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DTSTART;TZID=America/New_York:20260520T110000
DTEND;TZID=America/New_York:20260520T170000
DTSTAMP:20260520T233344
CREATED:20260420T195743Z
LAST-MODIFIED:20260420T195743Z
UID:10039781-1779274800-1779296400@thebuffalohive.com
SUMMARY:Buffalo Art: Where is Momo? Sudi Wang Exhibition
DESCRIPTION:Where is Momo?\nSudi Wang exhibition at WNY Book Arts Center \nOn View: April 17 through May 22\, 2026\nOpening Reception: April 17 from 5-8pm \nThe Western New York Book Arts Center is proud to announce Where is Momo? an exhibition by printmaking artist Sudi Wang 王溯镝. With an opening reception at Book Arts 468 Washington Street building on Friday\, April 17th from 5:00-8:00pm\, the exhibition will be on view in the main gallery through May 22nd\, 2026.
URL:https://thebuffalohive.com/event/buffalo-art-where-is-momo-sudi-wang-exhibition/2026-05-20/
LOCATION:WNY Book Arts\, 468 Washington Street\, Buffalo\, NY\, 14203\, United States
CATEGORIES:Art
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/04/SudiWang_Poster_small.jpg
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DTSTART;TZID=America/New_York:20260520T110000
DTEND;TZID=America/New_York:20260520T170000
DTSTAMP:20260520T233344
CREATED:20260426T183256Z
LAST-MODIFIED:20260426T183256Z
UID:10039890-1779274800-1779296400@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/2026-05-20/
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
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260520T110000
DTEND;TZID=America/New_York:20260520T180000
DTSTAMP:20260520T233344
CREATED:20260514T015842Z
LAST-MODIFIED:20260514T015842Z
UID:10040089-1779274800-1779300000@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/2026-05-20/
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
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DTSTART;TZID=America/New_York:20260520T110000
DTEND;TZID=America/New_York:20260520T200000
DTSTAMP:20260520T233344
CREATED:20260515T020151Z
LAST-MODIFIED:20260515T020151Z
UID:10040139-1779274800-1779307200@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/2026-05-20/
LOCATION:Isaías González-Soto Branch Library\, 280 Porter Ave\, Buffalo\, NY\, 14201\, United States
CATEGORIES:Art,Free,Library
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