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DTSTART;TZID=America/New_York:20260610T110000
DTEND;TZID=America/New_York:20260610T170000
DTSTAMP:20260610T093252
CREATED:20260514T013000Z
LAST-MODIFIED:20260514T013000Z
UID:10040046-1781089200-1781110800@thebuffalohive.com
SUMMARY:Buffalo Art: Rachel Shelton\, 'Slow Looking'
DESCRIPTION:Buffalo Arts Studio is thrilled to present Slow Looking\, a new body of work by Rachel Shelton that challenges the negativity so often associated with decay\, uncertainty\, and precarity. Featuring a series of monotypes\, etchings\, collagraphs\, and screenprints of rock forms\, the exhibition is on view from May 22 through August 1\, 2026. An opening reception will be held on Friday\, May 22\, from 5:00 to 8:00 pm as part of M&T Fourth Friday at Tri-Main. \nAll of the rock forms in Slow Looking originate from a single photo of two rocks in a field of glacial deposits that Shelton stumbled upon during a trip to Montana. With adjustments to scale\, orientation\, color\, and surrounding compositions\, the prints invite us to shift between micro and macro perspectives and consider the ecosystems pocketed within a life cycle. Her work documents the passage of time via the life cycle of a rock\, suggests the building blocks of larger structures\, and navigates the network of meaning and connections that form when things fall apart.  \nFor more information about Buffalo Arts Studio\, please visit www.buffaloartsstudio.org
URL:https://thebuffalohive.com/event/buffalo-art-rachel-shelton-slow-looking/2026-06-10/
LOCATION:Buffalo Arts Studio\, 2495 Main Street\, Suite 500\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Free,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/55256000962_f44257eff3_c.jpg
ORGANIZER;CN="Buffalo Arts Studio":MAILTO:sydney@buffaloartsstudio.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260610T110000
DTEND;TZID=America/New_York:20260610T180000
DTSTAMP:20260610T093252
CREATED:20260514T015842Z
LAST-MODIFIED:20260514T015842Z
UID:10040104-1781089200-1781114400@thebuffalohive.com
SUMMARY:Buffalo Art: Frank Chang\, 'The Mesh'
DESCRIPTION:From the artist: In the studio\, I take on the perspective of an “archaeologist of the present” in order to reflect on the climate crisis. Otherwise\, the stakes feel too high and making art feels futile and insignificant compared to the magnitude of the problem. I collect fragments of climate news\, bureaucratic documents\, and mass media imagery\, looking for linkages that are unexpectedly resonant. I am searching for things under the surface\, inexplicable connections that are strangely well suited to expressing the feeling of the present\, with all its contradictions\, anxieties\, and possibilities. \nThis exhibition combines new and recent climate-related work. The title is inspired by philosopher Timothy Morton’s metaphor of the mesh. Morton uses the mesh to refer to the ecological interconnectedness of all things\, both living and non-living. The mesh\, according to Morton\, allows us to imagine things normally thought to be contradictory. It is both foreground and background\, hard and delicate. It is both too large and infinitesimally small. The mesh is the perfect metaphor for thinking about climate because “[e]ach point of the mesh is both the centre and edge of a system of points\, so there is no absolute centre or edge.”[1] The mesh also perfectly encapsulates my working process\, in which each fragment leads to another; I see what’s in front of me as both the beginning and end of the process. \nHyperbatteries is a series of sculptures that reconfigure the clean and rational aesthetics of various “green” battery technologies as dense assemblages of entangled materials\, histories\, and ideas. I began with the definition of batteries as connected energies\, then followed threads ranging from the German Romanticism of early battery pioneers to Qing Dynasty symbolism and spirituality. Of course\, replacing fossil fuels with renewable energy is crucial in helping to mitigate climate change. But batteries are too often depicted as the “solution” to climate change\, with little regard for how they are produced or where their minerals come from. Indeed\, as political scientist Thea Riofrancos points out\, “…the promise of zero emissions sits alongside the reality of fossil fuel extraction and combustion\, renewable energy deployment\, and mining to outfit carbon-free capitalism.”[2] \nOther works in the exhibition employ a variety of archaeologically inspired motifs and techniques\, especially paper squeeze casting. Paper squeeze\, or paper molding\, was an archaeological technique developed by Alfred Maudslay in the late 19th century in which layers of wet paper were pressed onto Mayan monuments to create replicas that could later be cast in plaster. Maudslay used this technique to reach remote sites in Guatemala that would have been inaccessible to teams carrying tons of plaster-casting supplies. Incidentally\, Maudslay began his archaeological work at the same time widespread global temperature recordings began. My paper sculptures are copies of copies\, created by first making a “sacrificial sculpture\,” which is then paper-molded. When completed\, the original is thrown out\, leaving the paper cast as the work. By displaying the cast as the artwork\, I want to highlight its indeterminacy. The sacrificial sculpture can be thought of as both absent and present\, like an impression\, thought\, or memory. The surface of these sculptures is fragile yet resilient and is skin-like\, which reminds me of the solidity and impermanence of ourselves\, our past\, and our imagined futures. \n\nFRANK CHANG (b. 1979\, New York) is a multi-disciplinary artist who employs and re-frames ordinary or familiar visual forms in order to examine the entangled and complex interrelationships between climate\, social\, and cultural issues. Chang’s work spans a variety of mediums\, including works on paper\, sculpture\, installation\, and performance\, but each body of work is based upon a consistent methodology in which recognizable forms — from the vernacular to the historical — act as springboards for deeper investigations into these issues. \nHis work has been exhibited at Gallery Ondo (Seoul\, South Korea)\, Gallery G (Hiroshima\, Japan)\, Wells College (Aurora\, NY)\, Ithaca College\, Ortega y Gasset Projects (Brooklyn\, NY)\, Bushel (Delhi\, NY)\, Dartmouth College\, the Torrance Art Museum\, Museum of Jurassic Technology\, LA Design Center\, Woodbury University\, and Virginia Commonwealth University\, among others. He has also installed site-specific works on Governors Island\, High Desert Test Sites (Wonder Valley\, CA) and alongside a stream in South Windham\, VT.He was formerly co-director of Monte Vista Projects in Los Angeles\, and he was a contributor to the book Dispatches and Directions: On Artist-Run Organizations in Los Angeles and to the journal MATERIAL. He received his BA from Dartmouth College and his MFA from the California Institute of the Arts. He is a Lecturer in the Department of Art & Design at Binghamton University. \n[1] Timothy Morton\, The Ecological Thought\, (Harvard University Press\, 2010)\, 29.[2] Thea Riofrancos\, Extraction: The Frontiers of Green Capitalism\, (W. W. Norton & Company\, 2025)\, 205. \n 
URL:https://thebuffalohive.com/event/buffalo-art-frank-chang-the-mesh/2026-06-10/
LOCATION:Hallwalls Contemporary Arts Center\, 341 Delaware Avenue\, Buffalo\, NY\, 14202\, United States
CATEGORIES:Art
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/frankchang_collector_02-SP2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260610T110000
DTEND;TZID=America/New_York:20260610T200000
DTSTAMP:20260610T093252
CREATED:20260515T020151Z
LAST-MODIFIED:20260515T020151Z
UID:10040154-1781089200-1781121600@thebuffalohive.com
SUMMARY:Buffalo Art: Friends of the Night People - Illustrated Manuscripts
DESCRIPTION:The exhibit is made up of 12 prints of Illuminated Manuscripts in the Carolingian Style by Rosemary Lyons. \nThe contents of the manuscripts are monologues of anonymous individuals who volunteered to speak with the artist while she spent the day at Friends of Night People on September 15\, 2002. These individuals talked with Rosemary and consented have their stories made into artwork. \nThe series of works will be on display May 2 through August 1\, 2026 in the Library’s Lower Level Exhibit Space. \nVisit the exhibit anytime during open hours:\n*Mondays 10am-6pm\nTuesdays 9am-5pm\nWednesdays 11 am-8pm\nThursdays 10am-6pm\n*Saturdays 10am-6pm \n*Closed Monday\, May 25th for Memorial Day\n*Closed Saturday\, July 4th for Independence Day
URL:https://thebuffalohive.com/event/buffalo-art-friends-of-the-night-people-illustrated-manuscripts/2026-06-10/
LOCATION:Isaías González-Soto Branch Library\, 280 Porter Ave\, Buffalo\, NY\, 14201\, United States
CATEGORIES:Art,Free,Library
ATTACH;FMTTYPE=image/png:https://thebuffalohive.com/wp-content/uploads/2026/05/May-July-Exhibit.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260610T180000
DTEND;TZID=America/New_York:20260610T200000
DTSTAMP:20260610T093252
CREATED:20260608T151115Z
LAST-MODIFIED:20260608T151115Z
UID:10040734-1781114400-1781121600@thebuffalohive.com
SUMMARY:Art's Cafe: Crochet Club
DESCRIPTION:Wednesday\, June 10\, 2026 – Wednesday\, August 12\, 202612:00 am\n\n\n\n\nWednesdays | Free \nCome join our local community of crocheters! Meet other fiber artists\, work on your projects\, find new patterns to begin\, or learn to crochet for the first time. All skill levels are welcome.
