linen. 82 x 180 inches (208.28 x 457.2 cm). © Ali Banisadr.\nGiven his deep interest in art history\, the Buffalo AKG has invited Banisadr to participate in the first-ever artist collection intervention. In addition to the installation in the Hemicycle Gallery\, a focused selection of Banisadr’s work will be installed throughout the Robert and Elisabeth Wilmers Building\, among the dreamlike imaginings of the Surrealists and the unbridled energy of the Abstract Expressionists. \nBanisadr reaches across time to draw on a wide range of influences. From art\, history\, literature\, and mythology to music\, film\, and technology\, he thinks of such sources as guiding his hand rather than driving his imagery\, and the powerful microcosms he creates are uniquely his own. Within these layered compositions\, subtle references to current events and the human condition—conflict\, migration\, and collective uncertainty—emerge and dissolve within the flux of his painterly language. Originating from one spontaneous moment to the next\, hidden figures and beguiling narratives reveal themselves to those who slow down in the present moment. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nAli Banisadr (American\, born Iran\, 1976). The Witness\, 2025. Oil on linen. 28 x 36 inches (71.12 x 91.44 cm). © Ali Banisadr.\n\n\n\n\n\n\n\n\n\n\n\n\nBanisadr’s works often evoke the natural world\, its shifting terrains and elemental forces\, while also suggesting cosmological dimensions that extend beyond the visible. Furthermore\, the artist’s unusual experience as a synesthete—a blending of the senses—also informs his practice. Over the years\, he has learned to allow his unique perceptions to guide his process\, leaning into the ways that color evokes specific sounds of harmony or discord. \nFrancisco de Goya (Spanish\, 1746–1828). Mucho hay que chupar (There is Plenty to Suck) from\, “Los Caprichos\,” 1799. Etching with aquatint. image area: 8 1/8 x 5 inches (20.64 x 12.7 cm); sheet: 11 1/2 x 8 1/8 inches (29.21 x 20.64 cm). Collection Buffalo AKG Art Museum. Gift of Frederic P. Norton\, 1999 (P1999:6.209).\nThe presentation in the Hemicycle Gallery will also feature an installation that delves deeply into the artist’s influences and process through materials from his studio and an artist-curated selection of works from the museum’s collection. From Andō Hiroshige’s evocative woodcuts and Francisco de Goya’s intense\, sometimes nightmarish\, depictions of violence and superstition to the artist’s sketchbooks and other visual cues\, visitors are invited to immerse themselves in Banisadr’s curious\, fantastical world. \nThe exhibition will be accompanied by an audio journey voiced by Banisadr and will debut a new etching created with the team at Mirabo Press in Buffalo\, New York. A short-documentary film on the artist is also in development. \n\n\n\n\n\n\n\n\n\nAli Banisadr: Temple of the Mind is organized by the Buffalo AKG Art Museum and co-curated by the artist and Godin-Spaulding Senior Curator for the Collection\, Holly E. Hughes.
URL:https://thebuffalohive.com/event/buffalo-art-ali-banisadr-temple-of-the-mind/2026-09-06/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art
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DTSTART;TZID=America/New_York:20260906T100000
DTEND;TZID=America/New_York:20260906T170000
DTSTAMP:20260819T010848Z
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SUMMARY:Buffalo Art: All I ever wanted was a place - A Centennial Celebration of Robert Creeley
DESCRIPTION:On view May 21 through December 7\, 2026. A special installation marking the centennial of poet Robert Creeley’s birth\, celebrating his more than forty-year connection to the museum and thirty years living and teaching in Buffalo\, in partnership with UB’s Poetics Program\, UB Art Galleries\, Just Buffalo Literary Center\, and Black Rock Arts. \n  \n \n\n\n\n\n\n\n\n\n\nPoetry Today symposium for The Buffalo Festival of the Arts Today\, March 5\, 1965\, in the Albright-Knox Art Gallery Auditorium. From left: David Posner (moderator)\, Robert Graves\, William D. Snodgrass\, and Robert Creeley. Image courtesy of the Buffalo AKG Art Museum Archives. \n\n\n\n\n\n\n\n\n\nWest Corridor\, Knox Building\nCelebrated American poet Robert Creeley (1926–2005) had a connection to the Albright-Knox Art Gallery (now the Buffalo AKG Art Museum) that spanned more than forty years\, from speaking to artist collaborations. His first engagement with the museum was in March 1965\, when he took part in the Poetry Today symposium for The Buffalo Festival of the Arts Today. The sixteen-day event attracted more than 300\,000 guests and received nationwide acclaim. During the symposium\, Creeley stated\, “Whatever provokes in me this response to the innate rhythm of a poem\, whatever it is\, one singly follows one’s own answer\,” expressing his deeply felt and responsive style. \nThe poet collaborated with some of the most celebrated contemporary artists\, forming lasting relationships with them before the actual “work” took place. Artist Alex Katz\, a collaborator on Edges\, stated\, “Working with Bob makes me feel bright.” In May 