BEGIN:VCALENDAR VERSION:2.0 PRODID:-//CalDiscovery//caldiscovery//EN CALSCALE:GREGORIAN METHOD:PUBLISH DESCRIPTION:Discovered and maintained by CalDiscovery (https://caldiscover y.com). Event details belong to their publishers. Contains information fro m CalDiscovery\, which is made available under the ODbL 1.0. SOURCE:https://caldiscovery.com/buffalo-ny/src-8257.ics X-PUBLISHED-TTL:PT1H X-WR-CALDESC:Discovered and maintained by CalDiscovery (https://caldiscove ry.com). Event details belong to their publishers. Contains information fr om CalDiscovery\, which is made available under the ODbL 1.0. X-WR-CALNAME:CalDiscovery - buffalo-ny BEGIN:VEVENT SUMMARY:Buffalo Community: Scavenger Hunt at the Isaías González-Soto Br anch Library DTSTART;VALUE=DATE:20260513 DTEND;VALUE=DATE:20260514 DTSTAMP:20260729T180607Z UID:10040022-1778673600-1798736400@thebuffalohive.com CATEGORIES:music DESCRIPTION:Children hunt to find all the pictures hidden around the child ren’s area. When you see one\, cross it off on your answer key. Come to the desk with a finished answer key for a candy treat or a small toy prize ! New scavenger hunt every month. You may play up to one time per day to w in a prize. \nScavenger hunt is available whenever the library is open (pl ease check website for holiday hours). \nRegular hours are: \nMondays 10am -6pm\nTuesdays 9am-5pm\nWednesdays 12pm-8pm\nThursdays 10am-6pm\nSaturdays 10am-6pm\n\nOngoing through December 31\, 2026. LAST-MODIFIED:20260729T180607Z LOCATION:Isaías González-Soto Branch Library\, 280 Porter Ave\, Buffalo\ , NY\, 14201\, United States URL:https://thebuffalohive.com/event/buffalo-community-scavenger-hunt-at-t he-isaias-gonzalez-soto-branch-library/2026-05-13/ X-SOURCE-NAME:PAST EVENTS: 2025 Summer Concert Guide for Buffalo & WNY! X-SOURCE-URL:https://thebuffalohive.com/2025-summer-concert-guide END:VEVENT BEGIN:VEVENT SUMMARY:Buffalo Art: With us at the center of our world: animals\, domesti cations\, dreams DTSTART;VALUE=DATE:20260612 DTEND;VALUE=DATE:20260912 DTSTAMP:20260819T002619Z UID:10042610-1781222400-1789171199@thebuffalohive.com CATEGORIES:music DESCRIPTION:Exhibition hours: Tuesday–Saturday\, 12–5 pm\, extended ho urs through 8 pm on Wednesdays\, and by appointment\nOn view through Septe mber 11\, 2026\nSqueaky Wheel presents an exhibition and public programs t hinking through and on non-human animals. The artists – working in anima tion\, essay films\, speculative narratives\, installation work\, among ot her forms – address domestication\, colonialism\, extinction\, and conse rvation\, and the toll humans extract from our co-inhabitants on earth. Th e exhibition features work by Amy Ching-Yan Lam\, Annika Eriksson\, Camero n A. Granger\, Christina Corfield\, Deniz Tortum & Sister Sylvester\, G. A nthony Svatek\, Miranda Javid\, and Noor Abuarafeh\, with films by Serge A védikian\, Chris Marker\, and Wiame Haddad in the screening program. \nTh e title of the exhibition – with us at the center of our world – is fr om John Berger’s quintessential essay “Why Look at Animals?”\, descr ibing the place and role humans placed animals: how we may have seen and d efined ourselves\, our world through and with them. The works take on vari ous perspectives\, looking with and at animals\, and how the forces of cap italism\, control\, colonialism\, and war are now intertwined in our relat ionships with them. Thinking through these forces\, the collected works in the exhibition ask: what is the world that humans and animals are at the center of\, and are other worlds possible? \n\n\n\nThe exhibition features multiple strands for visitors to think through our relationship with non- human animals. Miranda Javid’s characteristically spectacular animated w ork Little Winds That Died Immediately features small animals as they try to survive under the force of humans using the artist’s signature transf ormative style\, with its subtle and evocative soundtrack heard through th e gallery. Amy Ching-Yan Lam’s Looty Goes to Heaven is written from the perspective of Looty\, a small Pekingese dog that was stolen by British tr oops and gifted to Queen Victoria. The speculative fiction work—with Loo ty’s life told in the book and her restful afterlife in the video work m ade with Emerson Maxwell—speaks tenderly and often humorously to the obs cene legacies left by the British empire on China during the Second Opium War. Cameron A. Granger’s stunning Just Below Heaven imagines the dreams and inner life of a pigeon trained for the machinery of American control\ ; while Christina Corfield’s installation Pony Players Review thinks thr ough the connections and settlements enabled in the U.S. by the Pony Expre ss. Cutting together technology advertisements across decades that feature animals and nature in selling televisions\, G. Anthony Svatek’s A Whole New Species harkens to the everpresent narrative of ownership\, spectacle \, and control over our world. Thinking through curated forms of animal co llection such as zoos—what Berger called “living monument(s) to their own disappearance”—Noor Abuarafeh’s Am I the ageless object at the m useum? considers zoos\, museums\, and cemeteries through an evocative narr ative and footage of zoos in Palestine\, Switzerland\, and Egypt. Paired i n the center of the exhibition with Abuarafeh’s work\, Deniz Tortum and Sister Sylvester’s Our Ark documents the possibilities and consequences of efforts to backup virtual replicas of the world. Finally\, Annika Erikk son’s video The Community features a carpet with several street cats in Turkey\, opening a space for us to consider the roles and responsibilities of domestication\, and the possibility of creating new spaces for human a nimals and non-human animals to gather. \n\n\n\nAdditional work will be sh ared with a screening of films\, including Chris Marker’s Chats Perchés (The Case of the Grinning Cat) accompanied by the short films Serge Avéd ikian’s Chienne D’histoire (Barking Island) and Wiame Haddad’s Sang Titre. Avédikian’s animated film\, Chienne D’histoire\, tells the sto ry of the 1910 dog exile and massacre in Ottoman Istanbul\, where thousand s of dogs were rounded up and sent to a nearby Island to die in an attempt to modernize the empire in its final years\; the film quite clearly asks us to make the connection between the event and the Armenian Genocide. Mea nwhile\, Wiame Haddad’s brief and subtle film\, Sang Titre features myst erious Super 8 footage of a donkey that mourns the ongoing genocide in Gaz a. The short films will be screened with Chris Marker’s iconic documenta ry of the 2000s\, Chats Perchés (The Case of the Grinning Cat)\, where th e filmmaker reflects on French and international protest movements and cul ture at the start of the Iraq War through the sudden appearance of allurin g portraits of grinning yellow cats through Paris. Click here to learn mor e about the screening on its respective page. \nSqueaky Wheel is excited t o feature the work of former Workspace Residents Deniz Tortum\, G. Anthony Svatek\, and Miranda Javid in this exhibition. Curated by Ekrem Serdar. T his exhibition is supported by Teiger Foundation and the Andy Warhol Found ation for the Visual Arts. Special thank you to Andreas Bertman at Filmfor m – The Art Film & Video Archive in Sweden\, Fırat Sezgin and Ecegül B ayram at the Institute of Time\, Luigi Loy at Sacrebleu Productions\, Bob Hunter at Icarus Films\, Carra Stratton\, Jenson Leonard\, Noor Abuarafeh\ , Rachael Rakes\, Salome Kokoladze and Aurora Picture Show\, Sue Ding\, an d Toleen Touq. \nVisitor and accessibility information:\nThe exhibition ca n be visited free of charge between 12–5 pm on Tuesdays\, Thursdays\, Fr idays\, and Saturdays\, extended hours on Wednesdays from 12–8 pm. Appoi ntments are also available\; please email office@squeaky.org with the subj ect “Exhibition appointment”. \nSeating is provided for most work\, an d additional seating is available upon request. See individual work descri ptions for captioning and subtitle information. Works without captions hav e sound descriptions on wall labels.  \nClick here for Squeaky Wheel’s parking\, transportation\, and overall accessibility information. \nPublic programs and extended hours\nFriday\, June 12\, 6–8 pm\nExhibition open ing\, with brief remarks by Curator Ekrem Serdar at 7 pm. \nWednesday\, Ju ne 24\, 7 pm\nArtist talk: Cameron A. Granger and Christina Corfield (clic k here for more information) \nWednesday\, August 5\, 7 pm\nScreening: Chr is Marker’s The Case of the Grinning Cat\, with short films by Serge Av édikian and Wiame Haddad (click here for more information) \n\n\n\nAbout the artworks (click to expand)\n\n\n\nAmy Ching-Yan Lam\, Looty Goes to He aven\nBook and video. Video made with Emerson Maxwell\, 4:30 min\, sound\, 2022 \n“Back at the gate to heaven\, Looty watched a hedgehog waddle it s way through the hole in the thicket. Before she could go in\, she had to give the green-faced person a true account of her life. The green-faced p erson said\, in their gravelly voice\, ‘It can be as short or as long as you like. The only condition is that it must be absolutely true.’” \n A small Pekingese dog was taken from China at the end of the Second Opium War by British troops\, brought to England\, and gifted to Queen Victoria. This dog was renamed Looty\, in reference to how she was found during the looting of the Summer Palace (Yuanmingyuan) outside of Beijing. Looty liv ed for twelve years at the British royal palaces and died in 1872. It is n ot known where she was buried. \nThe Opium Wars were driven\, in part\, by the British demand for tea from China. In the 1800s\, the tea-drinking ma rket\, including newly industrialized labour\, grew so big that British me rchants cultivated a new\, exploitative opium industry to counter this tra de deficit. Opium was grown by indentured labourers on plantations in Sout h Asia\, then imported on a massive scale into China. Silver received from the sale of opium was then used to purchase tea. The objections of the Ch inese state to this influx of cheap opium led to the Opium Wars. \nLooty w as one of the first Pekingese dogs in England\, and her arrival informed n ew trends in chinoiserie\, dog breeding\, and eugenics. For close to fifty years\, Pekingese dogs were the most popular breed of toy dog in England. \nThis work was commissioned for the 2022 Commonwealth Games & Eastside Pr ojects\, curated by Zoe Sawyer\, Tim Mills\, and Gavin Wade\, and supporte d by Canada Council for the Arts. Video: music by Hannah Guinan\; sound mi x by Michelle Irving\; animation by Emerson Maxwell. \nNoor Abuarafeh\, Am I the ageless object at the museum?\nVideo Installation\, 15 mins\, Arabi c with English subtitles\, 2018 \nThis video is based on a narrative deve loped through visits to various zoos and zoological institutions in Palest ine\, Switzerland\, and Egypt. It is part of a larger body of work encompa ssing video\, video installations\, a novel\, and performances\, each expl oring the concept of the museum from different angles. The projected video examines the construction of zoos and their historical relationship with museums\, as well as the connections between museums and cemeteries. These three entities share a common link to the discipline of history\, utilizi ng similar aesthetics in the representation and display of historical narr atives. \nDeniz Tortum & Sister Sylvester\, Our Ark\nVideo\, 12:33 min\, E nglish with open captions\, 2021 \nOur Ark is an essay film on our efforts to create a virtual replica of the real world. We are backing up the plan et\, creating 3D models of animals\, rainforests\, cities and people. We a re archiving as if ecological collapse could be staved off through some di gital Noah’s Ark of beasts and objects. Writer/Directors: Deniz Tortum\, Sister Sylvester. Producer: Fırat Sezgin. Editing: Sercan Sezgin. Origin al Music: Alican Çamcı. Associate Producer: Ecegül Bayram \nChristina C orfield\, Pony Players Review\nVideo installation with sound\, corrugated cardboard\, acrylic paint\, ink\, construction paper\, hot glue\, string\, Amazon boxes\, packing tape\, 2020–Present \nPony Players’ Review is a video installation project featuring re-enactments and reimaginings of f ilm scenes\, and a series of cardboard installation sets that focus on the popular representation of the 19th century messenger\, the Pony Express. \nIn 1860\, the Pony Express was the fastest coast-to-coast messaging syst em in the US. It was in service for only 18 months after which the transco ntinental telegraph replaced the pony with its almost instantaneous inform ation relay. Looking back at the Express can give the process of informati on relay a form through which to imagine what it means to send messages an d be connected. At the same time\, it also helps us think about how the sy stems and devices we use to send messages add something to how we feel abo ut those messages. Sometimes\, the stories we attach to those messengers a nd messaging systems become more memorable or valuable than the messages t hemselves. \nThe installations that make up Pony Players’ Review look at stories and myths that surround the Pony Express — stories that communi cate a specific (white\, masculinist) “official” national history of t he United States and the role of western expansion to national growth. Thi s project ties romantic images of the Old West to myths of progress\, effi ciency\, and information circulation (otherwise known as message delivery) — these are potent myths that remain alive in tech industries and digit al culture today. But myths are fictions none the less that can be re-writ ten or over-written\, and most certainly challenged or torn down. \nCamero n A. Granger\, Just Below Heaven\nFound wood\, pigeon feet\, rusted nails\ , video\, 8:54 minutes\, English with open captions\, edition of 2 plus II AP\, 18 ½ × 55 ½ inches\, 2025 \nUsing behavioral theorist BF Skinner ’s series of studies on the rock dove\, also known as the common pigeon\ , Just Below Heaven recasts Skinner’s theory of behavior and control as a stage where the cultural scripts and modes that fuel the machinery of Am erican life are brought under scrutiny. A pigeon has a dream\, and finds e ach one of us in it. \nAnnika Eriksson\, The Community\nDigital video\, 4: 30 min\, 2010. Courtesy of Filmform – The Art Film & Video Archive \nIn Annika Eriksson’s The Community\, we encounter a story about Istanbul’ s homeless cat community. For many years\, the cats were cared for by loca l cat lovers\, but today\, the cats have disappeared\, the result of a cle an-up initiative that altered the cityscape. In Ray Oldenburg’s pamphlet The Great Good Place\, he refers to ‘the third place’\, where people gather and move between work and family affairs. It is as a place of good company and discussions\, the root of democracy\, and the vitality of soci ety. The Community invites us to think about the implications of public sp ace and third places for a city’s inhabitants\, both human and not. \nMi randa Javid\, Little Winds That Died Immediately\nGraphite animation on pa per\, 6:20 min\, sound\, 2019 \nSmall animals struggle to survive under th e force of disembodied\, human features. Some of these creatures are crush ed\, smushed\, melted\, and sizzled\, while a resilient few withstand thei r encounter and amble on. Thousands of rendered and shaded graphite drawin gs on paper. \nG. Anthony Svatek\, A Whole New Species\nDigital video\, 19 50–2026 \nA Whole New Species is a found-footage video installation that critically examines a trope in advertising: using spectacular nature imag ery to sell television sets. In these commercials spanning several decades \, beautiful landscapes\, adorable butterflies\, and giant blue whales ado rn glowing screens – imitating wildlife to be experienced indoors\, as b iodiversity declines outside. A Whole New Species shifts the focus away fr om the device’s novelty and onto the nature used in the ad. \n\n\n\n\n\n Biographies of the artists (click to expand)\n\n\n\nAmy Ching-Yan Lam is a n artist and writer. Her practice looks to recover shared experience and f eeling from the ruling structures of violence. She uses quotidian material s (like institutional debris) and processes (like jokes). Books and memori