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Charles Clough's Paintings at UB Center for the Arts

by Jack Foran
Artist Charles Clough has little regard for the idea of originality. “Originality is merely theoretical,” he has written, “all things originate in other things.” Yet his artwork looks not quite like anything ever seen or done before. Mighty swirls and smears and blots of disparate colors, and forms that defy formal description. Monster forms that seem to emerge of their own accord out of the blots and smears and swirls, as original creations.

WNY Members of the National Collage Society at Meibohm Fine Arts Gallery

by J. Tim Raymond
Collage, along with assemblage and other nuanced forms of organized arrangements of illusionistic space, is gradually making a stronger impact on the contemporary art world. Helped in no small part by graffiti, street art, and the recent assimilation of “outsider” art, collage is gaining wider appreciation within the mainstream of aesthetic pursuits. Contemporary clandestine artists like Britain’s Banksy have released the notion of appropriated space from its bureaucratic constrictions as well as conferred respectability on street artists. Spray-painting graphic images stenciled on public wall surfaces in a playfully coy kind of populism, Banksy’s merchandising marketability has reached wealthy patrons concerned with progressive issues making him, ironically, a highly visible artist.

Hallwalls Science & Art Cabaret Looks at Holograms

by Cory Perla
On Monday morning a video emerged online of rapper Snoop Dogg performing onstage next to Tupac Shakur at the Coachella Festival, which took place over the weekend in Indio, California. Shakur rose up through the floor of the stage, gave a shout-out to Snoop Dogg, then looked toward the crowd and said “What up, Coachella?” before performing “Hail Mary”—the rapper’s final single before his death.



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