1972\, Marisol wrote a letter to Creeley after receiving the text for Presences: A Text for Marisol (1976)\, “It is really amazing how you could do something so close to me from seeing me so few times.” Creeley mirrored Marisol’s sculptural process in his prose\, creating what he called an “active complement.” \n“All I ever wanted was a place\,” Creeley writes\, in a 1988 collaboration with artists Robert Therrien and Michel Butor. The poet arrived in Buffalo in 1966\, teaching at the University at Buffalo for more than thirty years. He was the inspiration behind Just Buffalo Literary Center and went on to co-found UB’s Poetics Program. In his later years\, he was often called “the man in Black Rock.” On this centennial of his birth\, we celebrate the indelible mark Creeley made on the literary and artistic life of this place.\n \n\n\n\n\n\n\nRobert Creeley Centenary (2026)\n\nThis year marks a century since Robert Creeley’s birth. On May 21 and 22\, join us in commemorating his life and work in Buffalo\, where he lived for more than thirty years\, in partnership with the University at Buffalo Poetics Program\, the University at Buffalo Art Galleries\, Just Buffalo Literary Center\, and Black Rock Arts. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nHome\n\n\n\n\n\n\nBuffalo AKG Art Museum\n1285 Elmwood Avenue\nBuffalo\, New York 14222\nNow Open
URL:https://thebuffalohive.com/event/buffalo-art-all-i-ever-wanted-was-a-place-a-centennial-celebration-of-robert-creeley/2026-09-06/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art,Literature
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DTSTART;TZID=America/New_York:20260906T100000
DTEND;TZID=America/New_York:20260906T170000
DTSTAMP:20260819T012959Z
CREATED:20260819T012959Z
LAST-MODIFIED:20260819T012959Z
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SUMMARY:Buffalo Art: Ragnar Kjartansson: Politics of the Obvious
DESCRIPTION:Image above: Ragnar Kjartansson (Icelandic\, born 1976). No Tomorrow\, 2022. Six-channel digital video; color\, sound\, 4/6 plus 2 artist’s proofs. Running time: 29 minutes\, 18 seconds. Commissioned by Sigurður Gísli Pálmason; based on a commission by the Iceland Dance Company. Courtesy of the artists\, Luhring Augustine\, New York and i8 Gallery\, Reykjavik. Collection Buffalo AKG Art Museum. Bequest of Arthur B. Michael\, 2024 (2024:64).  \nOn view September 3\, 2026 through January 31\, 2027. One of Icelandic artist Ragnar Kjartansson’s most ambitious U.S. exhibitions\, with six immersive performance\, video\, and installation works exploring clichés and familiar gestures made strange. Half the works make their American museum debut. Curated by Cathleen Chaffee with Helga Christoffersen. \n\n \n\n\n\n\n\n\n\n\n\n\nThursday\, September 3\, 2026–Sunday\, January 31\, 2027 \n\n\n\n\n\nRagnar Kjartansson (Icelandic\, born 1976). Bangemand/Scaredman\, 2023. Live durational performance; variable. Courtesy of the artist\, Luhring Augustine\, New York and i8 Gallery\, Reykjavik. Originally presented at the Louisiana Museum of Modern Art. Photo: Louisiana Museum of Modern Art/Poul Buchard \n\n\n\n\n\n\n\n\n\nJeffrey E. Gundlach Building\nFloor 1\nRagnar Kjartansson works across performance\, music\, and image to create shared emotional experiences from otherwise commonplace or familiar scenes. Politics of the Obvious is one of the celebrated Icelandic artist’s most ambitious ever exhibitions in the United States and half of the works are making their American museum debut at the Buffalo AKG. The exhibition centers on a series of deceptively simple refrains\, clichés\, and truisms. In six immersive installations made over more than two decades\, Kjartansson transforms such familiar phrases or gestures into experiences that become altogether strange\, provocative\, and powerfully moving. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n  \n\n\n\n\n\n\nRagnar Kjartansson (Icelandic\, born 1976). The Visitors\, 2012. Nine-channel HD video projection; color\, sound. Running time: 64 minutes. Courtesy of the artist\, Luhring Augustine\, New York\, and i8 Gallery\, Reykjavik. Photo: Elisabet Davids \n\n\n\n\n\n\nRagnar Kjartansson (Icelandic\, born 1976). Bangemand/Scaredman\, 2023. Live durational performance; variable. Courtesy of the artist\, Luhring Augustine\, New York and i8 Gallery\, Reykjavik. Originally presented at the Louisiana Museum of Modern Art. Photo: Louisiana Museum of Modern Art/Poul Buchard \n\n\n\n\n\n\nPrevious slideNext slide\n\n\n\n\n\n\n\n\n\n\n\nIn the video Scenes from Western Culture (The Boat) (2015)\, for example\, an elegantly dressed couple repeatedly and languidly sets off into a tranquil sea; the man stays the same while the woman seems to keep changing. Their evident wealth and ease\, coupled with the impossible beauty of their setting\, constitute the stuff of glossy travel brochures\, the carefully constructed advertising tropes that wallpaper an office worker’s imaginary. Such an unachievably perfect two weeks’ vacation was\, of course\, a reward designed to help keep that same worker productive during the other fifty weeks of the year. Devoid of drama or