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DTSTART;TZID=America/New_York:20260606T100000
DTEND;TZID=America/New_York:20260606T140000
DTSTAMP:20260615T141231
CREATED:20260514T013000Z
LAST-MODIFIED:20260514T013000Z
UID:10040044-1780740000-1780754400@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/2026-06-06/
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:20260605T190000
DTEND;TZID=America/New_York:20260605T210000
DTSTAMP:20260615T141231
CREATED:20260424T024441Z
LAST-MODIFIED:20260424T024441Z
UID:10039853-1780686000-1780693200@thebuffalohive.com
SUMMARY:WNY Art: Spirit in the Light — Photographing Springsteen\, 1973-75
DESCRIPTION:Step back into the early days of Bruce Springsteen’s rise with a rare\, firsthand visual journey! This special presentation explores the formative years of Springsteen featuring photographs captured at the Smith Opera House (then the Geneva Theater) in 1973\, 1974\, and 1975. \nThrough a curated slideshow and personal anecdotes\, photographer James Fuller will share his insights and experiences documenting Springsteen in Geneva. \nThis event is FREE to the public.
URL:https://thebuffalohive.com/event/wny-art-spirit-in-the-light-photographing-springsteen-1973-75/
LOCATION:The Smith Opera House\, 82 Seneca Street\, Geneva\, NY 14456\, USA\, Geneva\, NY\, 14456\, United States
CATEGORIES:Art,History
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/04/0001springsteen.jpg
ORGANIZER;CN="The Smith Center for the Arts":MAILTO:boxoffice@thesmith.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260605T170000
DTEND;TZID=America/New_York:20260605T210000
DTSTAMP:20260615T141231
CREATED:20260531T192033Z
LAST-MODIFIED:20260531T192033Z
UID:10040563-1780678800-1780693200@thebuffalohive.com
SUMMARY:Buffalo Art: 'Direct Message' opening
DESCRIPTION:Art opening for a community project centered on a series of oil paintings by local artist Claire Connolly. The event will be an art opening with live readings and a book launch.
URL:https://thebuffalohive.com/event/buffalo-art-direct-message-opening/
LOCATION:Fitz Books & Waffles\, 1462 Main St.\, Buffalo\, NY\, 14209\, United States
CATEGORIES:Art
ATTACH;FMTTYPE=image/png:https://thebuffalohive.com/wp-content/uploads/2026/05/DMFlyer-INSTA.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260605T110000
DTEND;TZID=America/New_York:20260605T180000
DTSTAMP:20260615T141231
CREATED:20260514T015842Z
LAST-MODIFIED:20260514T015842Z
UID:10040101-1780657200-1780682400@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/2026-06-05/
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:20260605T110000
DTEND;TZID=America/New_York:20260605T170000
DTSTAMP:20260615T141231
CREATED:20260514T013000Z
LAST-MODIFIED:20260514T013000Z
UID:10040043-1780657200-1780678800@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/2026-06-05/
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:20260604T190000
DTEND;TZID=America/New_York:20260604T220000
DTSTAMP:20260615T141231
CREATED:20260503T040542Z
LAST-MODIFIED:20260503T040542Z
UID:10039992-1780599600-1780610400@thebuffalohive.com
SUMMARY:Buffalo Art:  AHA! (Annual Hallwalls Auction) 2026
DESCRIPTION:A live art auction to support Hallwalls!\n \nWHAT IT IS: AHA! is a vibrant celebration and live art auction benefiting Hallwalls Contemporary Art Center. This year’s event features immersive art experiences\, live entertainment\, and exceptional artwork that celebrates more than half a century of our history. With art available at a range of price points\, AHA! appeals to both seasoned collectors and first-time buyers. \nHOW YOU CAN SUPPORT THIS EVENT: Support Hallwalls by showcasing your business in the AHA! archival catalog. Affordable rates available. Get started by selecting “Sponsor Our Event” under tickets. Deadline for catalog inclusion is May 15. Your support directly connects you with our audience while helping sustain Hallwalls’ mission and programming. \nTICKETS AND BIDDING: The live auction takes place in person inside Asbury Hall at Hallwalls. Bidder registration links will be sent to all ticket holders. Bidder registration is also available in person at the event. Tickets start at just $75 include event experiences\, live bidding and open bar. \nShowcasing artwork from Hallwalls’ extensive history and the many artists who have exhibited there\, AHA! offers pieces at a range of price points\, welcoming both seasoned collectors and newcomers to contemporary art. \nAll proceeds directly support Hallwalls’ mission to foster and present innovative\, boundary-pushing art.