URL:https://thebuffalohive.com/event/arts-cafe-crochet-club-2/
LOCATION:Art’s Cafe\, 5 E Main St\, Springville\, NY\, 14141\, United States
CATEGORIES:Art,Free,Free Admission,Social,Visual Arts
ORGANIZER;CN="Springville Center for the Arts":MAILTO:scaseth@gmail.com
GEO:42.508677;-78.670708
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Art’s Cafe 5 E Main St Springville NY 14141 United States;X-APPLE-RADIUS=500;X-TITLE=5 E Main St:geo:-78.670708,42.508677
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260611T100000
DTEND;TZID=America/New_York:20260611T180000
DTSTAMP:20260610T093252
CREATED:20260515T020151Z
LAST-MODIFIED:20260515T020151Z
UID:10040155-1781172000-1781200800@thebuffalohive.com
SUMMARY:Buffalo Art: Friends of the Night People - Illustrated Manuscripts
DESCRIPTION:The exhibit is made up of 12 prints of Illuminated Manuscripts in the Carolingian Style by Rosemary Lyons. \nThe contents of the manuscripts are monologues of anonymous individuals who volunteered to speak with the artist while she spent the day at Friends of Night People on September 15\, 2002. These individuals talked with Rosemary and consented have their stories made into artwork. \nThe series of works will be on display May 2 through August 1\, 2026 in the Library’s Lower Level Exhibit Space. \nVisit the exhibit anytime during open hours:\n*Mondays 10am-6pm\nTuesdays 9am-5pm\nWednesdays 11 am-8pm\nThursdays 10am-6pm\n*Saturdays 10am-6pm \n*Closed Monday\, May 25th for Memorial Day\n*Closed Saturday\, July 4th for Independence Day
URL:https://thebuffalohive.com/event/buffalo-art-friends-of-the-night-people-illustrated-manuscripts/2026-06-11/
LOCATION:Isaías González-Soto Branch Library\, 280 Porter Ave\, Buffalo\, NY\, 14201\, United States
CATEGORIES:Art,Free,Library
ATTACH;FMTTYPE=image/png:https://thebuffalohive.com/wp-content/uploads/2026/05/May-July-Exhibit.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260611T110000
DTEND;TZID=America/New_York:20260611T170000
DTSTAMP:20260610T093252
CREATED:20260514T013000Z
LAST-MODIFIED:20260514T013000Z
UID:10040047-1781175600-1781197200@thebuffalohive.com
SUMMARY:Buffalo Art: Rachel Shelton\, 'Slow Looking'
DESCRIPTION:Buffalo Arts Studio is thrilled to present Slow Looking\, a new body of work by Rachel Shelton that challenges the negativity so often associated with decay\, uncertainty\, and precarity. Featuring a series of monotypes\, etchings\, collagraphs\, and screenprints of rock forms\, the exhibition is on view from May 22 through August 1\, 2026. An opening reception will be held on Friday\, May 22\, from 5:00 to 8:00 pm as part of M&T Fourth Friday at Tri-Main. \nAll of the rock forms in Slow Looking originate from a single photo of two rocks in a field of glacial deposits that Shelton stumbled upon during a trip to Montana. With adjustments to scale\, orientation\, color\, and surrounding compositions\, the prints invite us to shift between micro and macro perspectives and consider the ecosystems pocketed within a life cycle. Her work documents the passage of time via the life cycle of a rock\, suggests the building blocks of larger structures\, and navigates the network of meaning and connections that form when things fall apart.  \nFor more information about Buffalo Arts Studio\, please visit www.buffaloartsstudio.org
URL:https://thebuffalohive.com/event/buffalo-art-rachel-shelton-slow-looking/2026-06-11/
LOCATION:Buffalo Arts Studio\, 2495 Main Street\, Suite 500\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Free,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/55256000962_f44257eff3_c.jpg
ORGANIZER;CN="Buffalo Arts Studio":MAILTO:sydney@buffaloartsstudio.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260611T110000
DTEND;TZID=America/New_York:20260611T180000
DTSTAMP:20260610T093252
CREATED:20260514T015842Z
LAST-MODIFIED:20260514T015842Z
UID:10040105-1781175600-1781200800@thebuffalohive.com
SUMMARY:Buffalo Art: Frank Chang\, 'The Mesh'
DESCRIPTION:From the artist: In the studio\, I take on the perspective of an “archaeologist of the present” in order to reflect on the climate crisis. Otherwise\, the stakes feel too high and making art feels futile and insignificant compared to the magnitude of the problem. I collect fragments of climate news\, bureaucratic documents\, and mass media imagery\, looking for linkages that are unexpectedly resonant. I am searching for things under the surface\, inexplicable connections that are strangely well suited to expressing the feeling of the present\, with all its contradictions\, anxieties\, and possibilities. \nThis exhibition combines new and recent climate-related work. The title is inspired by philosopher Timothy Morton’s metaphor of the mesh. Morton uses the mesh to refer to the ecological interconnectedness of all things\, both living and non-living. The mesh\, according to Morton\, allows us to imagine things normally thought to be contradictory. It is both foreground and background\, hard and delicate. It is both too large and infinitesimally small. The mesh is the perfect metaphor for thinking about climate because “[e]ach point of the mesh is both the centre and edge of a system of points\, so there is no absolute centre or edge.”[1] The mesh also perfectly encapsulates my working process\, in which each fragment leads to another; I see what’s in front of me as both the beginning and end of the process. \nHyperbatteries is a series of sculptures that reconfigure the clean and rational aesthetics of various “green” battery technologies as dense assemblages of entangled materials\, histories\, and ideas. I began with the definition of batteries as connected energies\, then followed threads ranging from the German Romanticism of early battery pioneers to Qing Dynasty symbolism and spirituality. Of course\, replacing fossil fuels with renewable energy is crucial in helping to mitigate climate change. But batteries are too often depicted as the “solution” to climate change\, with little regard for how they are produced or where their minerals come from. Indeed\, as political scientist Thea Riofrancos points out\, “…the promise of zero emissions sits alongside the reality of fossil fuel extraction and combustion\, renewable energy deployment\, and mining to outfit carbon-free capitalism.”[2] \nOther works in the exhibition employ a variety of archaeologically inspired motifs and techniques\, especially paper squeeze casting. Paper squeeze\, or paper molding\, was an archaeological technique developed by Alfred Maudslay in the late 19th century in which layers of wet paper were pressed onto Mayan monuments to create replicas that could later be cast in plaster. Maudslay used this technique to reach remote sites in Guatemala that would have been inaccessible to teams carrying tons of plaster-casting supplies. Incidentally\, Maudslay began his archaeological work at the same time widespread global temperature recordings began. My paper sculptures are copies of copies\, created by first making a “sacrificial sculpture\,” which is then paper-molded. When completed\, the original is thrown out\, leaving the paper cast as the work. By displaying the cast as the artwork\, I want to highlight its indeterminacy. The sacrificial sculpture can be thought of as both absent and present\, like an impression\, thought\, or memory. The surface of these sculptures is fragile yet resilient and is skin-like\, which reminds me of the solidity and impermanence of ourselves\, our past\, and our imagined futures. \n\nFRANK CHANG (b. 1979\, New York) is a multi-disciplinary artist who employs and re-frames ordinary or familiar visual forms in order to examine the entangled and complex interrelationships between climate\, social\, and cultural issues. Chang’s work spans a variety of mediums\, including works on paper\, sculpture\, installation\, and performance\, but each body of work is based upon a consistent methodology in which recognizable forms — from the vernacular to the historical — act as springboards for deeper investigations into these issues. \nHis work has been exhibited at Gallery Ondo (Seoul\, South Korea)\, Gallery G (Hiroshima\, Japan)\, Wells College (Aurora\, NY)\, Ithaca College\, Ortega y Gasset Projects (Brooklyn\, NY)\, Bushel (Delhi\, NY)\, Dartmouth College\, the Torrance Art Museum\, Museum of Jurassic Technology\, LA Design Center\, Woodbury University\, and Virginia Commonwealth University\, among others. He has also installed site-specific works on Governors Island\, High Desert Test Sites (Wonder Valley\, CA) and alongside a stream in South Windham\, VT.He was formerly co-director of Monte Vista Projects in Los Angeles\, and he was a contributor to the book Dispatches and Directions: On Artist-Run Organizations in Los Angeles and to the journal MATERIAL. He received his BA from Dartmouth College and his MFA from the California Institute of the Arts. He is a Lecturer in the Department of Art & Design at Binghamton University. \n[1] Timothy Morton\, The Ecological Thought\, (Harvard University Press\, 2010)\, 29.[2] Thea Riofrancos\, Extraction: The Frontiers of Green Capitalism\, (W. W. Norton & Company\, 2025)\, 205. \n 
URL:https://thebuffalohive.com/event/buffalo-art-frank-chang-the-mesh/2026-06-11/
LOCATION:Hallwalls Contemporary Arts Center\, 341 Delaware Avenue\, Buffalo\, NY\, 14202\, United States
CATEGORIES:Art