incident\, Kjartansson’s The Boatembodies the deep-rooted fantasy that leisure (enjoyed through the brief reprieve of a vacation or more durably attained through wealth) will cure what ails us. It illustrates a fiction that is as inherent to modernity as our increasingly digital and monitored working lives. \nThe nearby live performance Bangemand / Scaredman (2023) offers a stark counterpoint to the holidaymakers in The Boat. Every day during the museum’s open hours\, a man in a tuxedo inches along a narrow ledge high in a gallery\, his body pressed anxiously against the wall. The scenario recalls cinematic tropes—from silent-era physical comedy to midcentury thrillers such as Vertigo (1958)—yet Kjartansson strips the scene of narrative resolution. A clean-cut\, suited figure is typically a sign of masculine authority\, composure\, and control; in Scaredman\, he instead appears beset by unseen and undefined forces. The performance evokes a familiar cultural script in which masculinity is cast as under siege\, transforming a familiar archetype into a meditation on fear\, spectacle\, and the troubling logic that power sustains itself by staging its own vulnerability. \n\n\n\n\n\n\n\n\n\n\n\n\n\nRagnar Kjartansson (Icelandic\, born 1976). Scenes from Western Culture\, The Boat (Stephan Stephensen\, Kristín Anna Valtýsdóttir and Gyða Valtýsdóttir)\, 2015. Single-channel video. Running time: 2 hours\, 36 minutes. Courtesy of the artist\, Luhring Augustine\, New York\, and i8 Gallery\, Reykjavik \n\n\n\n\n\n\n\n\n\n\n\n\n\nIn an interview\, Kjartansson has reflected on the importance of holding opposing emotional registers in place: “There is always this balance between irony and sincerity. I think that’s where things become interesting.” This sensibility runs throughout the works in Politics of the Obvious. In Me and My Mother (2000–25)\, for example\, a repeated\, confrontational act between mother and son becomes a tender record of time passing. In No Tomorrow (2017)\, a group of performers with guitars take up historic entertainment repertoires while eventually exposing their artifice\, seeming to dance around the fleeting nature of desire itself. The Visitors (2012) is one of the most beloved artworks of the twenty-first century. In the virtuosic installation\, musicians each play alone in separate rooms of a decaying mansion in upstate New York. Their voices carry through walls\, gradually enfolding a shared refrain and transforming the individual into a temporary collective. Sunday Without Love is a tableau vivant rooted in traditions ranging from romantic balladry to landscape painting that builds into a sustained meditation on loss. \nKjartansson stands in wonder at the world’s contradictions. “I am just totally in awe of the world and all its mystical beauty and mystical violence\,” he has affirmed. Seen together\, the works in Politics of the Obvious describe a world in which aspiration and anxiety are tightly bound\, with the quest for stability\, beauty\, and rest shadowed by a persistent sense of precarity. By confronting familiar images throughout the exhibition—of love\, masculinity\, leisure\, and power—Kjartansson reveals their underlying instability and invites us to dwell in what often remains hidden in plain sight. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n[Above: Ragnar Kjartansson (Icelandic\, born 1976). Me and My Mother\, 2000–25. Six single-channel videos; color\, sound. Running time: variable. Courtesy of the artist\, Luhring Augustine\, New York\, and i8 Gallery\, Reykjavik] \n\nRagnar Kjartansson: Politics of the Obvious is curated by Cathleen Chaffee\, Charles Balbach Chief Curator with Helga Christoffersen\, Curator\, AKG Nordic Art and Culture Initiative.
URL:https://thebuffalohive.com/event/buffalo-art-ragnar-kjartansson-politics-of-the-obvious/2026-09-06/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art
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DTSTART;TZID=America/New_York:20260906T100000
DTEND;TZID=America/New_York:20260906T170000
DTSTAMP:20260819T014754Z
CREATED:20260819T014754Z
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SUMMARY:Buffalo Art: Natvar Bhavsar: 'Free Yourself'
DESCRIPTION:Image above: Natvar Bhavsar (American\, born India\, 1934). REETVA\, 1968. Painting on paper\, dry pigment\, acrylic medium on rag paper. 35 x 46 inches (89 x 117 cm). © 2026 Natvar Bhavsar / Artists Rights Society (ARS)\, New York. Image courtesy of the artist.  \n  \nOn view August 21\, 2026 through April 4\, 2027. Surveys fifty years of Natvar Bhavsar’s expressive color-field abstractions made from pure dry pigment\, presented simultaneously with the University at Buffalo Art Galleries. Debuts the museum’s two new acquisitions\, RITI-YAA (1969) and KE-RAA (1971). \n\n\n\n\n\nM&T Bank Gallery \n\n\n\n\n\n\n\n\n\nSeymour H. Knox Building\n“I have tried to convey how to free oneself\, using color as a force to reach towards the beauty and generosity of the material that allows you unlimited expression.”  \nNatvar Bhavsar (American\, born India\, 1934). KE-RAA\, 1971. Pure pigment on canvas. 