es are often at the centre of her projects. Exhibitions\, performances\, a nd screenings have been presented at The Goldfarb Gallery\, York Universit y (2025)\, Richmond Art Gallery (2023)\, Eastside Projects (2022)\, Seoul MediaCity Biennale (2021)\, SFU Galleries (2021)\, Centre Clark (2019)\, T ruck Gallery (2018)\, aka artist-run (2018)\, the Western Front (2015)\, A rt Gallery of Ontario (2013)\, and others. She is the author of Baby Book (2023)\, a finalist for the Governor General’s Literary Awards in Poetry \; Property Journal (2024)\; and 83% Perfect (2025). Amy teaches creative writing in the English department of New York University. She was born in Hong Kong and lives in Lenapehoking / Brooklyn. Click here to visit her we bsite. \nAnnika Eriksson is originally from Malmö and lives in Berlin sin ce 2002. At the center of her artistic practice is an interest in social i nteraction: how do we live together\, what kind of societies do we create\ , and what happens in the margins or in the transition from one social ord er to another? In her work\, the social has always involved a key emphasis on the slippages between the one ME into others – with a return to ques tions of interaction and exchange\, circular forms of communication\, self -abnegation and empathy. Her project also engages with the relations betwe en humans and animals\; of our interdependence\, slippages and connection\ , but also registers of violation\, and the animal as a distinctively huma n projection surface. She has been exhibiting since the early 90s in vario us biennales and institutions\, for example the biennales in Istanbul\, Ve nice\, Sao Paolo\, Shanghai and Vienna\; in institutions such as Bonner Ku nstverein\, Tate Liverpool\, Hamburger Bahnhof\, Berlin\, Hayward Gallery\ , London and Moderna Museet\, Malmö and Stockholm. \nCameron A. Granger i s Sandra’s son & came up in in the Euclid\, Ohio. He likes pigeons\, vid eo games\, & memes. Lately he’s been thinking about how myth making and narrative have been used as a means to police the imagination\, and making movies with his friends. He’s a lifetime member of MINT Collective\, lo ng may it live\, and an alumni of Euclid Public Schools. Granger is an alu mni of the Studio Museum in Harlem AIR program (21-22) and Skowhegan Schoo l for Painting & Sculpture (2017). His film\, Before I Let Go\, was awarde d Best Experimental Film and the Audience Award at the 2023 BlackStar Film Festival. Granger lives and works between Columbus\, OH and Queens\, NY. Granger has exhibited his work in solo exhibitions at Kate Werble Gallery in New York\, NY\, No Place Gallery\, Columbus\, OH (2022)\; and Vox Popul i\, Philadelphia\, PA (2018)\, among others. He has shown in group exhibit ions at MoMA PS1\, Long Island City\, NY (2022)\, The Museum of Contempora ry Art Detroit in Detroit\, MI\, Jack Shainman The School\, Kinderhook\, N Y (2022)\, and The Bemis Center for the Arts\, Omaha\, NE (2021). \nChrist ina Corfield is a British-born interdisciplinary artist and media scholar. She has published her research in academic journals such as The Journal o f Early Popular Visual Culture\, and the Journal of Cinema and Media Studi es. Christina has exhibited her artwork in Europe and across the US\, most recently with a solo show at the Western New York Book Arts Center\, as w ell as Telematic Gallery\, San Francisco\, and Johansson Projects in Oakla nd\, CA. Her scholarly and artistic work focuses on media history\, media materiality and logistical media\, exploring how the perceived value of me dia and technology is negotiated through the stories we tell about them. \ nDeniz Tortum (İstanbul\, 1989) works in film and immersive media. Among his recent work\, his feature documentary Phases of Matter (2020\, IFFR) e xplores a state-run teaching hospital in Istanbul\; his essay video Our Ar k (2021\, IDFA\, co-dir Sister Sylvester) reflects on our efforts to creat e a virtual replica of the real world\, a digital Noah’s Ark\; and his v irtual reality work Shadowtime (2023\, Venice Film Festival\, co-dir Siste r Sylvester) explores the history of virtual reality and its relation to t he climate crisis. Between 2014 and 2020\, he worked as a researcher at th e MIT Open Documentary Lab and MIT Transmedia Storytelling Initiative. In 2019\, he was featured as one of the 25 New Faces of Independent Film by F ilmmaker Magazine. His work has screened internationally\, including at th e Venice Film Festival\, IFFR\, IDFA\, SXSW\, the Museum of the Moving Ima ge among others. He is the co-founder of the interdisciplinary studio Inst itute of Time and the Istanbul-based film collective Görültü. He is cur rently leading a research project with Salt Istanbul about the 60s indepen dent Turkish film scene\; and developing Intrusions\, a film around spirit ism and climate anxiety. \nHaving grown up at the foot of the Austrian Alp s\, G. Anthony Svatek is awed by the living world and how it is increasing ly impacted by our techno-urban lives. Anthony’s work screened at NYFF\, Intl FF Rotterdam\, Visions du Réel\, Ann Arbor\, Big Sky\, Prismatic Gr ound\, DOCNYC\, amongst others. Supporters include Ford Foundation JustFil ms\, NYSCA\, Simons Foundation\, Austrian Cultural Forum NY. He is the rec ipient of the New Visions Golden Gate Award at SFFILM. Commissioned work i ncludes projects for New York Magazine\, New York State Parks\, and Pionee r Works. He has staffed seasonally at the Flaherty Film Seminar\, The Clim ate Museum\, and the American Museum of Natural History. \nMiranda Javid i s an animator\, curator\, and art educator living in the Hudson Valley of New York State. On her work\, collaborator Brendan Sullivan once said\, “Miranda’s work captures the pulsing network of the living\, the heft of bodies\, and the density of human experience. Her work is playful and a lso somberly scientific\, as it tracks time and decay with special attenti on to the body wading through it. There is a whole world in there\, traces of the big unknowables\, both the mystic and the muddled mess of human st uff. Within that unknowable mess\, ritual is the mark left in time.” Her films have shown nationally and internationally at festivals like the Ann Arbor Film Festival\, Slamdance\, Flatpack\, Images\, Eyeworks Film Festi val\, The Maryland Film Festival\, and Animation Block Party. She is a for mer Kenan Fellow\, Denniston Hill and Squeaky Wheel resident\, a Sherman F airchild grantee\, and a recipient of the Nancy Harrigan Prize\, given thr ough the Baker Artist Fund. Her drawings have shown at The Baltimore Museu m of Art\, and The Mint Museum of Art in North Carolina. \nNoor Abuarafeh is a Palestinian artist based between Jerusalem and Rotterdam. Her practic e spans video\, performance\, publications\, and video installations\, wit h a focus on the themes of memory\, history and archives and the complexit ies of tracking absence. Noor’s videos and performances are based on tex ts and call the complexity of history into question: how it is formed\, co nstructed\, made\, perceived\, visualized and understood. She asks how all these elements are related and investigates the possibility of representi ng the past when the past is still present. Her videos and socially-engage d works are based on interviews\, workshops and other participatory encoun ters.\nIn the past Abuarafeh has shown in solo and group exhibitions at De Appel (2024)\, Art Jameel (2024)\, Jakarta Biennale (2024)\, Frieze Museu m (2023)\, Venice Biennale (2022)\, Berlin Biennale (2020)\, and Sharjah B iennale 13 (2017). She also participated in the Off-Biennale Gaudipolis in Budapest (2017) and the Qalandia International in Jerusalem (2018)\, amon g others. In 2019\, she held her first solo exhibition\, The Moon is a Sun Returning as a Ghost\, curated by Lara Khaldi in Jerusalem. \n\n\n\n\nFea tured image: Still of Amy Ching-Yan Lam with Emerson Maxwell\, Looty Goes to Heaven (2022). A digitally animated photorealistic depiction of a small Pekingese dog. The dog is upside down with his paws in the air in a relax ed state. One of its eyes is open and looking at you. LAST-MODIFIED:20260819T002619Z LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 142 14\, United States URL:https://thebuffalohive.com/event/buffalo-art-with-us-at-the-center-of- our-world-animals-domestications-dreams/ X-SOURCE-NAME:PAST EVENTS: 2025 Summer Concert Guide for Buffalo & WNY! X-SOURCE-URL:https://thebuffalohive.com/2025-summer-concert-guide END:VEVENT BEGIN:VEVENT SUMMARY:Buffalo Farmer's Market — Clinton-Bailey Farmer's & Flea Market DTSTART:20260905T120000Z DTEND:20260905T210000Z DTSTAMP:20260904T002935Z UID:10039614-1788595200-1788627600@thebuffalohive.com CATEGORIES:market DESCRIPTION:The Niagara Frontier Growers Co-operative Market\, Inc. was bo rn in October 1930. The objectives of the co-op were to promote\, foster a nd encourage the intelligent and orderly marketing of agricultural product s between producer and consumer. The co-op was also formed to make the dis tribution of agricultural products between producer and consumer as direct and efficient possible. \nNiagara Frontier Growers leased the land from t he railroad until the 1950’s when it then purchased the land. Over the y ears \, the Market became known as the Clinton-Bailey Farmers Market and h as become a vital link in Western New York’s food distribution. \nOver t he years\, many Western New York farmers and growers have brought some of the finest locally grown products to the Market for distribution. Some far mers traveled more than 2 hours to sell their goods at the Market. In the early years of the Market many of the farmers would transport their goods by horse and buggy! \nToday\, the location of the Clinton-Bailey Farmers M arket is central within the growing region and central within the “food distribution hub” of the City of Buffalo. Hundreds of thousands of custo mers pass through the Market each year to purchase fresh locally grown goo ds direct from the farmer insuring healthy eating and savings to the end c onsumer. \nThe Market has also become a desired destination for those look ing to purchase flowers\, vegetable plants\, herbs\, shrubs and Christmas Trees. Many wholesale buyers include major grocers\, institutions\, neighb orhood markets\, restaurants\, caterers\, garden centers and other farm ma rket stands that come to the Market every Tuesday\, Thursday and Saturday morning as early as 4:00 AM. \nCLINTON BAILEY MARKET\n1443 – 1517 Clinto n Street\nBuffalo\, NY 14206 LAST-MODIFIED:20260904T002935Z LOCATION:Clinton-Bailey Market\, 1443 Clinton St.\, Buffalo\, NY\, 14206\, United States URL:https://thebuffalohive.com/event/clinton-bailey-farmers-flea-market-2/ 2026-09-05/ X-SOURCE-NAME:PAST EVENTS: 2025 Summer Concert Guide for Buffalo & WNY! X-SOURCE-URL:https://thebuffalohive.com/2025-summer-concert-guide END:VEVENT BEGIN:VEVENT SUMMARY:Buffalo Art: Bethany Krull\, 'Home\,' at Buffalo Arts Studio DTSTART:20260905T140000Z DTEND:20260905T180000Z DTSTAMP:20260904T002935Z UID:10041439-1788602400-1788616800@thebuffalohive.com CATEGORIES:arts DESCRIPTION:Buffalo Arts Studio is thrilled to present Home\, a new body o f work by ceramicist Bethany Krull\, on view from August 28 through Octobe r 31\, 2026. Home is an installation of ceramic and mixed media sculptures that investigates our complex relationship with the untamed natural world and the domestic spaces we build within it. An opening reception will be held on Friday\, August 28\, from 5:00 to 8:00 pm as part of M&T Fourth Fr iday at Tri-Main. \nOur relationship with the rest of the natural world is complicated\, messy\, and often contradictory. Even as we try to control the environment for power\, profit\, pleasure\, or preservation\, we seek separation from it. We build and maintain home spaces that physically cut us off from a world that feels increasingly less habitable. Then we try to bring pieces of that world inside through potted plants\, domesticated an imals\, and artificial representations. We desire protection from and conn ection with nature. This paradox lies at the heart of Bethany Krull’s ne west exhibition\, Home.   \nEvery tableau designed by Krull is a visual d epiction of the tension between our sense of interior and exterior worlds. A living room chair sprouts grass in the echo of where someone once sat. A television lit with the crackling of wildfire flames is a portal to the volatile\, unconstrained nature beyond the room. A dresser drawer shelters a litter of kittens resting in a pile of clothing. A soft\, warm light sh ines through massive honeycombs in a ceiling light built as a wasp creates its nest. \nEach section of the exhibition imagines a home environment th at wanders between our curated order and an ever-present wildness. Togethe r\, they invite reflection on the home as a space safe from the unpredicta bility of nature—a nature that inevitably takes up residence on its own terms.  \nFor more information about Buffalo Arts Studio\, please visit w ww.buffaloartsstudio.org LAST-MODIFIED:20260904T002935Z LOCATION:Buffalo Arts Studio\, 2495 Main Street\, Suite 500\, Buffalo\, NY \, 14214\, United States URL:https://thebuffalohive.com/event/buffalo-art-bethany-krull-home-at-buf falo-arts-studio/2026-09-05/ X-SOURCE-NAME:PAST EVENTS: 2025 Summer Concert Guide for Buffalo & WNY! X-SOURCE-URL:https://thebuffalohive.com/2025-summer-concert-guide END:VEVENT BEGIN:VEVENT SUMMARY:Buffalo Art: Robert Booth\, 'Presence\,' opening reception DTSTART:20260905T140000Z DTEND:20260905T180000Z DTSTAMP:20260904T002935Z UID:10041837-1788602400-1788616800@thebuffalohive.com CATEGORIES:arts DESCRIPTION:Buffalo Arts Studio is excited to present Presence\, an exhibi tion of sculptural and two-dimensional work by artist Robert Booth\, on vi ew from August 28 through October 31\, 2026. Presence highlights the relat ionship between allegory and human existence\, encouraging reflection on h ow we make and mark meaning. An opening reception will be held on Friday\, August 28\, from 5:00 to 8:00 pm as part of M&T Fourth Friday at Tri-Main . \nEach varied work is packed full of recurring motifs\, common symbols t hat stretch across the entire series in different pairings and configurati ons. Booth presents scenes that suggest the passage of time\, consequences \, and memory of something that has or will happen. Everyday imagery\, suc h as houses\, pencils\, and chairs\, points to and suggests something deep er—a meaning that is in flux depending on the symbols surrounding it. Pu lling from a series of artworks entitled Prompts\, the work in Presence re veals how Booth flips that core question we might ask when engaging with a work of art—“What does this mean?”—onto the viewer.  \nFor more information about Buffalo Arts Studio\, please visit www.buffaloartsstudio .org LAST-MODIFIED:20260904T002935Z LOCATION:Buffalo Arts Studio\, 2495 Main Street\, Suite 500\, Buffalo\, NY \, 14214\, United States URL:https://thebuffalohive.com/event/buffalo-art-robert-booth-presence-ope ning-reception-2/2026-09-05/ X-SOURCE-NAME:PAST EVENTS: 2025 Summer Concert Guide for Buffalo & WNY! X-SOURCE-URL:https://thebuffalohive.com/2025-summer-concert-guide END:VEVENT BEGIN:VEVENT SUMMARY:Buffalo Art: Let Us Gather in a Flourishing Way DTSTART:20260905T140000Z DTEND:20260905T220000Z DTSTAMP:20260904T002935Z UID:10042637-1788602400-1788631200@thebuffalohive.com CATEGORIES:arts DESCRIPTION:Image above: Rogelio Báez Vega (Lives and works in Santurce\, Puerto Rico). New York Department Store\, Bayamón Branch\, 2024–25. Oi l\, beeswax\, and gold powder pigment on canvas / Óleo\, cera de abeja y polvo de oro sobre lienzo. 