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/frankchang_collector_02-SP2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260612T110000
DTEND;TZID=America/New_York:20260612T170000
DTSTAMP:20260610T093252
CREATED:20260514T013000Z
LAST-MODIFIED:20260514T013000Z
UID:10040048-1781262000-1781283600@thebuffalohive.com
SUMMARY:Buffalo Art: Rachel Shelton\, 'Slow Looking'
DESCRIPTION:Buffalo Arts Studio is thrilled to present Slow Looking\, a new body of work by Rachel Shelton that challenges the negativity so often associated with decay\, uncertainty\, and precarity. Featuring a series of monotypes\, etchings\, collagraphs\, and screenprints of rock forms\, the exhibition is on view from May 22 through August 1\, 2026. An opening reception will be held on Friday\, May 22\, from 5:00 to 8:00 pm as part of M&T Fourth Friday at Tri-Main. \nAll of the rock forms in Slow Looking originate from a single photo of two rocks in a field of glacial deposits that Shelton stumbled upon during a trip to Montana. With adjustments to scale\, orientation\, color\, and surrounding compositions\, the prints invite us to shift between micro and macro perspectives and consider the ecosystems pocketed within a life cycle. Her work documents the passage of time via the life cycle of a rock\, suggests the building blocks of larger structures\, and navigates the network of meaning and connections that form when things fall apart.  \nFor more information about Buffalo Arts Studio\, please visit www.buffaloartsstudio.org
URL:https://thebuffalohive.com/event/buffalo-art-rachel-shelton-slow-looking/2026-06-12/
LOCATION:Buffalo Arts Studio\, 2495 Main Street\, Suite 500\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Free,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/55256000962_f44257eff3_c.jpg
ORGANIZER;CN="Buffalo Arts Studio":MAILTO:sydney@buffaloartsstudio.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260612T110000
DTEND;TZID=America/New_York:20260612T180000
DTSTAMP:20260610T093252
CREATED:20260514T015842Z
LAST-MODIFIED:20260514T015842Z
UID:10040106-1781262000-1781287200@thebuffalohive.com
SUMMARY:Buffalo Art: Frank Chang\, 'The Mesh'
DESCRIPTION:From the artist: In the studio\, I take on the perspective of an “archaeologist of the present” in order to reflect on the climate crisis. Otherwise\, the stakes feel too high and making art feels futile and insignificant compared to the magnitude of the problem. I collect fragments of climate news\, bureaucratic documents\, and mass media imagery\, looking for linkages that are unexpectedly resonant. I am searching for things under the surface\, inexplicable connections that are strangely well suited to expressing the feeling of the present\, with all its contradictions\, anxieties\, and possibilities. \nThis exhibition combines new and recent climate-related work. The title is inspired by philosopher Timothy Morton’s metaphor of the mesh. Morton uses the mesh to refer to the ecological interconnectedness of all things\, both living and non-living. The mesh\, according to Morton\, allows us to imagine things normally thought to be contradictory. It is both foreground and background\, hard and delicate. It is both too large and infinitesimally small. The mesh is the perfect metaphor for thinking about climate because “[e]ach point of the mesh is both the centre and edge of a system of points\, so there is no absolute centre or edge.”[1] The mesh also perfectly encapsulates my working process\, in which each fragment leads to another; I see what’s in front of me as both the beginning and end of the process. \nHyperbatteries is a series of sculptures that reconfigure the clean and rational aesthetics of various “green” battery technologies as dense assemblages of entangled materials\, histories\, and ideas. I began with the definition of batteries as connected energies\, then followed threads ranging from the German Romanticism of early battery pioneers to Qing Dynasty symbolism and spirituality. Of course\, replacing fossil fuels with renewable energy is crucial in helping to mitigate climate change. But batteries are too often depicted as the “solution” to climate change\, with little regard for how they are produced or where their minerals come from. Indeed\, as political scientist Thea Riofrancos points out\, “…the promise of zero emissions sits alongside the reality of fossil fuel extraction and combustion\, renewable energy deployment\, and mining to outfit carbon-free capitalism.”[2] \nOther works in the exhibition employ a variety of archaeologically inspired motifs and techniques\, especially paper squeeze casting. Paper squeeze\, or paper molding\, was an archaeological technique developed by Alfred Maudslay in the late 19th century in which layers of wet paper were pressed onto Mayan monuments to create replicas that could later be cast in plaster. Maudslay used this technique to reach remote sites in Guatemala that would have been inaccessible to teams carrying tons of plaster-casting supplies. Incidentally\, Maudslay began his archaeological work at the same time widespread global temperature recordings began. My paper sculptures are copies of copies\, created by first making a “sacrificial sculpture\,” which is then paper-molded. When completed\, the original is thrown out\, leaving the paper cast as the work. By displaying the cast as the artwork\, I want to highlight its indeterminacy. The sacrificial sculpture can be thought of as both absent and present\, like an impression\, thought\, or memory. The surface of these sculptures is fragile yet resilient and is skin-like\, which reminds me of the solidity and impermanence of ourselves\, our past\, and our imagined futures. \n\nFRANK CHANG (b. 1979\, New York) is a multi-disciplinary artist who employs and re-frames ordinary or familiar visual forms in order to examine the entangled and complex interrelationships between climate\, social\, and cultural issues. Chang’s work spans a variety of mediums\, including works on paper\, sculpture\, installation\, and performance\, but each body of work is based upon a consistent methodology in which recognizable forms — from the vernacular to the historical — act as springboards for deeper investigations into these issues. \nHis work has been exhibited at Gallery Ondo (Seoul\, South Korea)\, Gallery G (Hiroshima\, Japan)\, Wells College (Aurora\, NY)\, Ithaca College\, Ortega y Gasset Projects (Brooklyn\, NY)\, Bushel (Delhi\, NY)\, Dartmouth College\, the Torrance Art Museum\, Museum of Jurassic Technology\, LA Design Center\, Woodbury University\, and Virginia Commonwealth University\, among others. He has also installed site-specific works on Governors Island\, High Desert Test Sites (Wonder Valley\, CA) and alongside a stream in South Windham\, VT.He was formerly co-director of Monte Vista Projects in Los Angeles\, and he was a contributor to the book Dispatches and Directions: On Artist-Run Organizations in Los Angeles and to the journal MATERIAL. He received his BA from Dartmouth College and his MFA from the California Institute of the Arts. He is a Lecturer in the Department of Art & Design at Binghamton University. \n[1] Timothy Morton\, The Ecological Thought\, (Harvard University Press\, 2010)\, 29.[2] Thea Riofrancos\, Extraction: The Frontiers of Green Capitalism\, (W. W. Norton & Company\, 2025)\, 205. \n 
URL:https://thebuffalohive.com/event/buffalo-art-frank-chang-the-mesh/2026-06-12/
LOCATION:Hallwalls Contemporary Arts Center\, 341 Delaware Avenue\, Buffalo\, NY\, 14202\, United States
CATEGORIES:Art
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/frankchang_collector_02-SP2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260612T170000
DTEND;TZID=America/New_York:20260612T193000
DTSTAMP:20260610T093252
CREATED:20260531T184523Z
LAST-MODIFIED:20260531T185117Z
UID:10040572-1781283600-1781292600@thebuffalohive.com
SUMMARY:Buffalo Art: it should be possible — Arts for Something Exhibition Opening
DESCRIPTION:it should be possible.  \na group exhibition featuring teen artists involved with BICA School’s Arts for Something program \n  \nBICA School Project Space  \non view June 12–27\, 2026 \nopening celebration: Friday\, June 12\, 5:00–7:30pm \n  \nJoin us for an opening celebration for it should be possible.\, a group exhibition featuring teen artists involved with BICA School’s Arts for Something program!  \n  \nAlong with the opening of the exhibition (on view through June 27th)\, we’ll release the Arts for Something process zine: this could have gone so much worse. Teen artists will also be offering custom zines\, drawings\, and poems of possibility in exchange for donations to their chosen organization: GLYS WNY.  \n  \nThe event will end with a few performances! Including a poetry reading by Michael DeLaPlante\, an ambient musical performance/projection by Zeki Özay aka Six Thousand Sheep\, and a song by Nova Russell.  \nAbout Arts for Something:  \nArts for Something is a FREE visual/written arts & advocacy program for young artists (ages 14–19) held at The Buffalo Institute for Contemporary Art in collaboration with teaching artists\, Robin Lee Jordan\, & BICA School.  \n  \nFunding is made possible through the Buffalo Institute for Contemporary Art and Arts Services Inc.’s Creative Impact Fund thanks to a New York State Senate Initiative supported by the NYS Legislature and the Office of the Governor\, and administered by the New York State Council on the Arts.