87 x 71 inches (221 x 180 cm). Collection Buffalo AKG Art Museum. Gift of Natvar Bhavsar and Janet Bhavsar\, 2025. © 2026 Natvar Bhavsar / Artists Rights Society (ARS)\, New York. Photo: Thomas Müller \nNatvar Bhavsar: Free Yourself surveys fifty years of the artist’s expressive abstractions\, inviting viewers to meditate on the power of pure color. Simultaneously presented at the Buffalo AKG Art Museum and the University at Buffalo Art Galleries\, the exhibitions respectively feature works on paper and monumental paintings spanning each decade of his career. This exhibition also celebrates the debut of the AKG’s two acquisitions by the artist RITI-YAA (1969) and KE-RAA (1971). \nBhavsar’s unique physical process centers on tiny particles of pure\, dry pigment. He begins by soaking the entire canvas in a clear acrylic binder\, then sifts or brushes pigment through handmade tools and fine mesh screens\, building up to eighty sealed layers. Air currents\, breath\, and the rhythm of his body as he maneuvers around the surface help shape the final image—a carefully controlled dance that produces textured\, smoky surfaces with subtle shifts in color and tone. As Bhavsar describes: \n\n“When I enter my studio\, everything disappears. It’s like I’ve entered another world. I experience Nirvana. It’s an incredible gift in which I disappear\, the studio itself disappears\, New York disappears.”\n\n  \nNatvar Bhavsar (American\, born India\, 1934). VAROONA II\, 1988. Painting on paper\, dry pigment\, and acrylic medium on rag paper. 49 x 39 inches (125 x 99 cm). © 2026 Natvar Bhavsar / Artists Rights Society (ARS)\, New York. Image courtesy of the artist. \nExamined up close\, his dappled surfaces are palpable; from a distance\, the color fields float and become atmospheric. Some paintings burst with energy\, while others suggest a boundless continuum of color. Unlike other Abstract Expressionists\, who approached the sublime through solemnity\, Bhavsar’s path is ecstatic and celebratory and rooted in his Indian heritage. His work invokes Holi\, the Hindu Spring festival in which revelers douse one another in powdered colors to celebrate the divine love of Radha and Krishna. Later works introducing curlicues draw on rangoli—decorative floor patterns of colored powder made during Diwali\, the festival of light. \nBhavsar’s meditative practice results in an intensely personal experience that invites endless free association—whether you find yourself peering through a microscope\, wandering a Holi celebration\, or gazing from the Hubble telescope is left entirely to you. \n  \n  \n  \n\nNatvar Bhavsar: Free Yourself is organized by the Buffalo AKG Art Museum and the University at Buffalo Art Galleries. Its presentation in Buffalo is organized by Katie O’Hara\, Assistant Curator\, Buffalo AKG Art Museum\, and its presentation at the University at Buffalo Art Galleries is organized by Robert Scalise\, Director\, University at Buffalo Art Galleries.
URL:https://thebuffalohive.com/event/buffalo-art-natvar-bhavsar-free-yourself/2026-09-06/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art
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DTSTART;TZID=America/New_York:20260906T100000
DTEND;TZID=America/New_York:20260906T170000
DTSTAMP:20260819T135107Z
CREATED:20260819T135107Z
LAST-MODIFIED:20260819T135107Z
UID:10045325-1788688800-1788714000@thebuffalohive.com
SUMMARY:Buffalo Art: Ragnar Kjartansson: Politics of the Obvious
DESCRIPTION:Image above: Ragnar Kjartansson (Icelandic\, born 1976). No Tomorrow\, 2022. Six-channel digital video; color\, sound\, 4/6 plus 2 artist’s proofs. Running time: 29 minutes\, 18 seconds. Commissioned by Sigurður Gísli Pálmason; based on a commission by the Iceland Dance Company. Courtesy of the artists\, Luhring Augustine\, New York and i8 Gallery\, Reykjavik. Collection Buffalo AKG Art Museum. Bequest of Arthur B. Michael\, 2024 (2024:64).  \nOn view September 3\, 2026 through January 31\, 2027. One of Icelandic artist Ragnar Kjartansson’s most ambitious U.S. exhibitions\, with six immersive performance\, video\, and installation works exploring clichés and familiar gestures made strange. Half the works make their American museum debut. Curated by Cathleen Chaffee with Helga Christoffersen. \n\n\n  \n\n\n\n\n\n\n\n\n\n\nThursday\, September 3\, 2026–Sunday\, January 31\, 2027 \n\n\n\n\n\nRagnar Kjartansson (Icelandic\, born 1976). Bangemand/Scaredman\, 2023. Live durational performance; variable. Courtesy of the artist\, Luhring Augustine\, New York and i8 Gallery\, Reykjavik. Originally presented at the Louisiana Museum of Modern Art. Photo: Louisiana Museum of Modern Art/Poul Buchard\n\n\n\n\n\n\n\n\nJeffrey E. Gundlach Building\nFloor 1\nRagnar Kjartansson works across performance\, music\, and image to create shared emotional experiences from otherwise commonplace or familiar scenes. Politics of the Obvious is one of the celebrated Icelandic artist’s most ambitious ever exhibitions in the United States and half of the works are making their American museum debut at the Buffalo AKG. The exhibition centers on a series of deceptively simple refrains\, clichés\, and truisms. In six immersive installations made over more than two decades\, Kjartansson transforms such familiar phrases or gestures into experiences that become altogether strange\, provocative\, and powerfully moving. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n\nRagnar Kjartansson (Icelandic\, born 1976). The Visitors\, 2012. Nine-channel HD video projection; color\, sound. Running time: 64 minutes. Courtesy of the artist\, Luhring Augustine\, New York\, and i8 Gallery\, Reykjavik. Photo: Elisabet Davids\n\n\n\n\n\nRagnar Kjartansson (Icelandic\, born 1976). Bangemand/Scaredman\, 2023. Live durational performance; variable. Courtesy of the artist\, Luhring Augustine\, New York and i8 Gallery\, Reykjavik. Originally presented at the Louisiana Museum of Modern Art. Photo: Louisiana Museum of Modern Art/Poul Buchard\n\n\n\n\n\nPrevious slideNext slide\n\n\n\n\n\n\n\n\n\n\n\nIn the video Scenes from Western Culture (The Boat) (2015)\, for example\, an elegantly dressed couple repeatedly and languidly sets off into a tranquil sea; the man stays the same while the woman seems to keep changing. Their evident wealth and ease\, coupled with the impossible beauty of their setting\, constitute the stuff of glossy travel brochures\, the carefully constructed advertising tropes that wallpaper an office worker’s imaginary. Such an unachievably perfect two weeks’ vacation was\, of course\, a reward designed to help keep that same worker productive during the other fifty weeks of the year. Devoid of drama or incident\, Kjartansson’s The Boatembodies the deep-rooted fantasy that leisure (enjoyed through the brief reprieve of a vacation or more durably attained through wealth) will cure what ails us. It illustrates a fiction that is as inherent to modernity as our increasingly digital and monitored working lives. \nThe nearby live performance Bangemand / Scaredman (2023) offers a stark counterpoint to the holidaymakers in The Boat. Every day during the museum’s open hours\, a man in a tuxedo inches along a narrow ledge high in a gallery\, his body pressed anxiously against the wall. The scenario recalls cinematic tropes—from silent-era physical comedy to midcentury thrillers such as Vertigo (1958)—yet Kjartansson strips the scene of narrative resolution. A clean-cut\, suited figure is typically a sign of masculine authority\, composure\, and control; in Scaredman\, he instead appears beset by unseen and undefined forces. The performance evokes a familiar cultural script in which masculinity is cast as under siege\, transforming a familiar archetype into a meditation on fear\, spectacle\, and the troubling logic that power sustains itself by staging its own vulnerability. \n\n\n\n\n\n\n\n\n\n\n\n\n\nRagnar Kjartansson (Icelandic\, born 1976). Scenes from Western Culture\, The Boat (Stephan Stephensen\, Kristín Anna Valtýsdóttir and Gyða Valtýsdóttir)\, 2015. Single-channel video. Running time: 2 hours\, 36 minutes. Courtesy of the artist\, Luhring Augustine\, New York\, and i8 Gallery\, Reykjavik\n\n\n\n\n\n\n\n\n\n\n\n\nIn an interview\, Kjartansson has reflected on the importance of holding opposing emotional registers in place: “There is always this balance between irony and sincerity. I think that’s where things become interesting.” This sensibility runs throughout the works in Politics of the Obvious. In Me and My Mother (2000–25)\, for example\, a repeated\, confrontational act between mother and son becomes a tender record of time passing. In No Tomorrow (2017)\, a group of performers with guitars take up historic entertainment repertoires while eventually exposing their artifice\, seeming to dance around the fleeting nature of desire itself. The Visitors (2012) is one of the most beloved artworks of the twenty-first century. In the virtuosic installation\, musicians each play alone in separate rooms of a decaying mansion in upstate New York. Their voices carry through walls\, gradually enfolding a shared refrain and transforming the individual into a temporary collective. Sunday Without Love is a tableau vivant rooted in traditions ranging from romantic balladry to landscape painting that builds into a sustained meditation on loss. \nKjartansson stands in wonder at the world’s contradictions. “I am just totally in awe of the world and all its mystical beauty and mystical violence\,” he has affirmed. Seen together\, the works in Politics of the Obvious describe a world in which aspiration and anxiety are tightly bound\, with the quest for stability\, beauty\, and rest shadowed by a persistent sense of precarity. By confronting familiar images throughout the exhibition—of love\, masculinity\, leisure\, and power—Kjartansson reveals their underlying instability and invites us to dwell in what often remains hidden in plain sight. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n[Above: Ragnar Kjartansson (Icelandic\, born 1976). Me and My Mother\, 2000–25. Six single-channel videos; color\, sound. Running time: variable. Courtesy of the artist\, Luhring Augustine\, New York\, and i8 Gallery\, Reykjavik] \n\nRagnar Kjartansson: Politics of the Obvious is curated by Cathleen Chaffee\, Charles Balbach Chief Curator with Helga Christoffersen\, Curator\, AKG Nordic Art and Culture Initiative. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n 