URL:https://thebuffalohive.com/event/buffalo-art-aha-annual-hallwalls-auction-2026/
LOCATION:Hallwalls Contemporary Arts Center\, 341 Delaware Avenue\, Buffalo\, NY\, 14202\, United States
CATEGORIES:Art,Community,Fundraiser
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/AHA-26.jpeg
ORGANIZER;CN="Hallwalls Contemporary Arts Center":MAILTO:ed@hallwalls.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260604T110000
DTEND;TZID=America/New_York:20260604T180000
DTSTAMP:20260615T141231
CREATED:20260514T015842Z
LAST-MODIFIED:20260514T015842Z
UID:10040100-1780570800-1780596000@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/2026-06-04/
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:20260604T110000
DTEND;TZID=America/New_York:20260604T170000
DTSTAMP:20260615T141231
CREATED:20260514T013000Z
LAST-MODIFIED:20260514T013000Z
UID:10040042-1780570800-1780592400@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/2026-06-04/
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:20260604T100000
DTEND;TZID=America/New_York:20260604T180000
DTSTAMP:20260615T141231
CREATED:20260515T020151Z
LAST-MODIFIED:20260515T020151Z
UID:10040150-1780567200-1780596000@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/2026-06-04/
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:20260603T110000
DTEND;TZID=America/New_York:20260603T200000
DTSTAMP:20260615T141231
CREATED:20260515T020151Z
LAST-MODIFIED:20260515T020151Z
UID:10040149-1780484400-1780516800@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/2026-06-03/
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:20260603T110000
DTEND;TZID=America/New_York:20260603T180000
DTSTAMP:20260615T141231
CREATED:20260514T015842Z
LAST-MODIFIED:20260514T015842Z
UID:10040099-1780484400-1780509600@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/2026-06-03/
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:20260603T110000
DTEND;TZID=America/New_York:20260603T170000
DTSTAMP:20260615T141231
CREATED:20260514T013000Z
LAST-MODIFIED:20260514T013000Z
UID:10040041-1780484400-1780506000@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/2026-06-03/
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:20260602T110000
DTEND;TZID=America/New_York:20260602T180000
DTSTAMP:20260615T141231
CREATED:20260514T015842Z
LAST-MODIFIED:20260514T015842Z
UID:10040098-1780398000-1780423200@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/2026-06-02/
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:20260602T110000
DTEND;TZID=America/New_York:20260602T170000
DTSTAMP:20260615T141231
CREATED:20260514T013000Z
LAST-MODIFIED:20260514T013000Z
UID:10040040-1780398000-1780419600@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/2026-06-02/
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:20260602T090000
DTEND;TZID=America/New_York:20260602T170000
DTSTAMP:20260615T141231
CREATED:20260515T020151Z
LAST-MODIFIED:20260515T020151Z
UID:10040148-1780390800-1780419600@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/2026-06-02/
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:20260601T100000
DTEND;TZID=America/New_York:20260601T180000
DTSTAMP:20260615T141231
CREATED:20260519T152859Z
LAST-MODIFIED:20260519T152859Z
UID:10040199-1780308000-1780336800@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/2026-06-01/
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:20260601T100000
DTEND;TZID=America/New_York:20260601T180000
DTSTAMP:20260615T141231
CREATED:20260515T020151Z
LAST-MODIFIED:20260515T020151Z
UID:10040147-1780308000-1780336800@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/2026-06-01/
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:20260530T110000
DTEND;TZID=America/New_York:20260530T140000
DTSTAMP:20260615T141231
CREATED:20260514T015842Z
LAST-MODIFIED:20260514T015842Z
UID:10040097-1780138800-1780149600@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/2026-05-30/
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:20260530T100000
DTEND;TZID=America/New_York:20260530T180000
DTSTAMP:20260615T141231
CREATED:20260515T020151Z
LAST-MODIFIED:20260515T020151Z