URL:https://thebuffalohive.com/event/buffalo-art-it-should-be-possible-arts-for-something-exhibition-opening/
LOCATION:NY
CATEGORIES:Art
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/ItShouldBePossibleExhibition_BICASchool_Arts4Something.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260612T180000
DTEND;TZID=America/New_York:20260612T200000
DTSTAMP:20260610T093252
CREATED:20260531T194052Z
LAST-MODIFIED:20260531T194511Z
UID:10040531-1781287200-1781294400@thebuffalohive.com
SUMMARY:Buffalo Art & Film: opening reception — 'With us at the center of our world: animals\, domestications\, dreams'
DESCRIPTION:Opening Friday\, June 12\, 2026\, 6–8 pm\nExhibition 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\n\n\n\n\n\nLeft to right: Annika Eriksson\, The Community (2010); Miranda Javid\, Little Winds That Died Immediately (2019); Noor Abuarafeh\, Am I the ageless object at the museum? (2018); Deniz Tortum & Sister Sylvester\, Our Ark (2022).\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\n\n\n\n\n\nLeft to right: Cameron A. Granger\, Just Below Heaven (2025); Christina Corfield\, Pony Players Review (2020-Present); G. Anthony Svatek\, A Whole New Species (1956–2026); Amy Ching-Yan Lam with Emerson Maxwell\, Looty Goes to Heaven (2022).\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.
URL:https://thebuffalohive.com/event/buffalo-art-film-opening-reception-with-us-at-the-center-of-our-world-animals-domestications-dreams/
LOCATION:Squeaky Wheel Film and Media Arts Center\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Film/Cinema,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/Looty-Goes-to-Heaven.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260613T100000
DTEND;TZID=America/New_York:20260613T140000
DTSTAMP:20260610T093252
CREATED:20260514T013000Z
LAST-MODIFIED:20260514T013000Z
UID:10040049-1781344800-1781359200@thebuffalohive.com
SUMMARY:Buffalo Art: Rachel Shelton\, 'Slow Looking'
DESCRIPTION:Buffalo Arts Studio is thrilled to present Slow Looking\, a new body of work by Rachel Shelton that challenges the negativity so often associated with decay\, uncertainty\, and precarity. Featuring a series of monotypes\, etchings\, collagraphs\, and screenprints of rock forms\, the exhibition is on view from May 22 through August 1\, 2026. An opening reception will be held on Friday\, May 22\, from 5:00 to 8:00 pm as part of M&T Fourth Friday at Tri-Main. \nAll of the rock forms in Slow Looking originate from a single photo of two rocks in a field of glacial deposits that Shelton stumbled upon during a trip to Montana. With adjustments to scale\, orientation\, color\, and surrounding compositions\, the prints invite us to shift between micro and macro perspectives and consider the ecosystems pocketed within a life cycle. Her work documents the passage of time via the life cycle of a rock\, suggests the building blocks of larger structures\, and navigates the network of meaning and connections that form when things fall apart.  \nFor more information about Buffalo Arts Studio\, please visit www.buffaloartsstudio.org
URL:https://thebuffalohive.com/event/buffalo-art-rachel-shelton-slow-looking/2026-06-13/
LOCATION:Buffalo Arts Studio\, 2495 Main Street\, Suite 500\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Free,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/55256000962_f44257eff3_c.jpg
ORGANIZER;CN="Buffalo Arts Studio":MAILTO:sydney@buffaloartsstudio.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260613T100000
DTEND;TZID=America/New_York:20260613T180000
DTSTAMP:20260610T093252
CREATED:20260515T020151Z
LAST-MODIFIED:20260515T020151Z
UID:10040156-1781344800-1781373600@thebuffalohive.com
SUMMARY:Buffalo Art: Friends of the Night People - Illustrated Manuscripts
DESCRIPTION:The exhibit is made up of 12 prints of Illuminated Manuscripts in the Carolingian Style by Rosemary Lyons. \nThe contents of the manuscripts are monologues of anonymous individuals who volunteered to speak with the artist while she spent the day at Friends of Night People on September 15\, 2002. These individuals talked with Rosemary and consented have their stories made into artwork. \nThe series of works will be on display May 2 through August 1\, 2026 in the Library’s Lower Level Exhibit Space. \nVisit the exhibit anytime during open hours:\n*Mondays 10am-6pm\nTuesdays 9am-5pm\nWednesdays 11 am-8pm\nThursdays 10am-6pm\n*Saturdays 10am-6pm \n*Closed Monday\, May 25th for Memorial Day\n*Closed Saturday\, July 4th for Independence Day
URL:https://thebuffalohive.com/event/buffalo-art-friends-of-the-night-people-illustrated-manuscripts/2026-06-13/
LOCATION:Isaías González-Soto Branch Library\, 280 Porter Ave\, Buffalo\, NY\, 14201\, United States
CATEGORIES:Art,Free,Library
ATTACH;FMTTYPE=image/png:https://thebuffalohive.com/wp-content/uploads/2026/05/May-July-Exhibit.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260613T100000
DTEND;TZID=America/New_York:20260613T180000
DTSTAMP:20260610T093252
CREATED:20260526T023050Z
LAST-MODIFIED:20260526T023050Z
UID:10040535-1781344800-1781373600@thebuffalohive.com
SUMMARY:Buffalo Art: Allen West Art Festival
DESCRIPTION:The Annual Allen West Festival is produced and presented by the Allentown Association. The mission of the Allen West Art Festival is to showcase local artisans and craftspeople in an affordable and high-profile venue\, highlight Allentown businesses\, and promote the Allentown neighborhood.