URL:https://thebuffalohive.com/event/buffalo-art-ragnar-kjartansson-politics-of-the-obvious-3/2026-09-06/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art
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DTSTART;TZID=America/New_York:20260906T100000
DTEND;TZID=America/New_York:20260906T180000
DTSTAMP:20260819T011458Z
CREATED:20260819T011458Z
LAST-MODIFIED:20260819T011458Z
UID:10045131-1788688800-1788717600@thebuffalohive.com
SUMMARY:Buffalo Art: All I ever wanted was a place - A Centennial Celebration of Robert Creeley
DESCRIPTION:On view May 21 through December 7\, 2026. A special installation marking the centennial of poet Robert Creeley’s birth\, celebrating his more than forty-year connection to the museum and thirty years living and teaching in Buffalo\, in partnership with UB’s Poetics Program\, UB Art Galleries\, Just Buffalo Literary Center\, and Black Rock Arts. \n  \n\n  \n\n\n\n\n\n\n\n\n\nPoetry Today symposium for The Buffalo Festival of the Arts Today\, March 5\, 1965\, in the Albright-Knox Art Gallery Auditorium. From left: David Posner (moderator)\, Robert Graves\, William D. Snodgrass\, and Robert Creeley. Image courtesy of the Buffalo AKG Art Museum Archives.\n\n\n\n\n\n\n\n\nWest Corridor\, Knox Building\nCelebrated American poet Robert Creeley (1926–2005) had a connection to the Albright-Knox Art Gallery (now the Buffalo AKG Art Museum) that spanned more than forty years\, from speaking to artist collaborations. His first engagement with the museum was in March 1965\, when he took part in the Poetry Today symposium for The Buffalo Festival of the Arts Today. The sixteen-day event attracted more than 300\,000 guests and received nationwide acclaim. During the symposium\, Creeley stated\, “Whatever provokes in me this response to the innate rhythm of a poem\, whatever it is\, one singly follows one’s own answer\,” expressing his deeply felt and responsive style. \nThe poet collaborated with some of the most celebrated contemporary artists\, forming lasting relationships with them before the actual “work” took place. Artist Alex Katz\, a collaborator on Edges\, stated\, “Working with Bob makes me feel bright.” In May 1972\, Marisol wrote a letter to Creeley after receiving the text for Presences: A Text for Marisol (1976)\, “It is really amazing how you could do something so close to me from seeing me so few times.” Creeley mirrored Marisol’s sculptural process in his prose\, creating what he called an “active complement.” \n“All I ever wanted was a place\,” Creeley writes\, in a 1988 collaboration with artists Robert Therrien and Michel Butor. The poet arrived in Buffalo in 1966\, teaching at the University at Buffalo for more than thirty years. He was the inspiration behind Just Buffalo Literary Center and went on to co-found UB’s Poetics Program. In his later years\, he was often called “the man in Black Rock.” On this centennial of his birth\, we celebrate the indelible mark Creeley made on the literary and artistic life of this place. \n\n\n\n\n\n\n\nRobert Creeley Centenary (2026)\n\nThis year marks a century since Robert Creeley’s birth. On May 21 and 22\, join us in commemorating his life and work in Buffalo\, where he lived for more than thirty years\, in partnership with the University at Buffalo Poetics Program\, the University at Buffalo Art Galleries\, Just Buffalo Literary Center\, and Black Rock Arts. \n\n\n\n\n\n\n\n\n\n  \n\n\n\n\n\nHome\n\n\n\n\n\n\nBuffalo AKG Art Museum\n1285 Elmwood Avenue\nBuffalo\, New York 14222\nNow Open
URL:https://thebuffalohive.com/event/buffalo-art-all-i-ever-wanted-was-a-place-a-centennial-celebration-of-robert-creeley-3/2026-09-06/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art,Literature
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DTSTART;TZID=America/New_York:20260906T100000
DTEND;TZID=America/New_York:20260906T180000
DTSTAMP:20260819T015932Z
CREATED:20260819T015932Z
LAST-MODIFIED:20260819T015932Z
UID:10045622-1788688800-1788717600@thebuffalohive.com
SUMMARY:Buffalo Art: Natvar Bhavsar: 'Free Yourself'
DESCRIPTION:Image above: Natvar Bhavsar (American\, born India\, 1934). REETVA\, 1968. Painting on paper\, dry pigment\, acrylic medium on rag paper. 35 x 46 inches (89 x 117 cm). © 2026 Natvar Bhavsar / Artists Rights Society (ARS)\, New York. Image courtesy of the artist.  \n  \nOn view August 21\, 2026 through April 4\, 2027. Surveys fifty years of Natvar Bhavsar’s expressive color-field abstractions made from pure dry pigment\, presented simultaneously with the University at Buffalo Art Galleries. Debuts the museum’s two new acquisitions\, RITI-YAA (1969) and KE-RAA (1971). \n\n\n\n\n\nM&T Bank Gallery\n\n\n\n\n\n\n\n\nSeymour H. Knox Building\n“I have tried to convey how to free oneself\, using color as a force to reach towards the beauty and generosity of the material that allows you unlimited expression.”  \nNatvar Bhavsar (American\, born India\, 1934). KE-RAA\, 1971. Pure pigment on canvas. 