48 × 72 in. (121.9 × 182.9 cm). Courtesy of t he artist. Photo: Courtesy of the artist  \n  \nLet Us Gather in a Flour ishing Way explores contemporary Latinx artists’ innovations and interve ntions within established traditions of painting\, inviting discussion on a variety of themes and revealing the diversity and expansiveness present within the field. The fifty-eight artists in the exhibition—and those in the Latinx field more broadly—encourage us to interrogate the continued relevance of boundaries\, from political borders to disciplinary confines . This exhibition therefore celebrates artists whose expressions are first and foremost personal and subjective\, but whose heterogeneous and cultur ally specific interventions enrich one another and the history of American and contemporary art\, two fields from which such artists have been histo rically excluded. Inspired by former U.S. Poet Laureate Juan Felipe Herrer a’s poem “[Let Us Gather in a Flourishing Way]\,” the show celebrate s abundance and presents a vision of Latinx art that is\, like the diaspor a itself\, infinitely complex. \n\n\n\n\n  \nDavid Antonio Cruz (Lives an d works in New York). iknowyou’vebeenwonderingwherei’vebeen:adrift\,ad raft\,astare\,atilt\,asigh\,exhale.but\,icamebacktoletyouknow\,gotathingfo ryou\,andican’tletitgo_the raft.\, 2024. Oil\, acrylic\, and ink on wood panel / Óleo\, acrílico y tinta sobre panel de madera. Two panels\, eac h 72 × 48 in. (188 × 121.9 cm). Overall 72 × 98 1/2 in. (188 × 250.2 c m). Collection of Igor DaCosta. Photo: Robert Chase Heishman\, courtesy of the artist and Monique Meloche Gallery\, Chicago \nThe show’s intergen erational and regionally broad dialogue is reflected in seven thematic gro upings: (New) Histories\, offering new perspectives on personal\, cultural \, and global histories\; Bodies & Figures\, representations of and by mar ginalized people\, considering the importance of the body\, and who is or isn’t seen in an image\; Identity/Place\, a consideration of how identit y and place shape each other with a diasporic lens\; Land/tierra\, varied approaches to land and the built environment\, from the material to the im aginary\; Community\, highlighting various communities—artistic\, blood\ , and chosen—and their importance to populations within the diaspora\; P inturx\, contemporary Latinx approaches to traditional painting genres lik e still life and portraiture\; and Abstractions\, exploring centuries-long Indigenous and European abstract traditions still in use by artists today . \nAllowing for cacophony and heterogeneity in its narratives\, the exhib ition takes its cues from the artists themselves\, who are actively cultiv ating the landscape of contemporary painting as visitors will experience i t in the museum. Rather than telling a finished story\, as survey exhibiti ons often do\, this exhibition gives audiences a peek into this vibrant an d lively active network. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nYvette Mayorga (Lives and works in Chicago). The Brunette Latinx Self Portrait After Fran çois Boucher’s “The Brunette Odalisque\,” c.1745\, 2022. Acrylic na ils\, acrylic marker\, false eyelashes\, collage\, plastic rings\, plastic nail charms\, rhinestones\, car wrap vinyl\, and acrylic piping on panel / Uñas acrílicas\, marcador acrílico\, cejas postizas\, collage\, anill os de plástico\, decoraciones de plástico para uñas\, diamantes de imit ación\, vinil de auto y acrílico aplicado con manga pastelera sobre pane l. Overall 60 × 120 × 2 in. (152.4 × 304.8 × 5.1 cm). Courtesy of the artist. Photo: Robert Chase Heishman\n\n\n\n\n\nVincent Valdez (Lives and works in Houston). The Sea\, 2020. Oil on canvas / Óleo sobre lienzo. 50 × 70 in. (127 × 177.8 cm). Courtesy Matthew Brown. Photo: Paul Salveson\ , courtesy of Matthew Brown  \n  \n\n\n\n\n\n\nManuela Gonzalez (Lives a nd works in Lake Worth Beach\, Florida). Inanna\, 2024. Acrylic on mixed f abrics / Acrílico sobre tejidos mixtos. Overall 66 × 58 × 2 in. (167.6 × 147.3 × 5.1 cm). Collection of the artist.\n\n\n\n\n\nLilian Martinez (Lives and works in Los Angeles). Garden Club\, 2024. Acrylic on canvas   / Acrílico sobre lienzo. 50 × 65 in. (127 × 165.1 cm). Collection Buffa lo AKG Art Museum\, Gift of Pamela and David Hornik\, 2025 (2025:9). Photo : Deen Babakhyi\, courtesy of the artist and OCHI\n\n\n\n\n\nEamon Ore-Gir on (Lives and works in Los Angeles). Talking Shit with Illapa (variation I )\, 2023. Mineral paint and Flashe on canvas / Pintura mineral y Flashe so bre lienzo. 72 × 96 1/8 in. (182.9 × 244.2 cm). Collection Buffalo AKG A rt Museum\, George B. and Jenny R. Mathews Fund\, 2024 (2024:6). Photo: Br enda Bieger\, Buffalo AKG Art Museum\n\n\n\n\n\nPatrick Martinez (Lives an d works in Los Angeles). Promised Land\, 2022. Acrylic\, stucco\, neon\, M ean Streak\, ceramic\, spray paint\, latex house paint\, banner tarp\, cer amic tile\, tile adhesive\, and family archive photo collage on panel / Ac rílico\, estuco\, neón\, Mean Streak\, cerámica\, pintura en aerosol\, pintura de látex para interior\, cartel publicitario\, azulejos de cerám ica\, adhesivo para azulejos y collage de archivo fotográfico familiar so bre panel.  84 × 192 × 7 in. (213.4 × 487.7 × 17.8 cm). Collection Bu ffalo AKG Art Museum\, George B. and Jenny R. Mathews Fund\, 2022 (2022:78 ). Photo: Yubo Dong\, ofstudio photography\, courtesy of Charlie James Gal lery\n\n\n\n\n\nCandida Alvarez (Lives and works in Baroda\, Michigan\, an d Chicago). Flor de Caballo 3\, 2022. Acrylic on linen  / Acrílico sobre lino. 48 × 48 in. (121.9 × 121.9 cm). Courtesy of the artist. Photo: Ro bert Chase Heishman\, courtesy of the artist and Monique Meloche Gallery\, Chicago\n\n\n\n\n\nCarlos Rosales-Silva (Lives and works in New York). Pe ep Hole 3\, 2023. Crushed stone and glass bead in acrylic paint on panel / Piedra molida y cuentas de vidrio en pintura acrílica sobre panel. Overa ll 50 × 40 × 1 1/2 in. (127 × 101.6 × 3.8 cm). Courtesy of the artist and Sargent’s Daughters. Photo: Nicholas Knight\n\n\n\n\n\nPrevious slid eNext slide\n\n\n\n\n\n\n\n\n\n\n\n\nLet Us Gather in a Flourishing Way is organized by the Buffalo AKG Art Museum and curated by Curator Andrea Alv arez. It will be followed by a national tour including presentations at th e Des Moines Art Center\, the Museum of Contemporary Art Denver\, the Phoe nix Art Museum\, and the Frye Art Museum\, Seattle. LAST-MODIFIED:20260904T002935Z LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States URL:https://thebuffalohive.com/event/buffalo-art-let-us-gather-in-a-flouri shing-way/2026-09-05/ X-SOURCE-NAME:PAST EVENTS: 2025 Summer Concert Guide for Buffalo & WNY! X-SOURCE-URL:https://thebuffalohive.com/2025-summer-concert-guide END:VEVENT BEGIN:VEVENT SUMMARY:Buffalo Art: Ali Banisadr: Temple of the Mind DTSTART:20260905T140000Z DTEND:20260905T220000Z DTSTAMP:20260904T002935Z UID:10045002-1788602400-1788631200@thebuffalohive.com CATEGORIES:arts DESCRIPTION:Image above:Ali Banisadr (American\, born Iran\, born 1976). W eighing of the heart\, 2023. Oil on linen. 48 x 60 inches (121.92 x 152.4 cm). © Ali Banisadr. \n  \nFriday\, June 26\, 2026–Sunday\, November 8 \, 2026abstract\, Contemporary Painting\, painting \n\n\n\n\n\n\n\n\nRob ert and Elisabeth Wilmers Building\n\nImitation is not inspiration\, and i nspiration only can give birth to a work of art.\n—Albert Pinkham Ryder\ n\nAli Banisadr merges the compositional elements of landscape painting wi th abstract mark-making to create an altogether new form of figuration. Th e resulting compositions are a carefully composed bedlam of forms that sug gest but ultimately deny any specific narrative. Variously reminiscent of gardens of Eden\, the seasonal genre pictures of Flemish Renaissance paint er Pieter Bruegel the Elder\, and Boschian depictions of Hell\, Banisadr ’s contemporary abstractions call upon the history of painting. The titl e of the exhibition\, borrowed from Albert Pinkham Ryder’s enigmatic pai nting\, The Temple of the Mind\, serves as a conceptual framework for the project\, suggesting a space where perception\, memory\, and imagination c onverge. While the Romantic painter was admired for his pioneering\, semi- abstract style\, for Banisadr\, Ryder holds a space for contemplation amid rising uncertainties. \nAli Banisadr (American\, born Iran\, 1976). Retur n to Mother\, 2022. Oil on linen. 82 x 180 inches (208.28 x 457.2 cm). © Ali Banisadr.\nGiven his deep interest in art history\, the Buffalo AKG ha s invited Banisadr to participate in the first-ever artist collection inte rvention. In addition to the installation in the Hemicycle Gallery\, a foc used selection of Banisadr’s work will be installed throughout the Rober t and Elisabeth Wilmers Building\, among the dreamlike imaginings of the S urrealists and the unbridled energy of the Abstract Expressionists. \nBani sadr reaches across time to draw on a wide range of influences. From art\, history\, literature\, and mythology to music\, film\, and technology\, h e thinks of such sources as guiding his hand rather than driving his image ry\, and the powerful microcosms he creates are uniquely his own. Within t hese layered compositions\, subtle references to current events and the hu man condition—conflict\, migration\, and collective uncertainty—emerge and dissolve within the flux of his painterly language. Originating from one spontaneous moment to the next\, hidden figures and beguiling narrativ es reveal themselves to those who slow down in the present moment. \n\n\n\ n\n\n\n\n\n\n\n\n\n\n\nAli Banisadr (American\, born Iran\, 1976). The Wit ness\, 2025. Oil on linen. 28 x 36 inches (71.12 x 91.44 cm). © Ali Banis adr.\n\n\n\n\n\n\n\n\n\n\n\n\nBanisadr’s works often evoke the natural w orld\, its shifting terrains and elemental forces\, while also suggesting cosmological dimensions that extend beyond the visible. Furthermore\, the artist’s unusual experience as a synesthete—a blending of the senses —also informs his practice. Over the years\, he has learned to allow his unique perceptions to guide his process\, leaning into the ways that colo r evokes specific sounds of harmony or discord. \nFrancisco de Goya (Spani sh\, 1746–1828). Mucho hay que chupar (There is Plenty to Suck) from\, “Los Caprichos\,” 1799. Etching with aquatint. image area: 8 1/8 x 5 i nches (20.64 x 12.7 cm)\; sheet: 11 1/2 x 8 1/8 inches (29.21 x 20.64 cm). Collection Buffalo AKG Art Museum. Gift of Frederic P. Norton\, 1999 (P19 99:6.209).\nThe presentation in the Hemicycle Gallery will also feature an installation that delves deeply into the artist’s influences and proces s through materials from his studio and an artist-curated selection of wor ks from the museum’s collection. From Andō Hiroshige’s evocative wood cuts and Francisco de Goya’s intense\, sometimes nightmarish\, depiction s of violence and superstition to the artist’s sketchbooks and other vis ual cues\, visitors are invited to immerse themselves in Banisadr’s curi ous\, fantastical world. \nThe exhibition will be accompanied by an audio journey voiced by Banisadr and will debut a new etching created with the t eam at Mirabo Press in Buffalo\, New York. A short-documentary film on the artist is also in development. \n\n\n\n\n\n\n\n\n\nAli Banisadr: Temple o f the Mind is organized by the Buffalo AKG Art Museum and co-curated by th e artist and Godin-Spaulding Senior Curator for the Collection\, Holly E. Hughes. LAST-MODIFIED:20260904T002935Z LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States URL:https://thebuffalohive.com/event/buffalo-art-ali-banisadr-temple-of-th e-mind-3/2026-09-05/ X-SOURCE-NAME:PAST EVENTS: 2025 Summer Concert Guide for Buffalo & WNY! X-SOURCE-URL:https://thebuffalohive.com/2025-summer-concert-guide END:VEVENT BEGIN:VEVENT SUMMARY:Buffalo Art: Open Studio: First Saturday of the Month DTSTART:20260905T143000Z DTEND:20260905T163000Z DTSTAMP:20260904T062900Z UID:10041690-1788604200-1788604200@thebuffalohive.com CATEGORIES:arts DESCRIPTION:A free\, drop-in monthly art-making session open to all ages a nd skill levels\; no registration required. September’s theme is Accordi on Books. LAST-MODIFIED:20260904T062900Z LOCATION:Burchfield Penney Art Center\, 1300 Elmwood Avenue\, Buffalo\, NY \, 14222\, United States URL:https://thebuffalohive.com/event/buffalo-art-open-studio-first-saturda y-of-the-month/ X-SOURCE-NAME:PAST EVENTS: 2025 Summer Concert Guide for Buffalo & WNY! X-SOURCE-URL:https://thebuffalohive.com/2025-summer-concert-guide END:VEVENT BEGIN:VEVENT SUMMARY:Buffalo Art: Bree Gilliam\, 'id\,' opening reception DTSTART:20260905T150000Z DTEND:20260905T170000Z DTSTAMP:20260904T062900Z UID:10045766-1788606000-1788613200@thebuffalohive.com CATEGORIES:arts DESCRIPTION:Buffalo Arts Studio is excited to present id\, a pop-up exhibi tion by visual artist Bree Gilliam that explores her complex lived experie nces as an artist and woman\, navigating the expectations and assumptions connected to her identity as a Black woman in the United States. Through n arrative-based self-portrait paintings\, the exhibition challenges harmful stereotypes and societal misconceptions. The exhibition will be on view f rom August 28 through September 5\, 2026\, with an artist reception held o n Saturday\, September 5\, from 11:00 am to 1:00 pm.  \nContemporary soci al issues have long been a focus for Gilliam\, whose emotionally charged p aintings highlight the challenges underrepresented individuals face in the ir daily lives. Her figurative paintings depict scenes\, moments\, and voi ces expressing to the viewer the joy\, trauma\, history\, and emotions the se individuals carry. id follows in Gilliam’s exploration of these topic s\, in a growing body of work currently consisting of six paintings that r eflect different stereotypes and prejudicial expectations she has been con fronted with. \nFor more information about Buffalo Arts Studio\, please vi sit www.buffaloartsstudio.org LAST-MODIFIED:20260904T062900Z LOCATION:Buffalo Arts Studio\, 2495 Main Street\, Suite 500\, Buffalo\, NY \, 14214\, United States URL:https://thebuffalohive.com/event/buffalo-art-bree-gilliam-id-opening-r eception/ X-SOURCE-NAME:PAST EVENTS: 2025 Summer Concert Guide for Buffalo & WNY! X-SOURCE-URL:https://thebuffalohive.com/2025-summer-concert-guide END:VEVENT BEGIN:VEVENT SUMMARY:Buffalo Art: With us at the center of our world: animals\, domesti cations\, dreams DTSTART:20260905T160000Z DTEND:20260905T210000Z DTSTAMP:20260904T062900Z UID:10045760-1788609600-1788627600@thebuffalohive.com CATEGORIES:arts DESCRIPTION:Exhibition hours: Tuesday–Saturday\, 12–5 pm\, extended ho urs through 8 pm on Wednesdays\, and by appointment\nOn view through Septe mber 11\, 2026\nSqueaky Wheel presents an exhibition and public programs t hinking through and on non-human animals. The artists – working in anima tion\, essay films\, speculative narratives\, installation work\, among ot her forms – address domestication\, colonialism\, extinction\, and conse rvation\, and the toll humans extract from our co-inhabitants on earth. Th e exhibition features work by Amy Ching-Yan Lam\, Annika Eriksson\, Camero n A. Granger\, Christina Corfield\, Deniz Tortum & Sister Sylvester\, G. A nthony Svatek\, Miranda Javid\, and Noor Abuarafeh\, with films by Serge A védikian\, Chris Marker\, and Wiame Haddad in the screening program. \nTh e title of the exhibition – with us at the center of our world – is fr om John Berger’s quintessential essay “Why Look at Animals?”