URL:https://thebuffalohive.com/event/buffalo-art-allen-west-art-festival/2026-06-13/
LOCATION:Allen Street btwn Elmwood and Wadsworth\, Allen Street\, Buffalo\, NY\, 14201\, United States
CATEGORIES:Art,Festival
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/allen-west-art-fest.jpg
ORGANIZER;CN="Allentown Association":MAILTO:allenwest@allentown.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260613T110000
DTEND;TZID=America/New_York:20260613T140000
DTSTAMP:20260610T093252
CREATED:20260514T015842Z
LAST-MODIFIED:20260514T015842Z
UID:10040107-1781348400-1781359200@thebuffalohive.com
SUMMARY:Buffalo Art: Frank Chang\, 'The Mesh'
DESCRIPTION:From the artist: In the studio\, I take on the perspective of an “archaeologist of the present” in order to reflect on the climate crisis. Otherwise\, the stakes feel too high and making art feels futile and insignificant compared to the magnitude of the problem. I collect fragments of climate news\, bureaucratic documents\, and mass media imagery\, looking for linkages that are unexpectedly resonant. I am searching for things under the surface\, inexplicable connections that are strangely well suited to expressing the feeling of the present\, with all its contradictions\, anxieties\, and possibilities. \nThis exhibition combines new and recent climate-related work. The title is inspired by philosopher Timothy Morton’s metaphor of the mesh. Morton uses the mesh to refer to the ecological interconnectedness of all things\, both living and non-living. The mesh\, according to Morton\, allows us to imagine things normally thought to be contradictory. It is both foreground and background\, hard and delicate. It is both too large and infinitesimally small. The mesh is the perfect metaphor for thinking about climate because “[e]ach point of the mesh is both the centre and edge of a system of points\, so there is no absolute centre or edge.”[1] The mesh also perfectly encapsulates my working process\, in which each fragment leads to another; I see what’s in front of me as both the beginning and end of the process. \nHyperbatteries is a series of sculptures that reconfigure the clean and rational aesthetics of various “green” battery technologies as dense assemblages of entangled materials\, histories\, and ideas. I began with the definition of batteries as connected energies\, then followed threads ranging from the German Romanticism of early battery pioneers to Qing Dynasty symbolism and spirituality. Of course\, replacing fossil fuels with renewable energy is crucial in helping to mitigate climate change. But batteries are too often depicted as the “solution” to climate change\, with little regard for how they are produced or where their minerals come from. Indeed\, as political scientist Thea Riofrancos points out\, “…the promise of zero emissions sits alongside the reality of fossil fuel extraction and combustion\, renewable energy deployment\, and mining to outfit carbon-free capitalism.”[2] \nOther works in the exhibition employ a variety of archaeologically inspired motifs and techniques\, especially paper squeeze casting. Paper squeeze\, or paper molding\, was an archaeological technique developed by Alfred Maudslay in the late 19th century in which layers of wet paper were pressed onto Mayan monuments to create replicas that could later be cast in plaster. Maudslay used this technique to reach remote sites in Guatemala that would have been inaccessible to teams carrying tons of plaster-casting supplies. Incidentally\, Maudslay began his archaeological work at the same time widespread global temperature recordings began. My paper sculptures are copies of copies\, created by first making a “sacrificial sculpture\,” which is then paper-molded. When completed\, the original is thrown out\, leaving the paper cast as the work. By displaying the cast as the artwork\, I want to highlight its indeterminacy. The sacrificial sculpture can be thought of as both absent and present\, like an impression\, thought\, or memory. The surface of these sculptures is fragile yet resilient and is skin-like\, which reminds me of the solidity and impermanence of ourselves\, our past\, and our imagined futures. \n\nFRANK CHANG (b. 1979\, New York) is a multi-disciplinary artist who employs and re-frames ordinary or familiar visual forms in order to examine the entangled and complex interrelationships between climate\, social\, and cultural issues. Chang’s work spans a variety of mediums\, including works on paper\, sculpture\, installation\, and performance\, but each body of work is based upon a consistent methodology in which recognizable forms — from the vernacular to the historical — act as springboards for deeper investigations into these issues. \nHis work has been exhibited at Gallery Ondo (Seoul\, South Korea)\, Gallery G (Hiroshima\, Japan)\, Wells College (Aurora\, NY)\, Ithaca College\, Ortega y Gasset Projects (Brooklyn\, NY)\, Bushel (Delhi\, NY)\, Dartmouth College\, the Torrance Art Museum\, Museum of Jurassic Technology\, LA Design Center\, Woodbury University\, and Virginia Commonwealth University\, among others. He has also installed site-specific works on Governors Island\, High Desert Test Sites (Wonder Valley\, CA) and alongside a stream in South Windham\, VT.He was formerly co-director of Monte Vista Projects in Los Angeles\, and he was a contributor to the book Dispatches and Directions: On Artist-Run Organizations in Los Angeles and to the journal MATERIAL. He received his BA from Dartmouth College and his MFA from the California Institute of the Arts. He is a Lecturer in the Department of Art & Design at Binghamton University. \n[1] Timothy Morton\, The Ecological Thought\, (Harvard University Press\, 2010)\, 29.[2] Thea Riofrancos\, Extraction: The Frontiers of Green Capitalism\, (W. W. Norton & Company\, 2025)\, 205. \n 
URL:https://thebuffalohive.com/event/buffalo-art-frank-chang-the-mesh/2026-06-13/
LOCATION:Hallwalls Contemporary Arts Center\, 341 Delaware Avenue\, Buffalo\, NY\, 14202\, United States
CATEGORIES:Art
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/frankchang_collector_02-SP2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260613T120000
DTEND;TZID=America/New_York:20260613T170000
DTSTAMP:20260610T093252
CREATED:20260531T194651Z
LAST-MODIFIED:20260531T194651Z
UID:10040583-1781352000-1781370000@thebuffalohive.com
SUMMARY:Buffalo Art & Film: 'With us at the center of our world: animals\, domestications\, dreams'
DESCRIPTION:Opening Friday\, June 12\, 2026\, 6–8 pm\nExhibition 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\n\n\n\n\n\nLeft to right: Annika Eriksson\, The Community (2010); Miranda Javid\, Little Winds That Died Immediately (2019); Noor Abuarafeh\, Am I the ageless object at the museum? (2018); Deniz Tortum & Sister Sylvester\, Our Ark (2022).\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\n\n\n\n\n\nLeft to right: Cameron A. Granger\, Just Below Heaven (2025); Christina Corfield\, Pony Players Review (2020-Present); G. Anthony Svatek\, A Whole New Species (1956–2026); Amy Ching-Yan Lam with Emerson Maxwell\, Looty Goes to Heaven (2022).\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.
URL:https://thebuffalohive.com/event/buffalo-art-film-with-us-at-the-center-of-our-world-animals-domestications-dreams/2026-06-13/
LOCATION:Squeaky Wheel Film and Media Arts Center\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Film/Cinema,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/Looty-Goes-to-Heaven.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260614T100000
DTEND;TZID=America/New_York:20260614T170000
DTSTAMP:20260610T093252
CREATED:20260526T023050Z
LAST-MODIFIED:20260526T023050Z
UID:10040551-1781431200-1781456400@thebuffalohive.com
SUMMARY:Buffalo Art: Allen West Art Festival
DESCRIPTION:The Annual Allen West Festival is produced and presented by the Allentown Association. The mission of the Allen West Art Festival is to showcase local artisans and craftspeople in an affordable and high-profile venue\, highlight Allentown businesses\, and promote the Allentown neighborhood.
URL:https://thebuffalohive.com/event/buffalo-art-allen-west-art-festival/2026-06-14/
LOCATION:Allen Street btwn Elmwood and Wadsworth\, Allen Street\, Buffalo\, NY\, 14201\, United States
CATEGORIES:Art,Festival
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/allen-west-art-fest.jpg
ORGANIZER;CN="Allentown Association":MAILTO:allenwest@allentown.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260615
DTEND;VALUE=DATE:20260616
DTSTAMP:20260610T093252
CREATED:20260608T150701Z
LAST-MODIFIED:20260608T150701Z
UID:10040733-1781481600-1781567999@thebuffalohive.com
SUMMARY:Springville Center for the Arts: From There and Back Again
DESCRIPTION:Saturday\, June 6\, 2026 – Monday\, June 15\, 2026All Day\n\n\n\n\nArtist Franklin LaVoie was painting before kindergarten. Around that same time\, a once-popular volume\, The World Book of Famous Paintings\, helped nourish his imagination. But his artwork underwent a profound transformation almost overnight in December of 1973. \nThat was when he became mesmerized by two color reproductions of medieval and Flemish paintings — Making Hay by Pieter Bruegel the Elder and A Winter Scene by Hendrick Avercamp. Something awakened in his soul. He spent hours absorbed in their meticulous detail. His imagination entered those painted worlds\, where every figure\, object\, and gesture seemed alive with meaning\, emotion\, and mystery. \nShortly afterward\, he discovered The Hobbit by J. R. R. Tolkien and found a perfect resonance with those enchanted landscapes. Listening to the Brandenburg Concertos by Johann Sebastian Bach\, he began drawing his own visions of Middle-earth. The music conjured images of elves\, hobbits\, forests\, and forgotten realms. For nine months he labored over a single drawing measuring only 9 x 11 inches\, filling it with myth\, memory\, and magic. For more than fifty years he dreamed of enlarging that youthful work so its hidden details could finally breathe at full scale. \nAt last\, here it is. The exhibition includes a broad selection of works\, old and new\, organized into thematic groupings such as Recent Works\, Celtic Themes — including the Elen of the Ways series — Buffalo–Niagara\, Early Drawings\, and studies inspired by enduring classical archetypes.
