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Timothy Frerichs Maps a Proposed Wind Farm in Arkwright

by Jack Foran
Timothy Frerichs’ semi-abstract art gets down to artistic nitty-gritty. It’s about mapmaking, which is to say, more basically, representation, re-presentation, the presentation of reality in an alternate format. All artworks are maps. Of something, whether tangible or intangible. Maybe of a mountain, maybe of a pot of flowers, maybe of a face. Maybe of simply an idea in the artist’s head. The most specific representations—specific in a technical sense—we call maps. But they are all maps. But beyond what we might call the technical aspect, representations have what we might call an emotive aspect. Some representations more than others. But they all have it to some extent. Even the specifically designated maps.

Buffalo on the Bowery: Manhattan Benefit Auction for PUSH Buffalo and Hallwalls

by J. Tim Raymond
Christy Rupp gave me a ride back home one fall day in the late 1970s, after a Doc Watson Concert at the Maryland Institute College of Art, where we were both attending grad school. Now I’m writing about her as one of a considerable handful of Buffalo attenuated artists whose works have been chosen by curator and Buffalo-based artist Julian Montague for a benefit auction at the Charles Bank Gallery in Soho on behalf of PUSH Buffalo and Hallwalls.

How Painter Amy Greenan Restores Abandoned Houses

by So Eun Kim
One notable aspect of the houses featured in Buffalo-based painter Amy Greenan’s work is the way they stray from their “real-life” prototypes. These are the aged houses in Buffalo that have been abandoned, with the weathered facades and sagging beams to prove it. Most of them have been deprived of human touch and quietly sit, boarded up, disheveled, gathering dust and detritus. Removed from the public eye, these houses forlornly sink into the ground.



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