\, descr ibing the place and role humans placed animals: how we may have seen and d efined ourselves\, our world through and with them. The works take on vari ous perspectives\, looking with and at animals\, and how the forces of cap italism\, control\, colonialism\, and war are now intertwined in our relat ionships with them. Thinking through these forces\, the collected works in the exhibition ask: what is the world that humans and animals are at the center of\, and are other worlds possible? \n\n\n\nThe exhibition features multiple strands for visitors to think through our relationship with non- human animals. Miranda Javid’s characteristically spectacular animated w ork Little Winds That Died Immediately features small animals as they try to survive under the force of humans using the artist’s signature transf ormative style\, with its subtle and evocative soundtrack heard through th e gallery. Amy Ching-Yan Lam’s Looty Goes to Heaven is written from the perspective of Looty\, a small Pekingese dog that was stolen by British tr oops and gifted to Queen Victoria. The speculative fiction work—with Loo ty’s life told in the book and her restful afterlife in the video work m ade with Emerson Maxwell—speaks tenderly and often humorously to the obs cene legacies left by the British empire on China during the Second Opium War. Cameron A. Granger’s stunning Just Below Heaven imagines the dreams and inner life of a pigeon trained for the machinery of American control\ ; while Christina Corfield’s installation Pony Players Review thinks thr ough the connections and settlements enabled in the U.S. by the Pony Expre ss. Cutting together technology advertisements across decades that feature animals and nature in selling televisions\, G. Anthony Svatek’s A Whole New Species harkens to the everpresent narrative of ownership\, spectacle \, and control over our world. Thinking through curated forms of animal co llection such as zoos—what Berger called “living monument(s) to their own disappearance”—Noor Abuarafeh’s Am I the ageless object at the m useum? considers zoos\, museums\, and cemeteries through an evocative narr ative and footage of zoos in Palestine\, Switzerland\, and Egypt. Paired i n the center of the exhibition with Abuarafeh’s work\, Deniz Tortum and Sister Sylvester’s Our Ark documents the possibilities and consequences of efforts to backup virtual replicas of the world. Finally\, Annika Erikk son’s video The Community features a carpet with several street cats in Turkey\, opening a space for us to consider the roles and responsibilities of domestication\, and the possibility of creating new spaces for human a nimals and non-human animals to gather. \n\n\n\nAdditional work will be sh ared with a screening of films\, including Chris Marker’s Chats Perchés (The Case of the Grinning Cat) accompanied by the short films Serge Avéd ikian’s Chienne D’histoire (Barking Island) and Wiame Haddad’s Sang Titre. Avédikian’s animated film\, Chienne D’histoire\, tells the sto ry of the 1910 dog exile and massacre in Ottoman Istanbul\, where thousand s of dogs were rounded up and sent to a nearby Island to die in an attempt to modernize the empire in its final years\; the film quite clearly asks us to make the connection between the event and the Armenian Genocide. Mea nwhile\, Wiame Haddad’s brief and subtle film\, Sang Titre features myst erious Super 8 footage of a donkey that mourns the ongoing genocide in Gaz a. The short films will be screened with Chris Marker’s iconic documenta ry of the 2000s\, Chats Perchés (The Case of the Grinning Cat)\, where th e filmmaker reflects on French and international protest movements and cul ture at the start of the Iraq War through the sudden appearance of allurin g portraits of grinning yellow cats through Paris. Click here to learn mor e about the screening on its respective page. \nSqueaky Wheel is excited t o feature the work of former Workspace Residents Deniz Tortum\, G. Anthony Svatek\, and Miranda Javid in this exhibition. Curated by Ekrem Serdar. T his exhibition is supported by Teiger Foundation and the Andy Warhol Found ation for the Visual Arts. Special thank you to Andreas Bertman at Filmfor m – The Art Film & Video Archive in Sweden\, Fırat Sezgin and Ecegül B ayram at the Institute of Time\, Luigi Loy at Sacrebleu Productions\, Bob Hunter at Icarus Films\, Carra Stratton\, Jenson Leonard\, Noor Abuarafeh\ , Rachael Rakes\, Salome Kokoladze and Aurora Picture Show\, Sue Ding\, an d Toleen Touq. \nVisitor and accessibility information:\nThe exhibition ca n be visited free of charge between 12–5 pm on Tuesdays\, Thursdays\, Fr idays\, and Saturdays\, extended hours on Wednesdays from 12–8 pm. Appoi ntments are also available\; please email office@squeaky.org with the subj ect “Exhibition appointment”. \nSeating is provided for most work\, an d additional seating is available upon request. See individual work descri ptions for captioning and subtitle information. Works without captions hav e sound descriptions on wall labels.  \nClick here for Squeaky Wheel’s parking\, transportation\, and overall accessibility information. \nPublic programs and extended hours\nFriday\, June 12\, 6–8 pm\nExhibition open ing\, with brief remarks by Curator Ekrem Serdar at 7 pm. \nWednesday\, Ju ne 24\, 7 pm\nArtist talk: Cameron A. Granger and Christina Corfield (clic k here for more information) \nWednesday\, August 5\, 7 pm\nScreening: Chr is Marker’s The Case of the Grinning Cat\, with short films by Serge Av édikian and Wiame Haddad (click here for more information) \n\n\n\nAbout the artworks (click to expand)\n\n\n\nAmy Ching-Yan Lam\, Looty Goes to He aven\nBook and video. Video made with Emerson Maxwell\, 4:30 min\, sound\, 2022 \n“Back at the gate to heaven\, Looty watched a hedgehog waddle it s way through the hole in the thicket. Before she could go in\, she had to give the green-faced person a true account of her life. The green-faced p erson said\, in their gravelly voice\, ‘It can be as short or as long as you like. The only condition is that it must be absolutely true.’” \n A small Pekingese dog was taken from China at the end of the Second Opium War by British troops\, brought to England\, and gifted to Queen Victoria. This dog was renamed Looty\, in reference to how she was found during the looting of the Summer Palace (Yuanmingyuan) outside of Beijing. Looty liv ed for twelve years at the British royal palaces and died in 1872. It is n ot known where she was buried. \nThe Opium Wars were driven\, in part\, by the British demand for tea from China. In the 1800s\, the tea-drinking ma rket\, including newly industrialized labour\, grew so big that British me rchants cultivated a new\, exploitative opium industry to counter this tra de deficit. Opium was grown by indentured labourers on plantations in Sout h Asia\, then imported on a massive scale into China. Silver received from the sale of opium was then used to purchase tea. The objections of the Ch inese state to this influx of cheap opium led to the Opium Wars. \nLooty w as one of the first Pekingese dogs in England\, and her arrival informed n ew trends in chinoiserie\, dog breeding\, and eugenics. For close to fifty years\, Pekingese dogs were the most popular breed of toy dog in England. \nThis work was commissioned for the 2022 Commonwealth Games & Eastside Pr ojects\, curated by Zoe Sawyer\, Tim Mills\, and Gavin Wade\, and supporte d by Canada Council for the Arts. Video: music by Hannah Guinan\; sound mi x by Michelle Irving\; animation by Emerson Maxwell. \nNoor Abuarafeh\, Am I the ageless object at the museum?\nVideo Installation\, 15 mins\, Arabi c with English subtitles\, 2018 \nThis video is based on a narrative deve loped through visits to various zoos and zoological institutions in Palest ine\, Switzerland\, and Egypt. It is part of a larger body of work encompa ssing video\, video installations\, a novel\, and performances\, each expl oring the concept of the museum from different angles. The projected video examines the construction of zoos and their historical relationship with museums\, as well as the connections between museums and cemeteries. These three entities share a common link to the discipline of history\, utilizi ng similar aesthetics in the representation and display of historical narr atives. \nDeniz Tortum & Sister Sylvester\, Our Ark\nVideo\, 12:33 min\, E nglish with open captions\, 2021 \nOur Ark is an essay film on our efforts to create a virtual replica of the real world. We are backing up the plan et\, creating 3D models of animals\, rainforests\, cities and people. We a re archiving as if ecological collapse could be staved off through some di gital Noah’s Ark of beasts and objects. Writer/Directors: Deniz Tortum\, Sister Sylvester. Producer: Fırat Sezgin. Editing: Sercan Sezgin. Origin al Music: Alican Çamcı. Associate Producer: Ecegül Bayram \nChristina C orfield\, Pony Players Review\nVideo installation with sound\, corrugated cardboard\, acrylic paint\, ink\, construction paper\, hot glue\, string\, Amazon boxes\, packing tape\, 2020–Present \nPony Players’ Review is a video installation project featuring re-enactments and reimaginings of f ilm scenes\, and a series of cardboard installation sets that focus on the popular representation of the 19th century messenger\, the Pony Express. \nIn 1860\, the Pony Express was the fastest coast-to-coast messaging syst em in the US. It was in service for only 18 months after which the transco ntinental telegraph replaced the pony with its almost instantaneous inform ation relay. Looking back at the Express can give the process of informati on relay a form through which to imagine what it means to send messages an d be connected. At the same time\, it also helps us think about how the sy stems and devices we use to send messages add something to how we feel abo ut those messages. Sometimes\, the stories we attach to those messengers a nd messaging systems become more memorable or valuable than the messages t hemselves. \nThe installations that make up Pony Players’ Review look at stories and myths that surround the Pony Express — stories that communi cate a specific (white\, masculinist) “official” national history of t he United States and the role of western expansion to national growth. Thi s project ties romantic images of the Old West to myths of progress\, effi ciency\, and information circulation (otherwise known as message delivery) — these are potent myths that remain alive in tech industries and digit al culture today. But myths are fictions none the less that can be re-writ ten or over-written\, and most certainly challenged or torn down. \nCamero n A. Granger\, Just Below Heaven\nFound wood\, pigeon feet\, rusted nails\ , video\, 8:54 minutes\, English with open captions\, edition of 2 plus II AP\, 18 ½ × 55 ½ inches\, 2025 \nUsing behavioral theorist BF Skinner ’s series of studies on the rock dove\, also known as the common pigeon\ , Just Below Heaven recasts Skinner’s theory of behavior and control as a stage where the cultural scripts and modes that fuel the machinery of Am erican life are brought under scrutiny. A pigeon has a dream\, and finds e ach one of us in it. \nAnnika Eriksson\, The Community\nDigital video\, 4: 30 min\, 2010. Courtesy of Filmform – The Art Film & Video Archive \nIn Annika Eriksson’s The Community\, we encounter a story about Istanbul’ s homeless cat community. For many years\, the cats were cared for by loca l cat lovers\, but today\, the cats have disappeared\, the result of a cle an-up initiative that altered the cityscape. In Ray Oldenburg’s pamphlet The Great Good Place\, he refers to ‘the third place’\, where people gather and move between work and family affairs. It is as a place of good company and discussions\, the root of democracy\, and the vitality of soci ety. The Community invites us to think about the implications of public sp ace and third places for a city’s inhabitants\, both human and not. \nMi randa Javid\, Little Winds That Died Immediately\nGraphite animation on pa per\, 6:20 min\, sound\, 2019 \nSmall animals struggle to survive under th e force of disembodied\, human features. Some of these creatures are crush ed\, smushed\, melted\, and sizzled\, while a resilient few withstand thei r encounter and amble on. Thousands of rendered and shaded graphite drawin gs on paper. \nG. Anthony Svatek\, A Whole New Species\nDigital video\, 19 50–2026 \nA Whole New Species is a found-footage video installation that critically examines a trope in advertising: using spectacular nature imag ery to sell television sets. In these commercials spanning several decades \, beautiful landscapes\, adorable butterflies\, and giant blue whales ado rn glowing screens – imitating wildlife to be experienced indoors\, as b iodiversity declines outside. A Whole New Species shifts the focus away fr om the device’s novelty and onto the nature used in the ad. \n\n\n\n\n\n Biographies of the artists (click to expand)\n\n\n\nAmy Ching-Yan Lam is a n artist and writer. Her practice looks to recover shared experience and f eeling from the ruling structures of violence. She uses quotidian material s (like institutional debris) and processes (like jokes). Books and memori es are often at the centre of her projects. Exhibitions\, performances\, a nd screenings have been presented at The Goldfarb Gallery\, York Universit y (2025)\, Richmond Art Gallery (2023)\, Eastside Projects (2022)\, Seoul MediaCity Biennale (2021)\, SFU Galleries (2021)\, Centre Clark (2019)\, T ruck Gallery (2018)\, aka artist-run (2018)\, the Western Front (2015)\, A rt Gallery of Ontario (2013)\, and others. She is the author of Baby Book (2023)\, a finalist for the Governor General’s Literary Awards in Poetry \; Property Journal (2024)\; and 83% Perfect (2025). Amy teaches creative writing in the English department of New York University. She was born in Hong Kong and lives in Lenapehoking / Brooklyn. Click here to visit her we bsite. \nAnnika Eriksson is originally from Malmö and lives in Berlin sin ce 2002. At the center of her artistic practice is an interest in social i nteraction: how do we live together\, what kind of societies do we create\ , and what happens in the margins or in the transition from one social ord er to another? In her work\, the social has always involved a key emphasis on the slippages between the one ME into others – with a return to ques tions of interaction and exchange\, circular forms of communication\, self -abnegation and empathy. Her project also engages with the relations betwe en humans and animals\; of our interdependence\, slippages and connection\ , but also registers of violation\, and the animal as a distinctively huma n projection surface. She has been exhibiting since the early 90s in vario us biennales and institutions\, for example the biennales in Istanbul\, Ve nice\, Sao Paolo\, Shanghai and Vienna\; in institutions such as Bonner Ku nstverein\, Tate Liverpool\, Hamburger Bahnhof\, Berlin\, Hayward Gallery\ , London and Moderna Museet\, Malmö and Stockholm. \nCameron A. Granger i s Sandra’s son & came up in in the Euclid\, Ohio. He likes pigeons\, vid eo games\, & memes. Lately he’s been thinking about how myth making and narrative have been used as a means to police the imagination\, and making movies with his friends. He’s a lifetime member of MINT Collective\, lo ng may it live\, and an alumni of Euclid Public Schools. Granger is an alu mni of the Studio Museum in Harlem AIR program (21-22) and Skowhegan Schoo l for Painting & Sculpture (2017). His film\, Before I Let Go\, was awarde d Best Experimental Film and the Audience Award at the 2023 BlackStar Film Festival. Granger lives and works between Columbus\, OH and Queens\, NY. Granger has exhibited his work in solo exhibitions at Kate Werble Gallery in New York\, NY\, No Place Gallery\, Columbus\, OH (2022)\; and Vox Popul i\, Philadelphia\, PA (2018)\, among others. He has shown in group exhibit ions at MoMA PS1\, Long Island City\, NY (2022)\, The Museum of Contempora ry Art Detroit in Detroit\, MI\, Jack Shainman The School\, Kinderhook\, N Y (2022)\, and The Bemis Center for the Arts\, Omaha\, NE (2021). \nChrist ina Corfield is a British-born interdisciplinary artist and media scholar. She has published her research in academic journals such as The Journal o f Early Popular Visual Culture\, and the Journal of Cinema and Media Studi es. Christina has exhibited her artwork in Europe and across the US\, most recently with a solo show at the Western New York Book Arts Center\, as w ell as Telematic Gallery\, San Francisco\, and Johansson Projects in Oakla nd\, CA. Her scholarly and artistic work focuses on media history\, media materiality and logistical media\, exploring how the perceived value of me dia and technology is negotiated through the stories we tell about them. \ nDeniz Tortum (İstanbul\, 1989) works in film and immersive media. Among his recent work\, his feature documentary Phases of Matter (2020\, IFFR) e xplores a state-run teaching hospital in Istanbul\; his essay video Our Ar k (2021\, IDFA\, co-dir Sister Sylvester) reflects on our efforts to creat e a virtual replica of the real world\, a digital Noah’s Ark\; and his v irtual reality work Shadowtime (2023\, Venice Film Festival\, co-dir Siste r Sylvester) explores the history of virtual reality and its relation to t he climate crisis. Between 2014 and 2020\, he worked as a researcher at th e MIT Open Documentary Lab and MIT Transmedia Storytelling Initiative. In 2019\, he was featured as one of the 25 New Faces of Independent Film by F ilmmaker Magazine. His work has screened internationally\, including at th e Venice Film Festival\, IFFR\, IDFA\, SXSW\, the