URL:https://thebuffalohive.com/event/springville-center-for-the-arts-from-there-and-back-again/
LOCATION:Springville Center for the Arts\, 37 North Buffalo St.\, Springville\, NY\, 14141\, United States
CATEGORIES:Art,Arts + Culture,Free,Free Admission
ORGANIZER;CN="Springville Center for the Arts":MAILTO:scaseth@gmail.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260615T100000
DTEND;TZID=America/New_York:20260615T180000
DTSTAMP:20260610T093252
CREATED:20260515T020151Z
LAST-MODIFIED:20260515T020151Z
UID:10040157-1781517600-1781546400@thebuffalohive.com
SUMMARY:Buffalo Art: Friends of the Night People - Illustrated Manuscripts
DESCRIPTION:The exhibit is made up of 12 prints of Illuminated Manuscripts in the Carolingian Style by Rosemary Lyons. \nThe contents of the manuscripts are monologues of anonymous individuals who volunteered to speak with the artist while she spent the day at Friends of Night People on September 15\, 2002. These individuals talked with Rosemary and consented have their stories made into artwork. \nThe series of works will be on display May 2 through August 1\, 2026 in the Library’s Lower Level Exhibit Space. \nVisit the exhibit anytime during open hours:\n*Mondays 10am-6pm\nTuesdays 9am-5pm\nWednesdays 11 am-8pm\nThursdays 10am-6pm\n*Saturdays 10am-6pm \n*Closed Monday\, May 25th for Memorial Day\n*Closed Saturday\, July 4th for Independence Day
URL:https://thebuffalohive.com/event/buffalo-art-friends-of-the-night-people-illustrated-manuscripts/2026-06-15/
LOCATION:Isaías González-Soto Branch Library\, 280 Porter Ave\, Buffalo\, NY\, 14201\, United States
CATEGORIES:Art,Free,Library
ATTACH;FMTTYPE=image/png:https://thebuffalohive.com/wp-content/uploads/2026/05/May-July-Exhibit.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260615T100000
DTEND;TZID=America/New_York:20260615T180000
DTSTAMP:20260610T093252
CREATED:20260519T152859Z
LAST-MODIFIED:20260519T152859Z
UID:10040201-1781517600-1781546400@thebuffalohive.com
SUMMARY:Buffalo Art: Take and Make Craft
DESCRIPTION:New Take and Make Crafts drop every Monday morning. Make them in the library\, or take them on-the-go to make elsewhere.\nTake and Make Crafts are always for all ages (baby through adult!)\, but vary in difficulty levels. \nTake and Make Crafts are available on the holds shelf during open hours throughout the week while supplies last. First come\, first served. \nOpen hours: \nMondays 10am-6pm\nTuesdays 9am-5pm\nWednesdays 12pm-8pm\nThursdays 10am-6pm\nSaturdays 10am-6pm \nPlease visit library website for holiday and emergency closure hours: buffalolib.org
URL:https://thebuffalohive.com/event/buffalo-art-take-and-make-craft/2026-06-15/
LOCATION:Isaías González-Soto Branch Library\, 280 Porter Ave\, Buffalo\, NY\, 14201\, United States
CATEGORIES:All Ages,Art,Family Friendly,Free,Library
ATTACH;FMTTYPE=image/png:https://thebuffalohive.com/wp-content/uploads/2026/05/Take-and-Make.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260616T090000
DTEND;TZID=America/New_York:20260616T170000
DTSTAMP:20260610T093252
CREATED:20260515T020151Z
LAST-MODIFIED:20260515T020151Z
UID:10040158-1781600400-1781629200@thebuffalohive.com
SUMMARY:Buffalo Art: Friends of the Night People - Illustrated Manuscripts
DESCRIPTION:The exhibit is made up of 12 prints of Illuminated Manuscripts in the Carolingian Style by Rosemary Lyons. \nThe contents of the manuscripts are monologues of anonymous individuals who volunteered to speak with the artist while she spent the day at Friends of Night People on September 15\, 2002. These individuals talked with Rosemary and consented have their stories made into artwork. \nThe series of works will be on display May 2 through August 1\, 2026 in the Library’s Lower Level Exhibit Space. \nVisit the exhibit anytime during open hours:\n*Mondays 10am-6pm\nTuesdays 9am-5pm\nWednesdays 11 am-8pm\nThursdays 10am-6pm\n*Saturdays 10am-6pm \n*Closed Monday\, May 25th for Memorial Day\n*Closed Saturday\, July 4th for Independence Day
URL:https://thebuffalohive.com/event/buffalo-art-friends-of-the-night-people-illustrated-manuscripts/2026-06-16/
LOCATION:Isaías González-Soto Branch Library\, 280 Porter Ave\, Buffalo\, NY\, 14201\, United States
CATEGORIES:Art,Free,Library
ATTACH;FMTTYPE=image/png:https://thebuffalohive.com/wp-content/uploads/2026/05/May-July-Exhibit.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260616T110000
DTEND;TZID=America/New_York:20260616T170000
DTSTAMP:20260610T093252
CREATED:20260514T013000Z
LAST-MODIFIED:20260514T013000Z
UID:10040050-1781607600-1781629200@thebuffalohive.com
SUMMARY:Buffalo Art: Rachel Shelton\, 'Slow Looking'
DESCRIPTION:Buffalo Arts Studio is thrilled to present Slow Looking\, a new body of work by Rachel Shelton that challenges the negativity so often associated with decay\, uncertainty\, and precarity. Featuring a series of monotypes\, etchings\, collagraphs\, and screenprints of rock forms\, the exhibition is on view from May 22 through August 1\, 2026. An opening reception will be held on Friday\, May 22\, from 5:00 to 8:00 pm as part of M&T Fourth Friday at Tri-Main. \nAll of the rock forms in Slow Looking originate from a single photo of two rocks in a field of glacial deposits that Shelton stumbled upon during a trip to Montana. With adjustments to scale\, orientation\, color\, and surrounding compositions\, the prints invite us to shift between micro and macro perspectives and consider the ecosystems pocketed within a life cycle. Her work documents the passage of time via the life cycle of a rock\, suggests the building blocks of larger structures\, and navigates the network of meaning and connections that form when things fall apart.  \nFor more information about Buffalo Arts Studio\, please visit www.buffaloartsstudio.org
URL:https://thebuffalohive.com/event/buffalo-art-rachel-shelton-slow-looking/2026-06-16/
LOCATION:Buffalo Arts Studio\, 2495 Main Street\, Suite 500\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Free,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/55256000962_f44257eff3_c.jpg
ORGANIZER;CN="Buffalo Arts Studio":MAILTO:sydney@buffaloartsstudio.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260616T110000
DTEND;TZID=America/New_York:20260616T180000
DTSTAMP:20260610T093252
CREATED:20260514T015842Z
LAST-MODIFIED:20260514T015842Z
UID:10040108-1781607600-1781632800@thebuffalohive.com
SUMMARY:Buffalo Art: Frank Chang\, 'The Mesh'
DESCRIPTION:From the artist: In the studio\, I take on the perspective of an “archaeologist of the present” in order to reflect on the climate crisis. Otherwise\, the stakes feel too high and making art feels futile and insignificant compared to the magnitude of the problem. I collect fragments of climate news\, bureaucratic documents\, and mass media imagery\, looking for linkages that are unexpectedly resonant. I am searching for things under the surface\, inexplicable connections that are strangely well suited to expressing the feeling of the present\, with all its contradictions\, anxieties\, and possibilities. \nThis exhibition combines new and recent climate-related work. The title is inspired by philosopher Timothy Morton’s metaphor of the mesh. Morton uses the mesh to refer to the ecological interconnectedness of all things\, both living and non-living. The mesh\, according to Morton\, allows us to imagine things normally thought to be contradictory. It is both foreground and background\, hard and delicate. It is both too large and infinitesimally small. The mesh is the perfect metaphor for thinking about climate because “[e]ach point of the mesh is both the centre and edge of a system of points\, so there is no absolute centre or edge.”[1] The mesh also perfectly encapsulates my working process\, in which each fragment leads to another; I see what’s in front of me as both the beginning and end of the process. \nHyperbatteries is a series of sculptures that reconfigure the clean and rational aesthetics of various “green” battery technologies as dense assemblages of entangled materials\, histories\, and ideas. I began with the definition of batteries as connected energies\, then followed threads ranging from the German Romanticism of early battery pioneers to Qing Dynasty symbolism and spirituality. Of course\, replacing fossil fuels with renewable energy is crucial in helping to mitigate climate change. But batteries are too often depicted as the “solution” to climate change\, with little regard for how they are produced or where their minerals come from. Indeed\, as political scientist Thea Riofrancos points out\, “…the promise of zero emissions sits alongside the reality of fossil fuel extraction and combustion\, renewable energy deployment\, and mining to outfit carbon-free capitalism.”