87 x 71 inches (221 x 180 cm). Collection Buffalo AKG Art Museum. Gift of Natvar Bhavsar and Janet Bhavsar\, 2025. © 2026 Natvar Bhavsar / Artists Rights Society (ARS)\, New York. Photo: Thomas Müller \nNatvar Bhavsar: Free Yourself surveys fifty years of the artist’s expressive abstractions\, inviting viewers to meditate on the power of pure color. Simultaneously presented at the Buffalo AKG Art Museum and the University at Buffalo Art Galleries\, the exhibitions respectively feature works on paper and monumental paintings spanning each decade of his career. This exhibition also celebrates the debut of the AKG’s two acquisitions by the artist RITI-YAA (1969) and KE-RAA (1971). \nBhavsar’s unique physical process centers on tiny particles of pure\, dry pigment. He begins by soaking the entire canvas in a clear acrylic binder\, then sifts or brushes pigment through handmade tools and fine mesh screens\, building up to eighty sealed layers. Air currents\, breath\, and the rhythm of his body as he maneuvers around the surface help shape the final image—a carefully controlled dance that produces textured\, smoky surfaces with subtle shifts in color and tone. As Bhavsar describes: \n\n“When I enter my studio\, everything disappears. It’s like I’ve entered another world. I experience Nirvana. It’s an incredible gift in which I disappear\, the studio itself disappears\, New York disappears.”\n\n  \nNatvar Bhavsar (American\, born India\, 1934). VAROONA II\, 1988. Painting on paper\, dry pigment\, and acrylic medium on rag paper. 49 x 39 inches (125 x 99 cm). © 2026 Natvar Bhavsar / Artists Rights Society (ARS)\, New York. Image courtesy of the artist. \nExamined up close\, his dappled surfaces are palpable; from a distance\, the color fields float and become atmospheric. Some paintings burst with energy\, while others suggest a boundless continuum of color. Unlike other Abstract Expressionists\, who approached the sublime through solemnity\, Bhavsar’s path is ecstatic and celebratory and rooted in his Indian heritage. His work invokes Holi\, the Hindu Spring festival in which revelers douse one another in powdered colors to celebrate the divine love of Radha and Krishna. Later works introducing curlicues draw on rangoli—decorative floor patterns of colored powder made during Diwali\, the festival of light. \nBhavsar’s meditative practice results in an intensely personal experience that invites endless free association—whether you find yourself peering through a microscope\, wandering a Holi celebration\, or gazing from the Hubble telescope is left entirely to you. \n  \n  \n  \n\nNatvar Bhavsar: Free Yourself is organized by the Buffalo AKG Art Museum and the University at Buffalo Art Galleries. Its presentation in Buffalo is organized by Katie O’Hara\, Assistant Curator\, Buffalo AKG Art Museum\, and its presentation at the University at Buffalo Art Galleries is organized by Robert Scalise\, Director\, University at Buffalo Art Galleries.
URL:https://thebuffalohive.com/event/buffalo-art-natvar-bhavsar-free-yourself-3/2026-09-06/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art
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ORGANIZER;CN="Buffalo AKG Art Museum":MAILTO:noreply@facebookmail.com
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260906T113000
DTEND;TZID=America/New_York:20260906T143000
DTSTAMP:20260103T123121Z
CREATED:20250308T004324Z
LAST-MODIFIED:20260103T123121Z
UID:10025472-1788694200-1788705000@thebuffalohive.com
SUMMARY:Buffalo Music: The Terrace at Delaware Park — JazzBrunch Sundays
DESCRIPTION:Enjoy Buffalo’s longest-running Sunday Jazz Brunch every weekend at The Terrace’s historic location at Marcy Casino on Delaware Park Lake\, behind the Buffalo AKG Art Museum. Listen to a rotating cast of Western New York’s favorite jazz musicians while indulging in The Terrace’s award-winning brunch menu\, from 11:30 am to 2:30 pm.
URL:https://thebuffalohive.com/event/the-terrace-at-delaware-park-jazzbrunch-sundays-hosted-by-jazzbuffalo-2/2026-09-06/
LOCATION:The Terrace at Delaware Park Casino\, 199 Lincoln Parkway\, Buffalo\, NY\, 14222\, United States
CATEGORIES:Music
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DTSTART;TZID=America/New_York:20260906T170000
DTEND;TZID=America/New_York:20260906T200000
DTSTAMP:20251229T171130Z
CREATED:20241227T014910Z
LAST-MODIFIED:20251229T171130Z
UID:10018956-1788714000-1788724800@thebuffalohive.com
SUMMARY:Buffalo Music: Sean Patrick's: Queen City Jass Society
DESCRIPTION:Queen City Jass Society monthly presentation at Sean Patrick’s. \n  \n 
URL:https://thebuffalohive.com/event/sean-patricks-queen-city-jass-society/2026-09-06/
LOCATION:Sean Patrick’s\, 3480 Milersport Highway\, Getzville\, NY\, United States
CATEGORIES:Music
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260906T180000
DTEND;TZID=America/New_York:20260906T180000
DTSTAMP:20260813T174440Z
CREATED:20260813T174438Z
LAST-MODIFIED:20260813T174440Z
UID:10042007-1788717600-1788717600@thebuffalohive.com
SUMMARY:Buffalo Music: Press Play Vol. 3: Nothing But Anthems
DESCRIPTION:The latest installment in the acclaimed Press Play series\, showcasing a collection of high-energy tracks that capture the essence of contemporary anthems across pop and electronic genres.