Museum of the Moving Ima ge among others. He is the co-founder of the interdisciplinary studio Inst itute of Time and the Istanbul-based film collective Görültü. He is cur rently leading a research project with Salt Istanbul about the 60s indepen dent Turkish film scene\; and developing Intrusions\, a film around spirit ism and climate anxiety. \nHaving grown up at the foot of the Austrian Alp s\, G. Anthony Svatek is awed by the living world and how it is increasing ly impacted by our techno-urban lives. Anthony’s work screened at NYFF\, Intl FF Rotterdam\, Visions du Réel\, Ann Arbor\, Big Sky\, Prismatic Gr ound\, DOCNYC\, amongst others. Supporters include Ford Foundation JustFil ms\, NYSCA\, Simons Foundation\, Austrian Cultural Forum NY. He is the rec ipient of the New Visions Golden Gate Award at SFFILM. Commissioned work i ncludes projects for New York Magazine\, New York State Parks\, and Pionee r Works. He has staffed seasonally at the Flaherty Film Seminar\, The Clim ate Museum\, and the American Museum of Natural History. \nMiranda Javid i s an animator\, curator\, and art educator living in the Hudson Valley of New York State. On her work\, collaborator Brendan Sullivan once said\, “Miranda’s work captures the pulsing network of the living\, the heft of bodies\, and the density of human experience. Her work is playful and a lso somberly scientific\, as it tracks time and decay with special attenti on to the body wading through it. There is a whole world in there\, traces of the big unknowables\, both the mystic and the muddled mess of human st uff. Within that unknowable mess\, ritual is the mark left in time.” Her films have shown nationally and internationally at festivals like the Ann Arbor Film Festival\, Slamdance\, Flatpack\, Images\, Eyeworks Film Festi val\, The Maryland Film Festival\, and Animation Block Party. She is a for mer Kenan Fellow\, Denniston Hill and Squeaky Wheel resident\, a Sherman F airchild grantee\, and a recipient of the Nancy Harrigan Prize\, given thr ough the Baker Artist Fund. Her drawings have shown at The Baltimore Museu m of Art\, and The Mint Museum of Art in North Carolina. \nNoor Abuarafeh is a Palestinian artist based between Jerusalem and Rotterdam. Her practic e spans video\, performance\, publications\, and video installations\, wit h a focus on the themes of memory\, history and archives and the complexit ies of tracking absence. Noor’s videos and performances are based on tex ts and call the complexity of history into question: how it is formed\, co nstructed\, made\, perceived\, visualized and understood. She asks how all these elements are related and investigates the possibility of representi ng the past when the past is still present. Her videos and socially-engage d works are based on interviews\, workshops and other participatory encoun ters.\nIn the past Abuarafeh has shown in solo and group exhibitions at De Appel (2024)\, Art Jameel (2024)\, Jakarta Biennale (2024)\, Frieze Museu m (2023)\, Venice Biennale (2022)\, Berlin Biennale (2020)\, and Sharjah B iennale 13 (2017). She also participated in the Off-Biennale Gaudipolis in Budapest (2017) and the Qalandia International in Jerusalem (2018)\, amon g others. In 2019\, she held her first solo exhibition\, The Moon is a Sun Returning as a Ghost\, curated by Lara Khaldi in Jerusalem. \n\n\n\n\nFea tured image: Still of Amy Ching-Yan Lam with Emerson Maxwell\, Looty Goes to Heaven (2022). A digitally animated photorealistic depiction of a small Pekingese dog. The dog is upside down with his paws in the air in a relax ed state. One of its eyes is open and looking at you. LAST-MODIFIED:20260904T062900Z LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 142 14\, United States URL:https://thebuffalohive.com/event/buffalo-art-with-us-at-the-center-of- our-world-animals-domestications-dreams/2026-09-05/ X-SOURCE-NAME:PAST EVENTS: 2025 Summer Concert Guide for Buffalo & WNY! X-SOURCE-URL:https://thebuffalohive.com/2025-summer-concert-guide END:VEVENT BEGIN:VEVENT SUMMARY:WNY Music: Dog Days Of Summer Festival DTSTART:20260905T180000Z DTEND:20260905T200000Z DTSTAMP:20260904T183014Z UID:10042238-1788616800-1788616800@thebuffalohive.com CATEGORIES:festival DESCRIPTION:Photo City & My Last Day Presents: Dog Days Of Summer Festival \, featuring Melia\, Exham Priory\, Tokyo Monsters\, Imperfect\, After The World\, Self Reflected\, 7Wordz\, Alder Creek\, My Last Day\, and more. T ickets via dogdaysofsummereveningstar.eventbrite.com. LAST-MODIFIED:20260904T183014Z LOCATION:Evening Star Concert Hall\, 8810 Niagara Falls Blvd\, Niagara Fal ls\, NY\, 14304\, United States URL:https://thebuffalohive.com/event/wny-music-dog-days-of-summer-festival / X-SOURCE-NAME:PAST EVENTS: 2025 Summer Concert Guide for Buffalo & WNY! X-SOURCE-URL:https://thebuffalohive.com/2025-summer-concert-guide END:VEVENT BEGIN:VEVENT SUMMARY:Buffalo Music — Duende: Divi Romē Band DTSTART:20260905T220000Z DTEND:20260906T000000Z DTSTAMP:20260905T002810Z UID:10028822-1788631200-1788638400@thebuffalohive.com CATEGORIES:music DESCRIPTION:Join us on the Main Bar Stage from 6-8pm.\n— LAST-MODIFIED:20260905T002810Z LOCATION:Duende at Silo City\, 85 Silo City Row\, Buffalo\, NY\, 14203\, U nited States URL:https://thebuffalohive.com/event/duende-divi-rome-band-2/2026-09-05/ X-SOURCE-NAME:PAST EVENTS: 2025 Summer Concert Guide for Buffalo & WNY! X-SOURCE-URL:https://thebuffalohive.com/2025-summer-concert-guide END:VEVENT BEGIN:VEVENT SUMMARY:Buffalo Music: Hit n Run @ The Hawk! DTSTART:20260905T233000Z DTEND:20260906T023000Z DTSTAMP:20260905T002810Z UID:10046008-1788636600-1788647400@thebuffalohive.com CATEGORIES:music DESCRIPTION:HIT n RUN\, 9 time winners of Top Pop Rock Band by Buffalo Mus ic Awards\, is coming to The Hawk! \nGet ready to jump\, sing\, and unleas h your inner rockstar with Hit n Run\, the pop-rock party band that’ll h ave you dancing and partying all night long! \nFood and Drink Specials all night. \n$10 Live Music Cover Charge at the door (the cover charge is to help pay for the bands and allow us to bring in high quality acts.) \nBand s are outdoors in the summer if Mother Nature plays nice\, indoors if it g ives us a swift kick! \nDinner reservations recommended. diamondhawkgolf. com/reservations  or 716 651-0700 LAST-MODIFIED:20260905T002810Z LOCATION:Diamond Hawk Golf Course and Pub\, 255 Sonwil Drive by the Buffal o Airport\, Cheektowaga\, NY\, 14225\, US URL:https://thebuffalohive.com/event/buffalo-music-hit-n-run-the-hawk-2/ X-SOURCE-NAME:PAST EVENTS: 2025 Summer Concert Guide for Buffalo & WNY! X-SOURCE-URL:https://thebuffalohive.com/2025-summer-concert-guide END:VEVENT BEGIN:VEVENT SUMMARY:Buffalo Music: It's A 2000's Party: Buffalo DTSTART:20260906T000000Z DTEND:20260906T020000Z DTSTAMP:20260905T002810Z UID:10042006-1788638400-1788638400@thebuffalohive.com CATEGORIES:music DESCRIPTION:Get ready to relive the nostalgia of the 2000s with a curated playlist filled with iconic tracks from pop\, rock\, hip-hop\, and R&B tha t defined a generation. LAST-MODIFIED:20260905T002810Z LOCATION:Electric City\, 433 Pearl Street\, Buffalo\, NY\, 14202\, United States URL:https://thebuffalohive.com/event/buffalo-music-its-a-2000s-party-buffa lo/ X-SOURCE-NAME:PAST EVENTS: 2025 Summer Concert Guide for Buffalo & WNY! X-SOURCE-URL:https://thebuffalohive.com/2025-summer-concert-guide END:VEVENT BEGIN:VEVENT SUMMARY:Buffalo Music: Analversary '26 DTSTART:20260906T000000Z DTEND:20260906T020000Z DTSTAMP:20260905T002810Z UID:10042207-1788638400-1788638400@thebuffalohive.com CATEGORIES:music DESCRIPTION:Presented by Turbojugend Buffalo. Doors and show both at 8pm. Lineup: The Cops\, The Scratch n Sniffs\, Grab the Anchor\, The Strains\, Main Breaker. LAST-MODIFIED:20260905T002810Z LOCATION:Mohawk Place\, Mohawk Place\, 47 E. Mohawk St.\, NY\, 14203\, Uni ted States URL:https://thebuffalohive.com/event/buffalo-music-analversary-26/ X-SOURCE-NAME:PAST EVENTS: 2025 Summer Concert Guide for Buffalo & WNY! X-SOURCE-URL:https://thebuffalohive.com/2025-summer-concert-guide END:VEVENT BEGIN:VEVENT SUMMARY:Buffalo Music: Yheti & Toadface w/ Flintwick DTSTART:20260906T000000Z DTEND:20260906T033000Z DTSTAMP:20260905T002810Z UID:10041506-1788638400-1788651000@thebuffalohive.com CATEGORIES:music DESCRIPTION:MNM Presents\n\nYheti & Toadface\nSleight Of Sound Tour\nw/ sp ecial guest Flintwick\nSaturday September 5th\nBuffalo Iron Works – 8pm \n\nYheti\nyheti.cloud\n\nYheti has written and released over 150 tracks a cross the internet datasphere. A fusion of a thousand inspirations Yheti ’s live performances are self described as… “an ever morphing detail ed sound sculpture that plays with the ears of those open to the more expe rimental\, surreal\, low end heavy side of electronic music. With the inte ntion of creating a champion dance environment through innovative bass lin es\, interesting rhythms\, and soul driven melodies.” \nOver the past 10 yrs Yheti has performed at many major festivals\, headlined many venues ac ross North America\, toured with many champions of sound and gained the su pport of a few  low-key famous people. 2030 will be a huge year for Yheti \, so look far into the future or very deep into the present\, put your ea r close up to reality\, and you may hear the faint rumble of subwoofers in the distance. This is an exploration of sound\, technology\, psychology a nd how it all interacts with the complex human condition we all experience . Rooted in love for art and moving forward with gusto. \n\nToadface\ninst agram.com/toadfacemusic\n\n“I think my music is indicative of trying to make people have fun & be happy. One of my most popular tracks is called “Serotonin Machinegun” and that’s the energy I’m trying to recreat e for all of my listeners.” \nToadface drew early inspiration from his b rother\, Yheti\, who showed him bits and pieces of how to produce and elec tronic producers who were making great music. His unique production style flawlessly fuses elements of trap and dubstep together with amphibious gro oves implementing their own twist.  His first solo-headline tour was in t he Fall of 2018 and paired with his Bugs for Breakfast LP which was releas ed via Liquid Stranger’s Wakaan Label. The LP was a huge success and has close to 2M plays on all streaming platforms. \n\nw/ special guest\n\nFli ntwick\nflintwick.net\n\n\nProduced by \nMNM Presents LAST-MODIFIED:20260905T002810Z LOCATION:Buffalo Iron Works\, 49 Illinois Street\, Buffalo\, NY\, 14203\, United States URL:https://thebuffalohive.com/event/buffalo-music-yheti-toadface-w-flintw ick/ X-SOURCE-NAME:PAST EVENTS: 2025 Summer Concert Guide for Buffalo & WNY! X-SOURCE-URL:https://thebuffalohive.com/2025-summer-concert-guide END:VEVENT BEGIN:VEVENT SUMMARY:Regional Music: Chris Young DTSTART:20260906T003000Z DTEND:20260906T023000Z DTSTAMP:20260905T002810Z UID:10045916-1788640200-1788640200@thebuffalohive.com CATEGORIES:music DESCRIPTION:Grand Ole Opry member and 14-time No. 1 country hitmaker touri ng behind his new album I Didn’t Come Here to Leave. LAST-MODIFIED:20260905T002810Z LOCATION:OLG Stage at Fallsview Casino\, 6366 Stanley Ave\, Niagara FAlls\ , Ontario\, L2G 3Y5\, Canada URL:https://thebuffalohive.com/event/regional-music-chris-young/ X-SOURCE-NAME:PAST EVENTS: 2025 Summer Concert Guide for Buffalo & WNY! X-SOURCE-URL:https://thebuffalohive.com/2025-summer-concert-guide END:VEVENT BEGIN:VEVENT SUMMARY:Buffalo Drag: [adult swim]: a Drag Show DTSTART:20260906T010000Z DTEND:20260906T030000Z DTSTAMP:20260905T002810Z UID:10045901-1788642000-1788642000@thebuffalohive.com CATEGORIES:theater DESCRIPTION:Late-night drag show presented by Side Show Ghoul Productions and Milkie’s on Elmwood. LAST-MODIFIED:20260905T002810Z LOCATION:Milkie’s on Elmwood.\, 522 Elmwood Ave\, Buffalo\, NY 14222\, U SA\, Buffalo\, New York\, 14222\, US URL:https://thebuffalohive.com/event/buffalo-drag-adult-swim-a-drag-show/ X-SOURCE-NAME:PAST EVENTS: 2025 Summer Concert Guide for Buffalo & WNY! X-SOURCE-URL:https://thebuffalohive.com/2025-summer-concert-guide END:VEVENT BEGIN:VEVENT SUMMARY:Buffalo Farmer's Market — Clinton-Bailey Farmer's & Flea Market DTSTART:20260906T120000Z DTEND:20260906T210000Z DTSTAMP:20260905T002810Z UID:10039615-1788681600-1788714000@thebuffalohive.com CATEGORIES:market DESCRIPTION:The Niagara Frontier Growers Co-operative Market\, Inc. was bo rn in October 1930. The objectives of the co-op were to promote\, foster a nd encourage the intelligent and orderly marketing of agricultural product s between producer and consumer. The co-op was also formed to make the dis tribution of agricultural products between producer and consumer as direct and efficient possible. \nNiagara Frontier Growers leased the land from t he railroad until the 1950’s when it then purchased the land. Over the y ears \, the Market became known as the Clinton-Bailey Farmers Market and h as become a vital link in Western New York’s food distribution. \nOver t he years\, many Western New York farmers and growers have brought some of the finest locally grown products to the Market for distribution. Some far mers traveled more than 2 hours to sell their goods at the Market. In the early years of the Market many of the farmers would transport their goods by horse and buggy! \nToday\, the location of the Clinton-Bailey Farmers M arket is central within the growing region and central within the “food distribution hub” of the City of Buffalo. Hundreds of thousands of custo mers pass through the Market each year to purchase fresh locally grown goo ds direct from the farmer insuring healthy eating and savings to the end c onsumer. \nThe Market has also become a desired destination for those look ing to purchase flowers\, vegetable plants\, herbs\, shrubs and Christmas Trees. Many wholesale buyers include major grocers\, institutions\, neighb orhood markets\, restaurants\, caterers\, garden centers and other farm ma rket stands that come to the Market every Tuesday\, Thursday and Saturday morning as early as 4:00 AM. \nCLINTON BAILEY MARKET\n1443 – 1517 Clinto n Street\nBuffalo\, NY 14206 LAST-MODIFIED:20260905T002810Z LOCATION:Clinton-Bailey Market\, 1443 Clinton St.\, Buffalo\, NY\, 14206\, United States URL:https://thebuffalohive.com/event/clinton-bailey-farmers-flea-market-2/ 2026-09-06/ X-SOURCE-NAME:PAST EVENTS: 2025 Summer Concert Guide for Buffalo & WNY! X-SOURCE-URL:https://thebuffalohive.com/2025-summer-concert-guide END:VEVENT BEGIN:VEVENT SUMMARY:Buffalo Art: Let Us Gather in a Flourishing Way DTSTART:20260906T140000Z DTEND:20260906T210000Z DTSTAMP:20260905T002810Z UID:10042638-1788688800-1788714000@thebuffalohive.com CATEGORIES:arts DESCRIPTION:Image above: Rogelio Báez Vega (Lives and works in Santurce\, Puerto Rico). New York Department Store\, Bayamón Branch\, 2024–25. Oi l\, beeswax\, and gold powder pigment on canvas / Óleo\, cera de abeja y polvo de oro sobre lienzo. 48 × 72 in. (121.9 × 182.9 cm). Courtesy of t he artist. Photo: Courtesy of the artist  \n  \nLet Us Gather in a Flour ishing Way explores contemporary Latinx artists’ innovations and interve ntions within established traditions of painting\, inviting discussion on a variety of themes and revealing the diversity and expansiveness present within the field. The fifty-eight artists in the exhibition—and those in the Latinx field more broadly—encourage us to interrogate the continued relevance of boundaries\, from political borders to disciplinary confines . This exhibition therefore celebrates artists whose expressions are first and foremost personal and subjective\, but whose heterogeneous and cultur ally specific interventions enrich one another and the history of American and contemporary art\, two fields from which such artists have been histo rically excluded. Inspired by former U.S. Poet Laureate Juan Felipe Herrer a’s poem “[Let Us Gather in a Flourishing Way]\,” the show celebrate s abundance and presents a vision of Latinx art that is\, like the diaspor a itself\, infinitely complex. \n\n\n\n\n  \nDavid Antonio Cruz (Lives an d works in New York). iknowyou’vebeenwonderingwherei’vebeen:adrift\,ad raft\,astare\,atilt\,asigh\,exhale.but\,icamebacktoletyouknow\,gotathingfo ryou\,andican’tletitgo_the raft.