[2] \nOther works in the exhibition employ a variety of archaeologically inspired motifs and techniques\, especially paper squeeze casting. Paper squeeze\, or paper molding\, was an archaeological technique developed by Alfred Maudslay in the late 19th century in which layers of wet paper were pressed onto Mayan monuments to create replicas that could later be cast in plaster. Maudslay used this technique to reach remote sites in Guatemala that would have been inaccessible to teams carrying tons of plaster-casting supplies. Incidentally\, Maudslay began his archaeological work at the same time widespread global temperature recordings began. My paper sculptures are copies of copies\, created by first making a “sacrificial sculpture\,” which is then paper-molded. When completed\, the original is thrown out\, leaving the paper cast as the work. By displaying the cast as the artwork\, I want to highlight its indeterminacy. The sacrificial sculpture can be thought of as both absent and present\, like an impression\, thought\, or memory. The surface of these sculptures is fragile yet resilient and is skin-like\, which reminds me of the solidity and impermanence of ourselves\, our past\, and our imagined futures. \n\nFRANK CHANG (b. 1979\, New York) is a multi-disciplinary artist who employs and re-frames ordinary or familiar visual forms in order to examine the entangled and complex interrelationships between climate\, social\, and cultural issues. Chang’s work spans a variety of mediums\, including works on paper\, sculpture\, installation\, and performance\, but each body of work is based upon a consistent methodology in which recognizable forms — from the vernacular to the historical — act as springboards for deeper investigations into these issues. \nHis work has been exhibited at Gallery Ondo (Seoul\, South Korea)\, Gallery G (Hiroshima\, Japan)\, Wells College (Aurora\, NY)\, Ithaca College\, Ortega y Gasset Projects (Brooklyn\, NY)\, Bushel (Delhi\, NY)\, Dartmouth College\, the Torrance Art Museum\, Museum of Jurassic Technology\, LA Design Center\, Woodbury University\, and Virginia Commonwealth University\, among others. He has also installed site-specific works on Governors Island\, High Desert Test Sites (Wonder Valley\, CA) and alongside a stream in South Windham\, VT.He was formerly co-director of Monte Vista Projects in Los Angeles\, and he was a contributor to the book Dispatches and Directions: On Artist-Run Organizations in Los Angeles and to the journal MATERIAL. He received his BA from Dartmouth College and his MFA from the California Institute of the Arts. He is a Lecturer in the Department of Art & Design at Binghamton University. \n[1] Timothy Morton\, The Ecological Thought\, (Harvard University Press\, 2010)\, 29.[2] Thea Riofrancos\, Extraction: The Frontiers of Green Capitalism\, (W. W. Norton & Company\, 2025)\, 205. \n 
URL:https://thebuffalohive.com/event/buffalo-art-frank-chang-the-mesh/2026-06-16/
LOCATION:Hallwalls Contemporary Arts Center\, 341 Delaware Avenue\, Buffalo\, NY\, 14202\, United States
CATEGORIES:Art
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/frankchang_collector_02-SP2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260616T120000
DTEND;TZID=America/New_York:20260616T170000
DTSTAMP:20260610T093252
CREATED:20260531T194651Z
LAST-MODIFIED:20260531T194651Z
UID:10040584-1781611200-1781629200@thebuffalohive.com
SUMMARY:Buffalo Art & Film: 'With us at the center of our world: animals\, domestications\, dreams'
DESCRIPTION:Opening Friday\, June 12\, 2026\, 6–8 pm\nExhibition 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\n\n\n\n\n\nLeft to right: Annika Eriksson\, The Community (2010); Miranda Javid\, Little Winds That Died Immediately (2019); Noor Abuarafeh\, Am I the ageless object at the museum? (2018); Deniz Tortum & Sister Sylvester\, Our Ark (2022).\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\n\n\n\n\n\nLeft to right: Cameron A. Granger\, Just Below Heaven (2025); Christina Corfield\, Pony Players Review (2020-Present); G. Anthony Svatek\, A Whole New Species (1956–2026); Amy Ching-Yan Lam with Emerson Maxwell\, Looty Goes to Heaven (2022).\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.
URL:https://thebuffalohive.com/event/buffalo-art-film-with-us-at-the-center-of-our-world-animals-domestications-dreams/2026-06-16/
LOCATION:Squeaky Wheel Film and Media Arts Center\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Film/Cinema,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/Looty-Goes-to-Heaven.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260617T110000
DTEND;TZID=America/New_York:20260617T170000
DTSTAMP:20260610T093252
CREATED:20260514T013000Z
LAST-MODIFIED:20260514T013000Z
UID:10040051-1781694000-1781715600@thebuffalohive.com
SUMMARY:Buffalo Art: Rachel Shelton\, 'Slow Looking'
DESCRIPTION:Buffalo Arts Studio is thrilled to present Slow Looking\, a new body of work by Rachel Shelton that challenges the negativity so often associated with decay\, uncertainty\, and precarity. Featuring a series of monotypes\, etchings\, collagraphs\, and screenprints of rock forms\, the exhibition is on view from May 22 through August 1\, 2026. An opening reception will be held on Friday\, May 22\, from 5:00 to 8:00 pm as part of M&T Fourth Friday at Tri-Main. \nAll of the rock forms in Slow Looking originate from a single photo of two rocks in a field of glacial deposits that Shelton stumbled upon during a trip to Montana. With adjustments to scale\, orientation\, color\, and surrounding compositions\, the prints invite us to shift between micro and macro perspectives and consider the ecosystems pocketed within a life cycle. Her work documents the passage of time via the life cycle of a rock\, suggests the building blocks of larger structures\, and navigates the network of meaning and connections that form when things fall apart.  \nFor more information about Buffalo Arts Studio\, please visit www.buffaloartsstudio.org
URL:https://thebuffalohive.com/event/buffalo-art-rachel-shelton-slow-looking/2026-06-17/
LOCATION:Buffalo Arts Studio\, 2495 Main Street\, Suite 500\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Free,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/55256000962_f44257eff3_c.jpg
ORGANIZER;CN="Buffalo Arts Studio":MAILTO:sydney@buffaloartsstudio.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260617T110000
DTEND;TZID=America/New_York:20260617T180000
DTSTAMP:20260610T093252
CREATED:20260514T015842Z
LAST-MODIFIED:20260514T015842Z
UID:10040109-1781694000-1781719200@thebuffalohive.com
SUMMARY:Buffalo Art: Frank Chang\, 'The Mesh'
DESCRIPTION:From the artist: In the studio\, I take on the perspective of an “archaeologist of the present” in order to reflect on the climate crisis. Otherwise\, the stakes feel too high and making art feels futile and insignificant compared to the magnitude of the problem. I collect fragments of climate news\, bureaucratic documents\, and mass media imagery\, looking for linkages that are unexpectedly resonant. I am searching for things under the surface\, inexplicable connections that are strangely well suited to expressing the feeling of the present\, with all its contradictions\, anxieties\, and possibilities. \nThis exhibition combines new and recent climate-related work. The title is inspired by philosopher Timothy Morton’s metaphor of the mesh. Morton uses the mesh to refer to the ecological interconnectedness of all things\, both living and non-living. The mesh\, according to Morton\, allows us to imagine things normally thought to be contradictory. It is both foreground and background\, hard and delicate. It is both too large and infinitesimally small. The mesh is the perfect metaphor for thinking about climate because “[e]ach point of the mesh is both the centre and edge of a system of points\, so there is no absolute centre or edge.”[1] The mesh also perfectly encapsulates my working process\, in which each fragment leads to another; I see what’s in front of me as both the beginning and end of the process. \nHyperbatteries is a series of sculptures that reconfigure the clean and rational aesthetics of various “green” battery technologies as dense assemblages of entangled materials\, histories\, and ideas. I began with the definition of batteries as connected energies\, then followed threads ranging from the German Romanticism of early battery pioneers to Qing Dynasty symbolism and spirituality. Of course\, replacing fossil fuels with renewable energy is crucial in helping to mitigate climate change. But batteries are too often depicted as the “solution” to climate change\, with little regard for how they are produced or where their minerals come from. Indeed\, as political scientist Thea Riofrancos points out\, “…the promise of zero emissions sits alongside the reality of fossil fuel extraction and combustion\, renewable energy deployment\, and mining to outfit carbon-free capitalism.”