UID:10040146-1780135200-1780164000@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/2026-05-30/
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:20260530T100000
DTEND;TZID=America/New_York:20260530T140000
DTSTAMP:20260615T141231
CREATED:20260514T013000Z
LAST-MODIFIED:20260514T013000Z
UID:10040039-1780135200-1780149600@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/2026-05-30/
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:20260530T100000
DTEND;TZID=America/New_York:20260530T140000
DTSTAMP:20260615T141231
CREATED:20260426T183256Z
LAST-MODIFIED:20260426T183256Z
UID:10039898-1780135200-1780149600@thebuffalohive.com
SUMMARY:Buffalo Art: 'In Between Two Tall Mountains' and 'Breathing In and Out'
DESCRIPTION:Buffalo Arts Studio is pleased to present In Between Two Tall Mountains by Gabrielle Hall and Breathing In and Out by Brianna Bernas\, concurrent exhibitions by two senior fiber art majors from Buffalo State University that explore concepts of emotional resilience\, adaptability\, and making material the immaterial.  \nThe exhibitions will be on view from April 24 through May 30\, 2026. An artist reception will be held on Saturday\, May 9\, from 11:00 am to 1:00 pm. The exhibition and reception are free and open to the public. Both artists will speak briefly about their work starting at 12:00 pm. \nGabrielle Hall’s In Between Two Tall Mountains is a collection of soft sculptures\, weavings\, and collages are an exploration of how fiber can be utilized in ways beyond two-dimensional visuals\, bridging the gap between art and the space it inhabits. Brianna Bernas’ Breathing In and Out is a series of woven and felted pieces that look to the body and nature for symbols of adaptability and strength to challenge notions of emotional resilience and what it means to be “soft” in the face of hardship.  \nFor more information about Buffalo Arts Studio\, please visit www.buffaloartsstudio.org
URL:https://thebuffalohive.com/event/buffalo-art-in-between-two-tall-mountains-and-breathing-in-and-out/2026-05-30/
LOCATION:Buffalo Arts Studio\, 2495 Main Street\, Suite 500\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/04/Gab-Hall-Brianna-Bernas-May-2026-Cover-Photo.jpg
ORGANIZER;CN="Buffalo Arts Studio":MAILTO:sydney@buffaloartsstudio.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260529T110000
DTEND;TZID=America/New_York:20260529T180000
DTSTAMP:20260615T141231
CREATED:20260514T015842Z
LAST-MODIFIED:20260514T015842Z
UID:10040096-1780052400-1780077600@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/2026-05-29/
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:20260529T110000
DTEND;TZID=America/New_York:20260529T170000
DTSTAMP:20260615T141231
CREATED:20260514T013000Z
LAST-MODIFIED:20260514T013000Z
UID:10040038-1780052400-1780074000@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/2026-05-29/
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:20260529T110000
DTEND;TZID=America/New_York:20260529T170000
DTSTAMP:20260615T141231
CREATED:20260426T183256Z
LAST-MODIFIED:20260426T183256Z
UID:10039897-1780052400-1780074000@thebuffalohive.com
SUMMARY:Buffalo Art: 'In Between Two Tall Mountains' and 'Breathing In and Out'
DESCRIPTION:Buffalo Arts Studio is pleased to present In Between Two Tall Mountains by Gabrielle Hall and Breathing In and Out by Brianna Bernas\, concurrent exhibitions by two senior fiber art majors from Buffalo State University that explore concepts of emotional resilience\, adaptability\, and making material the immaterial.  \nThe exhibitions will be on view from April 24 through May 30\, 2026. An artist reception will be held on Saturday\, May 9\, from 11:00 am to 1:00 pm. The exhibition and reception are free and open to the public. Both artists will speak briefly about their work starting at 12:00 pm. \nGabrielle Hall’s In Between Two Tall Mountains is a collection of soft sculptures\, weavings\, and collages are an exploration of how fiber can be utilized in ways beyond two-dimensional visuals\, bridging the gap between art and the space it inhabits. Brianna Bernas’ Breathing In and Out is a series of woven and felted pieces that look to the body and nature for symbols of adaptability and strength to challenge notions of emotional resilience and what it means to be “soft” in the face of hardship.  \nFor more information about Buffalo Arts Studio\, please visit www.buffaloartsstudio.org