URL:https://thebuffalohive.com/event/buffalo-music-press-play-vol-3-nothing-but-anthems/
LOCATION:Electric City\, 433 Pearl Street\, Buffalo\, NY\, 14202\, United States
CATEGORIES:Music
ORGANIZER;CN="Electric City":MAILTO:noreply@facebookmail.com
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DTSTART;TZID=America/New_York:20260906T180000
DTEND;TZID=America/New_York:20260906T200000
DTSTAMP:20251229T171831Z
CREATED:20241123T025418Z
LAST-MODIFIED:20251229T171831Z
UID:10019678-1788717600-1788724800@thebuffalohive.com
SUMMARY:Buffalo Music — Nietzsche's: Anne Philippone’s Piano Party
DESCRIPTION:6:00 PM  8:00 PM\n\n\n\n  \n\n\n\n\n\n\n\nSunday’s are best spent with music on\, and Anne Philippone brings her barrelhouse blues & boogie piano playin’ every single Sunday from 6-8pm in our front room! \nMusic @ 6pm\nNo Cover\nEvery Sunday \nThis is a recurring event that may be affected by holidays\, weather and other factors.
URL:https://thebuffalohive.com/event/anne-philippones-piano-party-nietzsches-buffalo-11-24-2024/2026-09-06/
LOCATION:Nietzsche’s\, 248 Allen St\, Buffalo\, 14201\, United States
CATEGORIES:Music
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DTSTART;TZID=America/New_York:20260906T180000
DTEND;TZID=America/New_York:20260906T210000
DTSTAMP:20260810T005304Z
CREATED:20260810T005304Z
LAST-MODIFIED:20260810T005304Z
UID:10041610-1788717600-1788728400@thebuffalohive.com
SUMMARY:Buffalo Music: Drivin N Cryin wsg Laid Back Country Picker – Sportsmen's
DESCRIPTION:Sportsmens presents \nDrivin N Cryin \nwsg Laid Back Country Picker \nSunday\, September 26\, 2026 4pm Doors\, 6pm Showtime \n$30.00 ($33.70 Online) \n \n \nDrivin N Cryin is an enduring American rock band whose roots-forward sound and uncompromising\nspirit have made them a vital force since forming in Atlanta\, Georgia in 1985. Blending Southern\nrock grit\, folk storytelling\, and hard-charging rock & roll\, the band built a reputation early on as a must-see live act and a songwriter’s band with depth far beyond trends. \nLed by singer-songwriter Kevn Kinney and anchored by bassist Tim Nielsen and drummer Dave\nJohnson\, Drivin N Cryin broke through nationally with a run of influential albums that helped define late-’80s and early-’90s American rock. Songs like “Fly Me Courageous\,” “Honeysuckle Blue\,” “Straight to Hell\,” “Build a Fire\,” and “Scarred But Smarter” became staples of rock and AAA radio\, with Fly Me Courageous earning Gold certification and remaining a cornerstone of the band’scatalog. \nWhile they emerged during the MTV era\, Drivin N Cryin never disappeared. Over four decades\,\nthey’ve remained a consistently touring\, recording band — releasing new music\, evolving their\nsound\, and cultivating a loyal\, multigenerational audience. Their influence extends well beyond\ntheir own recordings; “Straight to Hell” found new life through covers and collaborations that\nintroduced the song to entirely new audiences. \nThe band’s stature is reflected in both peer respect and formal recognition\, including induction into the Georgia Music Hall of Fame\, as well as Kinney’s induction into the Milwaukee Music Hall of Fame. Touring history includes shared stages with artists spanning multiple eras and genres\, The Who\, Hootie & The Blowfish\, The Black Crowes\, ZZ Top\, Soul Asylum\, Blackberry Smoke\, The\nMarshall Tucker Band\, Jason Isbell\, along with recent appearances on destination events like Rock Boat\, Outlaw Country Cruise\, and Moon Crush. \nTheir latest album\, Crushing Flowers\, marks a deliberate return to the band’s core. Stripped back to the original three-piece\, the record favors clarity\, chemistry\, and feel over excess — a confident\, back-to-basics statement from a band that knows exactly who it is. Rather than chasing nostalgia or novelty\, Crushing Flowers reinforces what has always set Drivin N Cryin apart: honest songs\, emotional weight\, and the unmistakable sound of a band still fully engaged in the work. \nNearly forty years in\, Drivin N Cryin remains a living\, breathing American rock band — not a revival act\, not a footnote\, but a continuing story still being written. \n \nLaid Back Country Picker and Honey are the Hillbilly Power Duo. Picking up where the White Stripes left off\, they deliver a blistering show\, equal parts 70s Guitar Rock\, Honky Tonk and Country Punk. They have toured internationally\, opening for the likes of Deep Purple as well as playing festivals and clubs across the US. Blurring the lines with wit\, humor and hot picking\, LB is his own genre.   \nImagine Waylon Jennings sitting in with Motorhead.  
URL:https://thebuffalohive.com/event/buffalo-music-drivin-n-cryin-wsg-laid-back-country-picker-sportsmens/
LOCATION:Sportsmen’s Tavern\, 326 Amherst Street\, Buffalo\, NY\, 14207\, United States
CATEGORIES:Music
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