[2] \nOther works in the exhibition employ a variety of archaeologically inspired motifs and techniques\, especially paper squeeze casting. Paper squeeze\, or paper molding\, was an archaeological technique developed by Alfred Maudslay in the late 19th century in which layers of wet paper were pressed onto Mayan monuments to create replicas that could later be cast in plaster. Maudslay used this technique to reach remote sites in Guatemala that would have been inaccessible to teams carrying tons of plaster-casting supplies. Incidentally\, Maudslay began his archaeological work at the same time widespread global temperature recordings began. My paper sculptures are copies of copies\, created by first making a “sacrificial sculpture\,” which is then paper-molded. When completed\, the original is thrown out\, leaving the paper cast as the work. By displaying the cast as the artwork\, I want to highlight its indeterminacy. The sacrificial sculpture can be thought of as both absent and present\, like an impression\, thought\, or memory. The surface of these sculptures is fragile yet resilient and is skin-like\, which reminds me of the solidity and impermanence of ourselves\, our past\, and our imagined futures. \n\nFRANK CHANG (b. 1979\, New York) is a multi-disciplinary artist who employs and re-frames ordinary or familiar visual forms in order to examine the entangled and complex interrelationships between climate\, social\, and cultural issues. Chang’s work spans a variety of mediums\, including works on paper\, sculpture\, installation\, and performance\, but each body of work is based upon a consistent methodology in which recognizable forms — from the vernacular to the historical — act as springboards for deeper investigations into these issues. \nHis work has been exhibited at Gallery Ondo (Seoul\, South Korea)\, Gallery G (Hiroshima\, Japan)\, Wells College (Aurora\, NY)\, Ithaca College\, Ortega y Gasset Projects (Brooklyn\, NY)\, Bushel (Delhi\, NY)\, Dartmouth College\, the Torrance Art Museum\, Museum of Jurassic Technology\, LA Design Center\, Woodbury University\, and Virginia Commonwealth University\, among others. He has also installed site-specific works on Governors Island\, High Desert Test Sites (Wonder Valley\, CA) and alongside a stream in South Windham\, VT.He was formerly co-director of Monte Vista Projects in Los Angeles\, and he was a contributor to the book Dispatches and Directions: On Artist-Run Organizations in Los Angeles and to the journal MATERIAL. He received his BA from Dartmouth College and his MFA from the California Institute of the Arts. He is a Lecturer in the Department of Art & Design at Binghamton University. \n[1] Timothy Morton\, The Ecological Thought\, (Harvard University Press\, 2010)\, 29.[2] Thea Riofrancos\, Extraction: The Frontiers of Green Capitalism\, (W. W. Norton & Company\, 2025)\, 205. \n 
URL:https://thebuffalohive.com/event/buffalo-art-frank-chang-the-mesh/2026-06-17/
LOCATION:Hallwalls Contemporary Arts Center\, 341 Delaware Avenue\, Buffalo\, NY\, 14202\, United States
CATEGORIES:Art
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/frankchang_collector_02-SP2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260617T110000
DTEND;TZID=America/New_York:20260617T200000
DTSTAMP:20260610T093252
CREATED:20260515T020151Z
LAST-MODIFIED:20260515T020151Z
UID:10040159-1781694000-1781726400@thebuffalohive.com
SUMMARY:Buffalo Art: Friends of the Night People - Illustrated Manuscripts
DESCRIPTION:The exhibit is made up of 12 prints of Illuminated Manuscripts in the Carolingian Style by Rosemary Lyons. \nThe contents of the manuscripts are monologues of anonymous individuals who volunteered to speak with the artist while she spent the day at Friends of Night People on September 15\, 2002. These individuals talked with Rosemary and consented have their stories made into artwork. \nThe series of works will be on display May 2 through August 1\, 2026 in the Library’s Lower Level Exhibit Space. \nVisit the exhibit anytime during open hours:\n*Mondays 10am-6pm\nTuesdays 9am-5pm\nWednesdays 11 am-8pm\nThursdays 10am-6pm\n*Saturdays 10am-6pm \n*Closed Monday\, May 25th for Memorial Day\n*Closed Saturday\, July 4th for Independence Day
URL:https://thebuffalohive.com/event/buffalo-art-friends-of-the-night-people-illustrated-manuscripts/2026-06-17/
LOCATION:Isaías González-Soto Branch Library\, 280 Porter Ave\, Buffalo\, NY\, 14201\, United States
CATEGORIES:Art,Free,Library
ATTACH;FMTTYPE=image/png:https://thebuffalohive.com/wp-content/uploads/2026/05/May-July-Exhibit.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260617T120000
DTEND;TZID=America/New_York:20260617T170000
DTSTAMP:20260610T093252
CREATED:20260531T194651Z
LAST-MODIFIED:20260531T194651Z
UID:10040585-1781697600-1781715600@thebuffalohive.com
SUMMARY:Buffalo Art & Film: 'With us at the center of our world: animals\, domestications\, dreams'
DESCRIPTION:Opening Friday\, June 12\, 2026\, 6–8 pm\nExhibition 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\n\n\n\n\n\nLeft to right: Annika Eriksson\, The Community (2010); Miranda Javid\, Little Winds That Died Immediately (2019); Noor Abuarafeh\, Am I the ageless object at the museum? (2018); Deniz Tortum & Sister Sylvester\, Our Ark (2022).\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\n\n\n\n\n\nLeft to right: Cameron A. Granger\, Just Below Heaven (2025); Christina Corfield\, Pony Players Review (2020-Present); G. Anthony Svatek\, A Whole New Species (1956–2026); Amy Ching-Yan Lam with Emerson Maxwell\, Looty Goes to Heaven (2022).\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.
URL:https://thebuffalohive.com/event/buffalo-art-film-with-us-at-the-center-of-our-world-animals-domestications-dreams/2026-06-17/
LOCATION:Squeaky Wheel Film and Media Arts Center\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Film/Cinema,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/Looty-Goes-to-Heaven.jpg
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DTSTART;TZID=America/New_York:20260618T100000
DTEND;TZID=America/New_York:20260618T180000
DTSTAMP:20260610T093252
CREATED:20260515T020151Z
LAST-MODIFIED:20260515T020151Z
UID:10040160-1781776800-1781805600@thebuffalohive.com
SUMMARY:Buffalo Art: Friends of the Night People - Illustrated Manuscripts
DESCRIPTION:The exhibit is made up of 12 prints of Illuminated Manuscripts in the Carolingian Style by Rosemary Lyons. \nThe contents of the manuscripts are monologues of anonymous individuals who volunteered to speak with the artist while she spent the day at Friends of Night People on September 15\, 2002. These individuals talked with Rosemary and consented have their stories made into artwork. \nThe series of works will be on display May 2 through August 1\, 2026 in the Library’s Lower Level Exhibit Space. \nVisit the exhibit anytime during open hours:\n*Mondays 10am-6pm\nTuesdays 9am-5pm\nWednesdays 11 am-8pm\nThursdays 10am-6pm\n*Saturdays 10am-6pm \n*Closed Monday\, May 25th for Memorial Day\n*Closed Saturday\, July 4th for Independence Day
URL:https://thebuffalohive.com/event/buffalo-art-friends-of-the-night-people-illustrated-manuscripts/2026-06-18/
LOCATION:Isaías González-Soto Branch Library\, 280 Porter Ave\, Buffalo\, NY\, 14201\, United States
CATEGORIES:Art,Free,Library
ATTACH;FMTTYPE=image/png:https://thebuffalohive.com/wp-content/uploads/2026/05/May-July-Exhibit.png
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DTSTART;TZID=America/New_York:20260618T110000
DTEND;TZID=America/New_York:20260618T170000
DTSTAMP:20260610T093252
CREATED:20260514T013000Z
LAST-MODIFIED:20260514T013000Z
UID:10040052-1781780400-1781802000@thebuffalohive.com
SUMMARY:Buffalo Art: Rachel Shelton\, 'Slow Looking'
DESCRIPTION:Buffalo Arts Studio is thrilled to present Slow Looking\, a new body of work by Rachel Shelton that challenges the negativity so often associated with decay\, uncertainty\, and precarity. Featuring a series of monotypes\, etchings\, collagraphs\, and screenprints of rock forms\, the exhibition is on view from May 22 through August 1\, 2026. An opening reception will be held on Friday\, May 22\, from 5:00 to 8:00 pm as part of M&T Fourth Friday at Tri-Main. \nAll of the rock forms in Slow Looking originate from a single photo of two rocks in a field of glacial deposits that Shelton stumbled upon during a trip to Montana. With adjustments to scale\, orientation\, color\, and surrounding compositions\, the prints invite us to shift between micro and macro perspectives and consider the ecosystems pocketed within a life cycle. Her work documents the passage of time via the life cycle of a rock\, suggests the building blocks of larger structures\, and navigates the network of meaning and connections that form when things fall apart.  \nFor more information about Buffalo Arts Studio\, please visit www.buffaloartsstudio.org
URL:https://thebuffalohive.com/event/buffalo-art-rachel-shelton-slow-looking/2026-06-18/
LOCATION:Buffalo Arts Studio\, 2495 Main Street\, Suite 500\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Free,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/55256000962_f44257eff3_c.jpg
ORGANIZER;CN="Buffalo Arts Studio":MAILTO:sydney@buffaloartsstudio.org
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