\, 2024. Oil\, acrylic\, and ink on wood panel / Óleo\, acrílico y tinta sobre panel de madera. Two panels\, eac h 72 × 48 in. (188 × 121.9 cm). Overall 72 × 98 1/2 in. (188 × 250.2 c m). Collection of Igor DaCosta. Photo: Robert Chase Heishman\, courtesy of the artist and Monique Meloche Gallery\, Chicago \nThe show’s intergen erational and regionally broad dialogue is reflected in seven thematic gro upings: (New) Histories\, offering new perspectives on personal\, cultural \, and global histories\; Bodies & Figures\, representations of and by mar ginalized people\, considering the importance of the body\, and who is or isn’t seen in an image\; Identity/Place\, a consideration of how identit y and place shape each other with a diasporic lens\; Land/tierra\, varied approaches to land and the built environment\, from the material to the im aginary\; Community\, highlighting various communities—artistic\, blood\ , and chosen—and their importance to populations within the diaspora\; P inturx\, contemporary Latinx approaches to traditional painting genres lik e still life and portraiture\; and Abstractions\, exploring centuries-long Indigenous and European abstract traditions still in use by artists today . \nAllowing for cacophony and heterogeneity in its narratives\, the exhib ition takes its cues from the artists themselves\, who are actively cultiv ating the landscape of contemporary painting as visitors will experience i t in the museum. Rather than telling a finished story\, as survey exhibiti ons often do\, this exhibition gives audiences a peek into this vibrant an d lively active network. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nYvette Mayorga (Lives and works in Chicago). The Brunette Latinx Self Portrait After Fran çois Boucher’s “The Brunette Odalisque\,” c.1745\, 2022. Acrylic na ils\, acrylic marker\, false eyelashes\, collage\, plastic rings\, plastic nail charms\, rhinestones\, car wrap vinyl\, and acrylic piping on panel / Uñas acrílicas\, marcador acrílico\, cejas postizas\, collage\, anill os de plástico\, decoraciones de plástico para uñas\, diamantes de imit ación\, vinil de auto y acrílico aplicado con manga pastelera sobre pane l. Overall 60 × 120 × 2 in. (152.4 × 304.8 × 5.1 cm). Courtesy of the artist. Photo: Robert Chase Heishman\n\n\n\n\n\nVincent Valdez (Lives and works in Houston). The Sea\, 2020. Oil on canvas / Óleo sobre lienzo. 50 × 70 in. (127 × 177.8 cm). Courtesy Matthew Brown. Photo: Paul Salveson\ , courtesy of Matthew Brown  \n  \n\n\n\n\n\n\nManuela Gonzalez (Lives a nd works in Lake Worth Beach\, Florida). Inanna\, 2024. Acrylic on mixed f abrics / Acrílico sobre tejidos mixtos. Overall 66 × 58 × 2 in. (167.6 × 147.3 × 5.1 cm). Collection of the artist.\n\n\n\n\n\nLilian Martinez (Lives and works in Los Angeles). Garden Club\, 2024. Acrylic on canvas   / Acrílico sobre lienzo. 50 × 65 in. (127 × 165.1 cm). Collection Buffa lo AKG Art Museum\, Gift of Pamela and David Hornik\, 2025 (2025:9). Photo : Deen Babakhyi\, courtesy of the artist and OCHI\n\n\n\n\n\nEamon Ore-Gir on (Lives and works in Los Angeles). Talking Shit with Illapa (variation I )\, 2023. Mineral paint and Flashe on canvas / Pintura mineral y Flashe so bre lienzo. 72 × 96 1/8 in. (182.9 × 244.2 cm). Collection Buffalo AKG A rt Museum\, George B. and Jenny R. Mathews Fund\, 2024 (2024:6). Photo: Br enda Bieger\, Buffalo AKG Art Museum\n\n\n\n\n\nPatrick Martinez (Lives an d works in Los Angeles). Promised Land\, 2022. Acrylic\, stucco\, neon\, M ean Streak\, ceramic\, spray paint\, latex house paint\, banner tarp\, cer amic tile\, tile adhesive\, and family archive photo collage on panel / Ac rílico\, estuco\, neón\, Mean Streak\, cerámica\, pintura en aerosol\, pintura de látex para interior\, cartel publicitario\, azulejos de cerám ica\, adhesivo para azulejos y collage de archivo fotográfico familiar so bre panel.  84 × 192 × 7 in. (213.4 × 487.7 × 17.8 cm). Collection Bu ffalo AKG Art Museum\, George B. and Jenny R. Mathews Fund\, 2022 (2022:78 ). Photo: Yubo Dong\, ofstudio photography\, courtesy of Charlie James Gal lery\n\n\n\n\n\nCandida Alvarez (Lives and works in Baroda\, Michigan\, an d Chicago). Flor de Caballo 3\, 2022. Acrylic on linen  / Acrílico sobre lino. 48 × 48 in. (121.9 × 121.9 cm). Courtesy of the artist. Photo: Ro bert Chase Heishman\, courtesy of the artist and Monique Meloche Gallery\, Chicago\n\n\n\n\n\nCarlos Rosales-Silva (Lives and works in New York). Pe ep Hole 3\, 2023. Crushed stone and glass bead in acrylic paint on panel / Piedra molida y cuentas de vidrio en pintura acrílica sobre panel. Overa ll 50 × 40 × 1 1/2 in. (127 × 101.6 × 3.8 cm). Courtesy of the artist and Sargent’s Daughters. Photo: Nicholas Knight\n\n\n\n\n\nPrevious slid eNext slide\n\n\n\n\n\n\n\n\n\n\n\n\nLet Us Gather in a Flourishing Way is organized by the Buffalo AKG Art Museum and curated by Curator Andrea Alv arez. It will be followed by a national tour including presentations at th e Des Moines Art Center\, the Museum of Contemporary Art Denver\, the Phoe nix Art Museum\, and the Frye Art Museum\, Seattle. LAST-MODIFIED:20260905T002810Z LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States URL:https://thebuffalohive.com/event/buffalo-art-let-us-gather-in-a-flouri shing-way/2026-09-06/ X-SOURCE-NAME:PAST EVENTS: 2025 Summer Concert Guide for Buffalo & WNY! X-SOURCE-URL:https://thebuffalohive.com/2025-summer-concert-guide END:VEVENT BEGIN:VEVENT SUMMARY:Buffalo Art: Ali Banisadr: Temple of the Mind DTSTART:20260906T140000Z DTEND:20260906T210000Z DTSTAMP:20260905T002810Z UID:10045719-1788688800-1788714000@thebuffalohive.com CATEGORIES:arts DESCRIPTION:Image above:Ali Banisadr (American\, born Iran\, born 1976). W eighing of the heart\, 2023. Oil on linen. 48 x 60 inches (121.92 x 152.4 cm). © Ali Banisadr. \nFriday\, June 26\, 2026–Sunday\, November 8\, 20 26 \n\n\n\n\n\n\n\n\n\n\n\nRobert and Elisabeth Wilmers Building\n\nImitat ion is not inspiration\, and inspiration only can give birth to a work of art.\n—Albert Pinkham Ryder\n\nAli Banisadr merges the compositional ele ments of landscape painting with abstract mark-making to create an altoget her new form of figuration. The resulting compositions are a carefully com posed bedlam of forms that suggest but ultimately deny any specific narrat ive. Variously reminiscent of gardens of Eden\, the seasonal genre picture s of Flemish Renaissance painter Pieter Bruegel the Elder\, and Boschian d epictions of Hell\, Banisadr’s contemporary abstractions call upon the h istory of painting. The title of the exhibition\, borrowed from Albert Pin kham Ryder’s enigmatic painting\, The Temple of the Mind\, serves as a c onceptual framework for the project\, suggesting a space where perception\ , memory\, and imagination converge. While the Romantic painter was admire d for his pioneering\, semi-abstract style\, for Banisadr\, Ryder holds a space for contemplation amid rising uncertainties. \nAli Banisadr (America n\, born Iran\, 1976). Return to Mother\, 2022. Oil on linen. 82 x 180 inc hes (208.28 x 457.2 cm). © Ali Banisadr.\nGiven his deep interest in art history\, the Buffalo AKG has invited Banisadr to participate in the first -ever artist collection intervention. In addition to the installation in t he Hemicycle Gallery\, a focused selection of Banisadr’s work will be in stalled throughout the Robert and Elisabeth Wilmers Building\, among the d reamlike imaginings of the Surrealists and the unbridled energy of the Abs tract Expressionists. \nBanisadr reaches across time to draw on a wide ran ge of influences. From art\, history\, literature\, and mythology to music \, film\, and technology\, he thinks of such sources as guiding his hand r ather than driving his imagery\, and the powerful microcosms he creates ar e uniquely his own. Within these layered compositions\, subtle references to current events and the human condition—conflict\, migration\, and col lective uncertainty—emerge and dissolve within the flux of his painterly language. Originating from one spontaneous moment to the next\, hidden fi gures and beguiling narratives reveal themselves to those who slow down in the present moment. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nAli Banisadr (American\ , born Iran\, 1976). The Witness\, 2025. Oil on linen. 28 x 36 inches (71. 12 x 91.44 cm). © Ali Banisadr.\n\n\n\n\n\n\n\n\n\n\n\n\nBanisadr’s wor ks often evoke the natural world\, its shifting terrains and elemental for ces\, while also suggesting cosmological dimensions that extend beyond the visible. Furthermore\, the artist’s unusual experience as a synesthete —a blending of the senses—also informs his practice. Over the years\, he has learned to allow his unique perceptions to guide his process\, lean ing into the ways that color evokes specific sounds of harmony or discord. \nFrancisco de Goya (Spanish\, 1746–1828). Mucho hay que chupar (There is Plenty to Suck) from\, “Los Caprichos\,” 1799. Etching with aquatin t. image area: 8 1/8 x 5 inches (20.64 x 12.7 cm)\; sheet: 11 1/2 x 8 1/8 inches (29.21 x 20.64 cm). Collection Buffalo AKG Art Museum. Gift of Fred eric P. Norton\, 1999 (P1999:6.209).\nThe presentation in the Hemicycle Ga llery will also feature an installation that delves deeply into the artist ’s influences and process through materials from his studio and an artis t-curated selection of works from the museum’s collection. From Andō Hi roshige’s evocative woodcuts and Francisco de Goya’s intense\, sometim es nightmarish\, depictions of violence and superstition to the artist’s sketchbooks and other visual cues\, visitors are invited to immerse thems elves in Banisadr’s curious\, fantastical world. \nThe exhibition will b e accompanied by an audio journey voiced by Banisadr and will debut a new etching created with the team at Mirabo Press in Buffalo\, New York. A sho rt-documentary film on the artist is also in development. \n\n\n\n\n\n\n\n \n\nAli Banisadr: Temple of the Mind is organized by the Buffalo AKG Art M useum and co-curated by the artist and Godin-Spaulding Senior Curator for the Collection\, Holly E. Hughes. LAST-MODIFIED:20260905T002810Z LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States URL:https://thebuffalohive.com/event/buffalo-art-ali-banisadr-temple-of-th e-mind/2026-09-06/ X-SOURCE-NAME:PAST EVENTS: 2025 Summer Concert Guide for Buffalo & WNY! X-SOURCE-URL:https://thebuffalohive.com/2025-summer-concert-guide END:VEVENT BEGIN:VEVENT SUMMARY:Buffalo Art: All I ever wanted was a place - A Centennial Celebrat ion of Robert Creeley DTSTART:20260906T140000Z DTEND:20260906T210000Z DTSTAMP:20260905T002810Z UID:10045019-1788688800-1788714000@thebuffalohive.com CATEGORIES:arts,literary DESCRIPTION:On view May 21 through December 7\, 2026. A special installati on marking the centennial of poet Robert Creeley’s birth\, celebrating h is more than forty-year connection to the museum and thirty years living a nd teaching in Buffalo\, in partnership with UB’s Poetics Program\, UB A rt Galleries\, Just Buffalo Literary Center\, and Black Rock Arts. \n  \n \n\n\n\n\n\n\n\n\n\nPoetry Today symposium for The Buffalo Festival of th e Arts Today\, March 5\, 1965\, in the Albright-Knox Art Gallery Auditoriu m. From left: David Posner (moderator)\, Robert Graves\, William D. Snodgr ass\, and Robert Creeley. Image courtesy of the Buffalo AKG Art Museum Arc hives. \n\n\n\n\n\n\n\n\n\nWest Corridor\, Knox Building\nCelebrated Ameri can poet Robert Creeley (1926–2005) had a connection to the Albright-Kno x Art Gallery (now the Buffalo AKG Art Museum) that spanned more than for ty years\, from speaking to artist collaborations. His first engagement w ith the museum was in March 1965\, when he took part in the Poetry Today s ymposium for The Buffalo Festival of the Arts Today. The sixteen-day even t attracted more than 300\,000 guests and received nationwide acclaim. Dur ing the symposium\, Creeley stated\, “Whatever provokes in me this respo nse to the innate rhythm of a poem\, whatever it is\, one singly follows o ne’s own answer\,” expressing his deeply felt and responsive style. \n The poet collaborated with some of the most celebrated contemporary artist s\, forming lasting relationships with them before the actual “work” t ook place. Artist Alex Katz\, a collaborator on Edges\, stated\, “Workin g with Bob makes me feel bright.” In May 1972\, Marisol wrote a letter t o Creeley after receiving the text for Presences: A Text for Marisol (1976 )\, “It is really amazing how you could do something so close to me from seeing me so few times.” Creeley mirrored Marisol’s sculptural proces s in his prose\, creating what he called an “active complement.” \n“ All I ever wanted was a place\,” Creeley writes\, in a 1988 collaboratio n with artists Robert Therrien and Michel Butor. The poet arrived in Buff alo in 1966\, teaching at the University at Buffalo for more than thirty years. He was the inspiration behind Just Buffalo Literary Center and wen t on to co-found UB’s Poetics Program. In his later years\, he was often called “the man in Black Rock.” On this centennial of his birth\, we celebrate the indelible mark Creeley made on the literary and artistic lif e of this place.\n \n\n\n\n\n\n\nRobert Creeley Centenary (2026)\n\nThis y ear marks a century since Robert Creeley’s birth. On May 21 and 22\, joi n us in commemorating his life and work in Buffalo\, where he lived for mo re than thirty years\, in partnership with the University at Buffalo Poeti cs Program\, the University at Buffalo Art Galleries\, Just Buffalo Litera ry Center\, and Black Rock Arts. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nHome\n\n\n\ n\n\n\nBuffalo AKG Art Museum\n1285 Elmwood Avenue\nBuffalo\, New York 142 22\nNow Open LAST-MODIFIED:20260905T002810Z LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States URL:https://thebuffalohive.com/event/buffalo-art-all-i-ever-wanted-was-a-p lace-a-centennial-celebration-of-robert-creeley/2026-09-06/ X-SOURCE-NAME:PAST EVENTS: 2025 Summer Concert Guide for Buffalo & WNY! X-SOURCE-URL:https://thebuffalohive.com/2025-summer-concert-guide END:VEVENT BEGIN:VEVENT SUMMARY:Buffalo Art: Ragnar Kjartansson: Politics of the Obvious DTSTART:20260906T140000Z DTEND:20260906T210000Z DTSTAMP:20260905T002810Z UID:10045173-1788688800-1788714000@thebuffalohive.com CATEGORIES:arts DESCRIPTION:Image above: Ragnar Kjartansson (Icelandic\, born 1976). No To morrow\, 2022. Six-channel digital video\; color\, sound\, 4/6 plus 2 arti st’s proofs. Running time: 29 minutes\, 18 seconds. Commissioned by Sigu rður Gísli Pálmason\; based on a commission by the Iceland Dance Compan y. Courtesy of the artists\, Luhring Augustine\, New York and i8 Gallery\, Reykjavik. Collection Buffalo AKG Art Museum. Bequest of Arthur B. Michae l\, 2024 (2024:64).  \nOn view September 3\, 2026 through January 31\, 20 27. One of Icelandic artist Ragnar Kjartansson’s most ambitious U.S. exh ibitions\, with six immersive performance\, video\, and installation works exploring clichés and familiar gestures made strange. Half the works mak e their American museum debut. Curated by Cathleen Chaffee with Helga Chri stoffersen. \n\n \n\n\n\n\n\n\n\n\n\n\nThursday\, September 3\, 2026–Sun day\, January 31\, 2027 \n\n\n\n\n\nRagnar Kjartansson (Icelandic\, born 1 976). Bangemand/Scaredman\, 2023. Live durational performance\; variable. Courtesy of the artist\, Luhring Augustine\, New York and i8 Gallery\, Rey kjavik. Originally presented at the Louisiana Museum of Modern Art. Photo: Louisiana Museum of Modern Art/Poul Buchard \n\n\n\n\n\n\n\n\n\nJeffrey E . Gundlach Building\nFloor 1\nRagnar Kjartansson works across performance\ , music\, and image to create shared emotional experiences from otherwise commonplace or familiar scenes. Politics of the Obvious is one of the cele brated Icelandic artist’s most ambitious ever exhibitions in the United States and half of the works are making their American museum debut at the Buffalo AKG. The exhibition centers on a series of deceptively simple ref rains\, clichés\, and truisms. In six immersive installations made over m ore than two decades\, Kjartansson transforms such familiar phrases or ges tures into experiences that become altogether strange\, provocative\, and powerfully moving. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n  \n\n\n\n\n\n\nRagn ar Kjartansson (Icelandic\, born 1976). The Visitors\, 2012. Nine-channel HD video projection\; color\, sound. Running time: 64 minutes. Courtesy of the artist\, Luhring Augustine\, New York\, and i8 Gallery\, Reykjavik. P hoto: Elisabet Davids \n\n\n\n\n\n\nRagnar Kjartansson (Icelandic\, born 1 976). Bangemand/Scaredman\, 2023. Live durational performance\; variable. Courtesy of the artist\, Luhring Augustine\, New York and i8 Gallery\, Rey kjavik. Originally presented at the Louisiana Museum of Modern Art. Photo: Louisiana Museum of Modern Art/Poul Buchard \n\n\n\n\n\n\nPrevious slideN ext slide\n\n\n\n\n\n\n\n\n\n\n\nIn the video Scenes from Western Culture (The Boat) (2015)\, for example\, an elegantly dressed couple repeatedly a nd languidly sets off into a tranquil sea\; the man stays the same while t he woman seems to keep changing. Their evident wealth and ease\, coupled w ith the impossible beauty of their setting\, constitute the stuff of gloss y travel brochures\, the carefully constructed advertising tropes that wal lpaper an office worker’s imaginary. Such an unachievably perfect two we eks’ vacation was\, of course\, a reward designed to help keep that same worker productive during the other fifty weeks of the year. Devoid of dra ma or incident\, Kjartansson’s The Boatembodies the deep-rooted fantasy that leisure (enjoyed through the brief reprieve of a vacation or more dur ably attained through wealth) will cure what ails us. It illustrates a fic tion that is as inherent to modernity as our increasingly digital and moni tored working lives. \nThe nearby live performance Bangemand / Scaredman ( 2023) offers a stark counterpoint to the holidaymakers in The Boat. Every day during the museum’s open hours\, a man in a tuxedo inches along a na rrow ledge high in a gallery\, his body pressed anxiously against the wall . The scenario recalls cinematic tropes—from silent-era physical comedy to midcentury thrillers such as Vertigo (1958)—yet Kjartansson strips th e scene of narrative resolution. A clean-cut\, suited figure is typically a sign of masculine authority\, composure\, and control\; in Scaredman\, h e instead appears beset by unseen and undefined forces. The performance ev okes a familiar cultural script in which masculinity is cast as under sieg e\, transforming a familiar archetype into a meditation on fear\, spectacl e\, and the troubling logic that power sustains itself by staging its own vulnerability. \n\n\n\n\n\n\n\n\n\n\n\n\n\nRagnar Kjartansson (Icelandic\, born 1976). Scenes from Western Culture\, The Boat (Stephan Stephensen\, Kristín Anna Valtýsdóttir and Gyða Valtýsdóttir)\, 2015. Single-chan nel video. Running time: 2 hours\, 36 minutes. Courtesy of the artist\, Lu hring Augustine\, New York\, and i8 Gallery\, Reykjavik \n\n\n\n\n\n\n\n\n \n\n\n\n\nIn an interview\, Kjartansson has reflected on the importance of holding opposing emotional registers in place: “There is always this ba lance between irony and sincerity. I think that’s where things become in teresting.” This sensibility runs throughout the works in Politics of th e Obvious. In Me and My Mother (2000–25)\, for example\, a repeated\, co nfrontational act between mother and son becomes a tender record of time p assing. In No Tomorrow (2017)\, a group of performers with guitars take up historic entertainment repertoires while eventually exposing their artifi ce\, seeming to dance around the fleeting nature of desire itself. The Vis itors (2012) is one of the most beloved artworks of the twenty-first centu ry. In the virtuosic installation\, musicians each play alone in separate rooms of a decaying mansion in upstate New York. Their voices carry throug h walls\, gradually enfolding a shared refrain and transforming the indivi dual into a temporary collective. Sunday Without Love is a tableau vivant rooted in traditions ranging from romantic balladry to landscape painting that builds into a sustained meditation on loss. \nKjartansson stands in w onder at the world’s contradictions. “I am just totally in awe of the world and all its mystical beauty and mystical violence\,” he has affirm ed. Seen together\, the works in Politics of the Obvious describe a world in which aspiration and anxiety are tightly bound\, with the quest for sta bility\, beauty\, and rest shadowed by a persistent sense of precarity. By confronting familiar images throughout the exhibition—of love\, masculi nity\, leisure\, and power—Kjartansson reveals their underlying instabil ity and invites us to dwell in what often remains hidden in plain sight. \ n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n[Abov e: Ragnar Kjartansson (Icelandic\, born 1976). Me and My Mother\, 2000–2 5. Six single-channel videos\; color\, sound. Running time: variable. Cour tesy of the artist\, Luhring Augustine\, New York\, and i8 Gallery\, Reykj avik] \n\nRagnar Kjartansson: Politics of the Obvious is curated by Cathle en Chaffee\, Charles Balbach Chief Curator with Helga Christoffersen\, Cur ator\, AKG Nordic Art and Culture Initiative. LAST-MODIFIED:20260905T002810Z LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States URL:https://thebuffalohive.com/event/buffalo-art-ragnar-kjartansson-politi cs-of-the-obvious/2026-09-06/ X-SOURCE-NAME:PAST EVENTS: 2025 Summer Concert Guide for Buffalo & WNY! X-SOURCE-URL:https://thebuffalohive.com/2025-summer-concert-guide END:VEVENT BEGIN:VEVENT SUMMARY:Buffalo Art: Natvar Bhavsar: 'Free Yourself' DTSTART:20260906T140000Z DTEND:20260906T210000Z DTSTAMP:20260905T002810Z UID:10045395-1788688800-1788714000@thebuffalohive.com CATEGORIES:arts DESCRIPTION:Image above: Natvar Bhavsar (American\, born India\, 1934). R EETVA\, 1968. Painting on paper\, dry pigment\, acrylic medium on rag pape r. 35 x 46 inches (89 x 117 cm). © 2026 Natvar Bhavsar / Artists Rights S ociety (ARS)\, New York. Image courtesy of the artist.  \n  \nOn view Au gust 21\, 2026 through April 4\, 2027. Surveys fifty years of Natvar Bhavs ar’s expressive color-field abstractions made from pure dry pigment\, pr esented simultaneously with the University at Buffalo Art Galleries. Debut s the museum’s two new acquisitions\, RITI-YAA (1969) and KE-RAA (1971). \n\n\n\n\n\nM&T Bank Gallery \n\n\n\n\n\n\n\n\n\nSeymour H. Knox Building \n“I have tried to convey how to free oneself\, using color as a force t o reach towards the beauty and generosity of the material that allows you unlimited expression.”  \nNatvar Bhavsar (American\, born India\, 1934) . KE-RAA\, 1971. Pure pigment on canvas. 87 x 71 inches (221 x 180 cm). Co llection Buffalo AKG Art Museum. Gift of Natvar Bhavsar and Janet Bhavsar\ , 2025. © 2026 Natvar Bhavsar / Artists Rights Society (ARS)\, New York. Photo: Thomas Müller \nNatvar Bhavsar: Free Yourself surveys fifty years of the artist’s expressive abstractions\, inviting viewers to meditate on the power of pure color. Simultaneously presented at the Buffalo AKG Ar t Museum and the University at Buffalo Art Galleries\, the exhibitions res pectively feature works on paper and monumental paintings spanning each de cade of his career. This exhibition also celebrates the debut of the AKG ’s two acquisitions by the artist RITI-YAA (1969) and KE-RAA (1971). \nB havsar’s unique physical process centers on tiny particles of pure\, dry pigment. He begins by soaking the entire canvas in a clear acrylic binder \, then sifts or brushes pigment through handmade tools and fine mesh scre ens\, building up to eighty sealed layers. Air currents\, breath\, and the rhythm of his body as he maneuvers around the surface help shape the fina l image—a carefully controlled dance that produces textured\, smoky surf aces with subtle shifts in color and tone. As Bhavsar describes: \n\n“Wh en I enter my studio\, everything disappears. It’s like I’ve entered a nother world. I experience Nirvana. It’s an incredible gift in which I d isappear\, the studio itself disappears\, New York disappears.”\n\n  \n Natvar Bhavsar (American\, born India\, 1934). VAROONA II\, 1988. Painting on paper\, dry pigment\, and acrylic medium on rag paper. 49 x 39 inches (125 x 99 cm). © 2026 Natvar Bhavsar / Artists Rights Society (ARS)\, New York. Image courtesy of the artist. \nExamined up close\, his dappled su rfaces are palpable\; from a distance\, the color fields float and become atmospheric. Some paintings burst with energy\, while others suggest a bou ndless continuum of color. Unlike other Abstract Expressionists\, who appr oached the sublime through solemnity\, Bhavsar’s path is ecstatic and ce lebratory and rooted in his Indian heritage. His work invokes Holi\, the H indu Spring festival in which revelers douse one another in powdered color s to celebrate the divine love of Radha and Krishna. Later works introduci ng curlicues draw on rangoli—decorative floor patterns of colored powder made during Diwali\, the festival of light. \nBhavsar’s meditative prac tice results in an intensely personal experience that invites endless free association—whether you find yourself peering through a microscope\, wa ndering a Holi celebration\, or gazing from the Hubble telescope is left e ntirely to you. \n  \n  \n  \n\nNatvar Bhavsar: Free Yourself is organi zed by the Buffalo AKG Art Museum and the University at Buffalo Art Galler ies. Its presentation in Buffalo is organized by Katie O’Hara\, Assistan t Curator\, Buffalo AKG Art Museum\, and its presentation at the Universit y at Buffalo Art Galleries is organized by Robert Scalise\, Director\, Uni versity at Buffalo Art Galleries. LAST-MODIFIED:20260905T002810Z LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States URL:https://thebuffalohive.com/event/buffalo-art-natvar-bhavsar-free-yours elf/2026-09-06/ X-SOURCE-NAME:PAST EVENTS: 2025 Summer Concert Guide for Buffalo & WNY! X-SOURCE-URL:https://thebuffalohive.com/2025-summer-concert-guide END:VEVENT BEGIN:VEVENT SUMMARY:Buffalo Art: Ragnar Kjartansson: Politics of the Obvious DTSTART:20260906T140000Z DTEND:20260906T210000Z DTSTAMP:20260905T002810Z UID:10045325-1788688800-1788714000@thebuffalohive.com CATEGORIES:arts DESCRIPTION:Image above: Ragnar Kjartansson (Icelandic\, born 1976). No To morrow\, 2022. Six-channel digital video\; color\, sound\, 4/6 plus 2 arti st’s proofs. Running time: 29 minutes\, 18 seconds. Commissioned by Sigu rður Gísli Pálmason\; based on a commission by the Iceland Dance Compan y. Courtesy of the artists\, Luhring Augustine\, New York and i8 Gallery\, Reykjavik. Collection Buffalo AKG Art Museum. Bequest of Arthur B. Michae l\, 2024 (2024:64).  \nOn view September 3\, 2026 through January 31\, 20 27. One of Icelandic artist Ragnar Kjartansson’s most ambitious U.S. exh ibitions\, with six immersive performance\, video\, and installation works exploring clichés and familiar gestures made strange. Half the works mak e their American museum debut. Curated by Cathleen Chaffee with Helga Chri stoffersen. \n\n\n  \n\n\n\n\n\n\n\n\n\n\nThursday\, September 3\, 2026 –Sunday\, January 31\, 2027 \n\n\n\n\n\nRagnar Kjartansson (Icelandic\, born 1976). Bangemand/Scaredman\, 2023. Live durational performance\; vari able. Courtesy of the artist\, Luhring Augustine\, New York and i8 Gallery \, Reykjavik. Originally presented at the Louisiana Museum of Modern Art. Photo: Louisiana Museum of Modern Art/Poul Buchard\n\n\n\n\n\n\n\n\nJeffre y E. Gundlach Building\nFloor 1\nRagnar Kjartansson works across performan ce\, music\, and image to create shared emotional experiences from otherwi se commonplace or familiar scenes. Politics of the Obvious is one of the c elebrated Icelandic artist’s most ambitious ever exhibitions in the Unit ed States and half of the works are making their American museum debut at the Buffalo AKG. The exhibition centers on a series of deceptively simple refrains\, clichés\, and truisms. In six immersive installations made ove r more than two decades\, Kjartansson transforms such familiar phrases or gestures into experiences that become altogether strange\, provocative\, a nd powerfully moving. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n\nRagn ar Kjartansson (Icelandic\, born 1976). The Visitors\, 2012. Nine-channel HD video projection\; color\, sound. Running time: 64 minutes. Courtesy of the artist\, Luhring Augustine\, New York\, and i8 Gallery\, Reykjavik. P hoto: Elisabet Davids\n\n\n\n\n\nRagnar Kjartansson (Icelandic\, born 1976 ). Bangemand/Scaredman\, 2023. Live durational performance\; variable. Cou rtesy of the artist\, Luhring Augustine\, New York and i8 Gallery\, Reykja vik. Originally presented at the Louisiana Museum of Modern Art. Photo: Lo uisiana Museum of Modern Art/Poul Buchard\n\n\n\n\n\nPrevious slideNext sl ide\n\n\n\n\n\n\n\n\n\n\n\nIn the video Scenes from Western Culture (The B oat) (2015)\, for example\, an elegantly dressed couple repeatedly and lan guidly sets off into a tranquil sea\; the man stays the same while the wom an seems to keep changing. Their evident wealth and ease\, coupled with th e impossible beauty of their setting\, constitute the stuff of glossy trav el brochures\, the carefully constructed advertising tropes that wallpaper an office worker’s imaginary. Such an unachievably perfect two weeks’ vacation was\, of course\, a reward designed to help keep that same worke r productive during the other fifty weeks of the year. Devoid of drama or incident\, Kjartansson’s The Boatembodies the deep-rooted fantasy that l eisure (enjoyed through the brief reprieve of a vacation or more durably a ttained through wealth) will cure what ails us. It illustrates a fiction t hat is as inherent to modernity as our increasingly digital and monitored working lives. \nThe nearby live performance Bangemand / Scaredman (2023) offers a stark counterpoint to the holidaymakers in The Boat. Every day du ring the museum’s open hours\, a man in a tuxedo inches along a narrow l edge high in a gallery\, his body pressed anxiously against the wall. The scenario recalls cinematic tropes—from silent-era physical comedy to mid century thrillers such as Vertigo (1958)—yet Kjartansson strips the scen e of narrative resolution. A clean-cut\, suited figure is typically a sign of masculine authority\, composure\, and control\; in Scaredman\, he inst ead appears beset by unseen and undefined forces. The performance evokes a familiar cultural script in which masculinity is cast as under siege\, tr ansforming a familiar archetype into a meditation on fear\, spectacle\, an d the troubling logic that power sustains itself by staging its own vulner ability. \n\n\n\n\n\n\n\n\n\n\n\n\n\nRagnar Kjartansson (Icelandic\, born 1976). Scenes from Western Culture\, The Boat (Stephan Stephensen\, Krist ín Anna Valtýsdóttir and Gyða Valtýsdóttir)\, 2015. Single-channel v ideo. Running time: 2 hours\, 36 minutes. Courtesy of the artist\, Luhring Augustine\, New York\, and i8 Gallery\, Reykjavik\n\n\n\n\n\n\n\n\n\n\n\n \nIn an interview\, Kjartansson has reflected on the importance of holding opposing emotional registers in place: “There is always this balance be tween irony and sincerity. I think that’s where things become interestin g.” This sensibility runs throughout the works in Politics of the Obviou s. In Me and My Mother (2000–25)\, for example\, a repeated\, confrontat ional act between mother and son becomes a tender record of time passing. In No Tomorrow (2017)\, a group of performers with guitars take up histori c entertainment repertoires while eventually exposing their artifice\, see ming to dance around the fleeting nature of desire itself. The Visitors (2 012) is one of the most beloved artworks of the twenty-first century. In t he virtuosic installation\, musicians each play alone in separate rooms of a decaying mansion in upstate New York. Their voices carry through walls\ , gradually enfolding a shared refrain and transforming the individual int o a temporary collective. Sunday Without Love is a tableau vivant rooted i n traditions ranging from romantic balladry to landscape painting that bui lds into a sustained meditation on loss. \nKjartansson stands in wonder at the world’s contradictions. “I am just totally in awe of the world an d all its mystical beauty and mystical violence\,” he has affirmed. Seen together\, the works in Politics of the Obvious describe a world in which aspiration and anxiety are tightly bound\, with the quest for stability\, beauty\, and rest shadowed by a persistent sense of precarity. By confron ting familiar images throughout the exhibition—of love\, masculinity\, l eisure\, and power—Kjartansson reveals their underlying instability and invites us to dwell in what often remains hidden in plain sight. \n\n\n\n\ n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n[Above: Ragna r Kjartansson (Icelandic\, born 1976). Me and My Mother\, 2000–25. Six s ingle-channel videos\; color\, sound. Running time: variable. Courtesy of the artist\, Luhring Augustine\, New York\, and i8 Gallery\, Reykjavik] \n \nRagnar Kjartansson: Politics of the Obvious is curated by Cathleen Chaff ee\, Charles Balbach Chief Curator with Helga Christoffersen\, Curator\, A KG Nordic Art and Culture Initiative. LAST-MODIFIED:20260905T002810Z LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States URL:https://thebuffalohive.com/event/buffalo-art-ragnar-kjartansson-politi cs-of-the-obvious-3/2026-09-06/ X-SOURCE-NAME:PAST EVENTS: 2025 Summer Concert Guide for Buffalo & WNY! X-SOURCE-URL:https://thebuffalohive.com/2025-summer-concert-guide END:VEVENT BEGIN:VEVENT SUMMARY:Buffalo Art: All I ever wanted was a place - A Centennial Celebrat ion of Robert Creeley DTSTART:20260906T140000Z DTEND:20260906T220000Z DTSTAMP:20260905T062702Z UID:10045131-1788688800-1788717600@thebuffalohive.com CATEGORIES:music DESCRIPTION:On view May 21 through December 7\, 2026. A special installati on marking the centennial of poet Robert Creeley’s birth\, celebrating h is more than forty-year connection to the museum and thirty years living a nd teaching in Buffalo\, in partnership with UB’s Poetics Program\, UB A rt Galleries\, Just Buffalo Literary Center\, and Black Rock Arts. \n  \n \n  \n\n\n\n\n\n\n\n\n\nPoetry Today symposium for The Buffalo Festival o f the Arts Today\, March 5\, 1965\, in the Albright-Knox Art Gallery Audit orium. From left: David Posner (moderator)\, Robert Graves\, William D. Sn odgrass\, and Robert Creeley. Image courtesy of the Buffalo AKG Art Museum Archives.