URL:https://thebuffalohive.com/event/buffalo-art-in-between-two-tall-mountains-and-breathing-in-and-out/2026-05-29/
LOCATION:Buffalo Arts Studio\, 2495 Main Street\, Suite 500\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/04/Gab-Hall-Brianna-Bernas-May-2026-Cover-Photo.jpg
ORGANIZER;CN="Buffalo Arts Studio":MAILTO:sydney@buffaloartsstudio.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260528T110000
DTEND;TZID=America/New_York:20260528T180000
DTSTAMP:20260615T141231
CREATED:20260514T015842Z
LAST-MODIFIED:20260514T015842Z
UID:10040095-1779966000-1779991200@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/2026-05-28/
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:20260528T110000
DTEND;TZID=America/New_York:20260528T170000
DTSTAMP:20260615T141231
CREATED:20260514T013000Z
LAST-MODIFIED:20260514T013000Z
UID:10040037-1779966000-1779987600@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/2026-05-28/
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:20260528T110000
DTEND;TZID=America/New_York:20260528T170000
DTSTAMP:20260615T141231
CREATED:20260426T183256Z
LAST-MODIFIED:20260426T183256Z
UID:10039896-1779966000-1779987600@thebuffalohive.com
SUMMARY:Buffalo Art: 'In Between Two Tall Mountains' and 'Breathing In and Out'
DESCRIPTION:Buffalo Arts Studio is pleased to present In Between Two Tall Mountains by Gabrielle Hall and Breathing In and Out by Brianna Bernas\, concurrent exhibitions by two senior fiber art majors from Buffalo State University that explore concepts of emotional resilience\, adaptability\, and making material the immaterial.  \nThe exhibitions will be on view from April 24 through May 30\, 2026. An artist reception will be held on Saturday\, May 9\, from 11:00 am to 1:00 pm. The exhibition and reception are free and open to the public. Both artists will speak briefly about their work starting at 12:00 pm. \nGabrielle Hall’s In Between Two Tall Mountains is a collection of soft sculptures\, weavings\, and collages are an exploration of how fiber can be utilized in ways beyond two-dimensional visuals\, bridging the gap between art and the space it inhabits. Brianna Bernas’ Breathing In and Out is a series of woven and felted pieces that look to the body and nature for symbols of adaptability and strength to challenge notions of emotional resilience and what it means to be “soft” in the face of hardship.  \nFor more information about Buffalo Arts Studio\, please visit www.buffaloartsstudio.org
URL:https://thebuffalohive.com/event/buffalo-art-in-between-two-tall-mountains-and-breathing-in-and-out/2026-05-28/
LOCATION:Buffalo Arts Studio\, 2495 Main Street\, Suite 500\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/04/Gab-Hall-Brianna-Bernas-May-2026-Cover-Photo.jpg
ORGANIZER;CN="Buffalo Arts Studio":MAILTO:sydney@buffaloartsstudio.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260528T100000
DTEND;TZID=America/New_York:20260528T180000
DTSTAMP:20260615T141231
CREATED:20260515T020151Z
LAST-MODIFIED:20260515T020151Z
UID:10040145-1779962400-1779991200@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/2026-05-28/
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:20260527T110000
DTEND;TZID=America/New_York:20260527T200000
DTSTAMP:20260615T141231
CREATED:20260515T020151Z
LAST-MODIFIED:20260515T020151Z
UID:10040144-1779879600-1779912000@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/2026-05-27/
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:20260527T110000
DTEND;TZID=America/New_York:20260527T180000
DTSTAMP:20260615T141231
CREATED:20260514T015842Z
LAST-MODIFIED:20260514T015842Z
UID:10040094-1779879600-1779904800@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/2026-05-27/
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
END:VCALENDAR