\n\n\n\n\n\n\n\n\nWest Corridor\, Knox Building\nCelebrated Amer ican poet Robert Creeley (1926–2005) had a connection to the Albright-Kn ox Art Gallery (now the Buffalo AKG Art Museum) that spanned more than fo rty years\, from speaking to artist collaborations. His first engagement with the museum was in March 1965\, when he took part in the Poetry Today symposium for The Buffalo Festival of the Arts Today. The sixteen-day eve nt attracted more than 300\,000 guests and received nationwide acclaim. Du ring the symposium\, Creeley stated\, “Whatever provokes in me this resp onse to the innate rhythm of a poem\, whatever it is\, one singly follows one’s own answer\,” expressing his deeply felt and responsive style. \ nThe poet collaborated with some of the most celebrated contemporary artis ts\, forming lasting relationships with them before the actual “work” took place. Artist Alex Katz\, a collaborator on Edges\, stated\, “Worki ng with Bob makes me feel bright.” In May 1972\, Marisol wrote a letter to Creeley after receiving the text for Presences: A Text for Marisol (197 6)\, “It is really amazing how you could do something so close to me fro m seeing me so few times.” Creeley mirrored Marisol’s sculptural proce ss in his prose\, creating what he called an “active complement.” \n “All I ever wanted was a place\,” Creeley writes\, in a 1988 collabora tion with artists Robert Therrien and Michel Butor. The poet arrived in Bu ffalo in 1966\, teaching at the University at Buffalo for more than thir ty years. He was the inspiration behind Just Buffalo Literary Center and went on to co-found UB’s Poetics Program. In his later years\, he was of ten called “the man in Black Rock.” On this centennial of his birth\, we celebrate the indelible mark Creeley made on the literary and artistic life of this place. \n\n\n\n\n\n\n\nRobert Creeley Centenary (2026)\n\nThi s year marks a century since Robert Creeley’s birth. On May 21 and 22\, join us in commemorating his life and work in Buffalo\, where he lived for more than thirty years\, in partnership with the University at Buffalo Po etics Program\, the University at Buffalo Art Galleries\, Just Buffalo Lit erary Center\, and Black Rock Arts. \n\n\n\n\n\n\n\n\n\n  \n\n\n\n\n\nHom e\n\n\n\n\n\n\nBuffalo AKG Art Museum\n1285 Elmwood Avenue\nBuffalo\, New York 14222\nNow Open LAST-MODIFIED:20260905T062702Z LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States URL:https://thebuffalohive.com/event/buffalo-art-all-i-ever-wanted-was-a-p lace-a-centennial-celebration-of-robert-creeley-3/2026-09-06/ X-SOURCE-NAME:PAST EVENTS: 2025 Summer Concert Guide for Buffalo & WNY! X-SOURCE-URL:https://thebuffalohive.com/2025-summer-concert-guide END:VEVENT BEGIN:VEVENT SUMMARY:Buffalo Art: Natvar Bhavsar: 'Free Yourself' DTSTART:20260906T140000Z DTEND:20260906T220000Z DTSTAMP:20260905T062702Z UID:10045622-1788688800-1788717600@thebuffalohive.com CATEGORIES:music DESCRIPTION:Image above: Natvar Bhavsar (American\, born India\, 1934). R EETVA\, 1968. Painting on paper\, dry pigment\, acrylic medium on rag pape r. 35 x 46 inches (89 x 117 cm). © 2026 Natvar Bhavsar / Artists Rights S ociety (ARS)\, New York. Image courtesy of the artist.  \n  \nOn view Au gust 21\, 2026 through April 4\, 2027. Surveys fifty years of Natvar Bhavs ar’s expressive color-field abstractions made from pure dry pigment\, pr esented simultaneously with the University at Buffalo Art Galleries. Debut s the museum’s two new acquisitions\, RITI-YAA (1969) and KE-RAA (1971). \n\n\n\n\n\nM&T Bank Gallery\n\n\n\n\n\n\n\n\nSeymour H. Knox Building\n “I have tried to convey how to free oneself\, using color as a force to reach towards the beauty and generosity of the material that allows you un limited expression.”  \nNatvar Bhavsar (American\, born India\, 1934). KE-RAA\, 1971. Pure pigment on canvas. 87 x 71 inches (221 x 180 cm). Coll ection Buffalo AKG Art Museum. Gift of Natvar Bhavsar and Janet Bhavsar\, 2025. © 2026 Natvar Bhavsar / Artists Rights Society (ARS)\, New York. Ph oto: Thomas Müller \nNatvar Bhavsar: Free Yourself surveys fifty years o f the artist’s expressive abstractions\, inviting viewers to meditate on the power of pure color. Simultaneously presented at the Buffalo AKG Art Museum and the University at Buffalo Art Galleries\, the exhibitions respe ctively feature works on paper and monumental paintings spanning each deca de of his career. This exhibition also celebrates the debut of the AKG’s two acquisitions by the artist RITI-YAA (1969) and KE-RAA (1971). \nBhavs ar’s unique physical process centers on tiny particles of pure\, dry pig ment. He begins by soaking the entire canvas in a clear acrylic binder\, t hen sifts or brushes pigment through handmade tools and fine mesh screens\ , building up to eighty sealed layers. Air currents\, breath\, and the rhy thm of his body as he maneuvers around the surface help shape the final im age—a carefully controlled dance that produces textured\, smoky surfaces with subtle shifts in color and tone. As Bhavsar describes: \n\n“When I enter my studio\, everything disappears. It’s like I’ve entered anoth er world. I experience Nirvana. It’s an incredible gift in which I disap pear\, the studio itself disappears\, New York disappears.”\n\n  \nNatv ar Bhavsar (American\, born India\, 1934). VAROONA II\, 1988. Painting on paper\, dry pigment\, and acrylic medium on rag paper. 49 x 39 inches (125 x 99 cm). © 2026 Natvar Bhavsar / Artists Rights Society (ARS)\, New Yor k. Image courtesy of the artist. \nExamined up close\, his dappled surfac es are palpable\; from a distance\, the color fields float and become atmo spheric. Some paintings burst with energy\, while others suggest a boundle ss continuum of color. Unlike other Abstract Expressionists\, who approach ed the sublime through solemnity\, Bhavsar’s path is ecstatic and celebr atory and rooted in his Indian heritage. His work invokes Holi\, the Hindu Spring festival in which revelers douse one another in powdered colors to celebrate the divine love of Radha and Krishna. Later works introducing c urlicues draw on rangoli—decorative floor patterns of colored powder mad e during Diwali\, the festival of light. \nBhavsar’s meditative practice results in an intensely personal experience that invites endless free ass ociation—whether you find yourself peering through a microscope\, wander ing a Holi celebration\, or gazing from the Hubble telescope is left entir ely to you. \n  \n  \n  \n\nNatvar Bhavsar: Free Yourself is organized by the Buffalo AKG Art Museum and the University at Buffalo Art Galleries. Its presentation in Buffalo is organized by Katie O’Hara\, Assistant Cu rator\, Buffalo AKG Art Museum\, and its presentation at the University at Buffalo Art Galleries is organized by Robert Scalise\, Director\, Univers ity at Buffalo Art Galleries. LAST-MODIFIED:20260905T062702Z LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States URL:https://thebuffalohive.com/event/buffalo-art-natvar-bhavsar-free-yours elf-3/2026-09-06/ X-SOURCE-NAME:PAST EVENTS: 2025 Summer Concert Guide for Buffalo & WNY! X-SOURCE-URL:https://thebuffalohive.com/2025-summer-concert-guide END:VEVENT BEGIN:VEVENT SUMMARY:Buffalo Music: The Terrace at Delaware Park — JazzBrunch Sundays DTSTART:20260906T153000Z DTEND:20260906T183000Z DTSTAMP:20260905T062702Z UID:10025472-1788694200-1788705000@thebuffalohive.com CATEGORIES:music DESCRIPTION:Enjoy Buffalo’s longest-running Sunday Jazz Brunch every wee kend at The Terrace’s historic location at Marcy Casino on Delaware Park Lake\, behind the Buffalo AKG Art Museum. Listen to a rotating cast of We stern New York’s favorite jazz musicians while indulging in The Terrace ’s award-winning brunch menu\, from 11:30 am to 2:30 pm. LAST-MODIFIED:20260905T062702Z LOCATION:The Terrace at Delaware Park Casino\, 199 Lincoln Parkway\, Buffa lo\, NY\, 14222\, United States URL:https://thebuffalohive.com/event/the-terrace-at-delaware-park-jazzbrun ch-sundays-hosted-by-jazzbuffalo-2/2026-09-06/ X-SOURCE-NAME:PAST EVENTS: 2025 Summer Concert Guide for Buffalo & WNY! X-SOURCE-URL:https://thebuffalohive.com/2025-summer-concert-guide END:VEVENT BEGIN:VEVENT SUMMARY:Buffalo Music: Sean Patrick's: Queen City Jass Society DTSTART:20260906T210000Z DTEND:20260907T000000Z DTSTAMP:20260905T062702Z UID:10018956-1788714000-1788724800@thebuffalohive.com CATEGORIES:music DESCRIPTION:Queen City Jass Society monthly presentation at Sean Patrick ’s. LAST-MODIFIED:20260905T062702Z LOCATION:Sean Patrick’s\, 3480 Milersport Highway\, Getzville\, NY\, Uni ted States URL:https://thebuffalohive.com/event/sean-patricks-queen-city-jass-society /2026-09-06/ X-SOURCE-NAME:PAST EVENTS: 2025 Summer Concert Guide for Buffalo & WNY! X-SOURCE-URL:https://thebuffalohive.com/2025-summer-concert-guide END:VEVENT BEGIN:VEVENT SUMMARY:Buffalo Music: Press Play Vol. 3: Nothing But Anthems DTSTART:20260906T220000Z DTEND:20260907T000000Z DTSTAMP:20260905T062702Z UID:10042007-1788717600-1788717600@thebuffalohive.com CATEGORIES:music DESCRIPTION:The latest installment in the acclaimed Press Play series\, sh owcasing a collection of high-energy tracks that capture the essence of co ntemporary anthems across pop and electronic genres. LAST-MODIFIED:20260905T062702Z LOCATION:Electric City\, 433 Pearl Street\, Buffalo\, NY\, 14202\, United States URL:https://thebuffalohive.com/event/buffalo-music-press-play-vol-3-nothin g-but-anthems/ X-SOURCE-NAME:PAST EVENTS: 2025 Summer Concert Guide for Buffalo & WNY! X-SOURCE-URL:https://thebuffalohive.com/2025-summer-concert-guide END:VEVENT BEGIN:VEVENT SUMMARY:Buffalo Music — Nietzsche's: Anne Philippone’s Piano Party DTSTART:20260906T220000Z DTEND:20260907T000000Z DTSTAMP:20260905T062702Z UID:10019678-1788717600-1788724800@thebuffalohive.com CATEGORIES:music DESCRIPTION:6:00 PM  8:00 PM\n\n\n\n  \n\n\n\n\n\n\n\nSunday’s ar e best spent with music on\, and Anne Philippone brings her barrelhouse bl ues & boogie piano playin’ every single Sunday from 6-8pm in our front r oom! \nMusic @ 6pm\nNo Cover\nEvery Sunday \nThis is a recurring event tha t may be affected by holidays\, weather and other factors. LAST-MODIFIED:20260905T062702Z LOCATION:Nietzsche’s\, 248 Allen St\, Buffalo\, 14201\, United States URL:https://thebuffalohive.com/event/anne-philippones-piano-party-nietzsch es-buffalo-11-24-2024/2026-09-06/ X-SOURCE-NAME:PAST EVENTS: 2025 Summer Concert Guide for Buffalo & WNY! X-SOURCE-URL:https://thebuffalohive.com/2025-summer-concert-guide END:VEVENT BEGIN:VEVENT SUMMARY:Buffalo Music: Drivin N Cryin wsg Laid Back Country Picker – Spo rtsmen's DTSTART:20260906T220000Z DTEND:20260907T010000Z DTSTAMP:20260905T062702Z UID:10041610-1788717600-1788728400@thebuffalohive.com CATEGORIES:music DESCRIPTION:Sportsmens presents \nDrivin N Cryin \nwsg Laid Back Country P icker \nSunday\, September 26\, 2026 4pm Doors\, 6pm Showtime \n$30.00 ($3 3.70 Online) \n \n \nDrivin N Cryin is an enduring American rock band whos e roots-forward sound and uncompromising\nspirit have made them a vital fo rce since forming in Atlanta\, Georgia in 1985. Blending Southern\nrock gr it\, folk storytelling\, and hard-charging rock & roll\, the band built a reputation early on as a must-see live act and a songwriter’s band with depth far beyond trends. \nLed by singer-songwriter Kevn Kinney and anchor ed by bassist Tim Nielsen and drummer Dave\nJohnson\, Drivin N Cryin broke through nationally with a run of influential albums that helped define la te-’80s and early-’90s American rock. Songs like “Fly Me Courageous\ ,” “Honeysuckle Blue\,” “Straight to Hell\,” “Build a Fire\, ” and “Scarred But Smarter” became staples of rock and AAA radio\, w ith Fly Me Courageous earning Gold certification and remaining a cornersto ne of the band’scatalog. \nWhile they emerged during the MTV era\, Drivi n N Cryin never disappeared. Over four decades\,\nthey’ve remained a con sistently touring\, recording band — releasing new music\, evolving thei r\nsound\, and cultivating a loyal\, multigenerational audience. Their inf luence extends well beyond\ntheir own recordings\; “Straight to Hell” found new life through covers and collaborations that\nintroduced the song to entirely new audiences. \nThe band’s stature is reflected in both pe er respect and formal recognition\, including induction into the Georgia M usic Hall of Fame\, as well as Kinney’s induction into the Milwaukee Mus ic Hall of Fame. Touring history includes shared stages with artists spann ing multiple eras and genres\, The Who\, Hootie & The Blowfish\, The Black Crowes\, ZZ Top\, Soul Asylum\, Blackberry Smoke\, The\nMarshall Tucker B and\, Jason Isbell\, along with recent appearances on destination events l ike Rock Boat\, Outlaw Country Cruise\, and Moon Crush. \nTheir latest alb um\, Crushing Flowers\, marks a deliberate return to the band’s core. St ripped back to the original three-piece\, the record favors clarity\, chem istry\, and feel over excess — a confident\, back-to-basics statement fr om a band that knows exactly who it is. Rather than chasing nostalgia or n ovelty\, Crushing Flowers reinforces what has always set Drivin N Cryin ap art: honest songs\, emotional weight\, and the unmistakable sound of a ban d still fully engaged in the work. \nNearly forty years in\, Drivin N Cryi n remains a living\, breathing American rock band — not a revival act\, not a footnote\, but a continuing story still being written. \n \nLaid Bac k Country Picker and Honey are the Hillbilly Power Duo. Picking up where t he White Stripes left off\, they deliver a blistering show\, equal parts 7 0s Guitar Rock\, Honky Tonk and Country Punk. They have toured internation ally\, opening for the likes of Deep Purple as well as playing festivals a nd clubs across the US. Blurring the lines with wit\, humor and hot pickin g\, LB is his own genre.   \nImagine Waylon Jennings sitting in with Mot orhead. LAST-MODIFIED:20260905T062702Z LOCATION:Sportsmen’s Tavern\, 326 Amherst Street\, Buffalo\, NY\, 14207\ , United States URL:https://thebuffalohive.com/event/buffalo-music-drivin-n-cryin-wsg-laid -back-country-picker-sportsmens/ X-SOURCE-NAME:PAST EVENTS: 2025 Summer Concert Guide for Buffalo & WNY! X-SOURCE-URL:https://thebuffalohive.com/2025-summer-concert-guide END:VEVENT END:VCALENDAR