In Koffler301’s inaugural exhibition, Sage Szkabarnicki-Stuart uses goats, pigeons, and plastic bags to strange, slapstick effect, blurring the boundary between the mundane and the magical.
In conjunction with her career retrospective now at Koffler Arts, Elana Herzog speaks with curator and longtime friend Jessica Stockholder about 1970s New York, the misunderstandings of formalism, and the evolution of a practice decades in the making.
The images of British photographer Nadia Lee Cohen are by now widely recognizable—for their mannered artifice and cosplaying celebrity subjects. But are they saying anything more than "Look at me"?
The survey exhibition Electric Op, now at the Buffalo AKG, reconsiders the short-lived and oft-derided Op art movement within a sixty-year trajectory of digital and new media art making.
The doubles and divided selves who populate the world of Severance are no less fragmented than the ones we inhabit everyday. Carl Wilson unravels the TV show's eeriest truths.
In No Fault, Haley Mlotek searches for the language of love’s quiet undoing—from grief to the unexpected grace that comes with choosing to leave a marriage. Patrick Pittman traces what happens when cultural expectations, legal reform, and literary form converge in the finality of divorce.
Maybe true artistic freedom isn’t about about perseverance, but knowing exactly when to stop. Jowita Bydlowska reflects on the decision by her mentor and friend Barbara Gowdy to quit writing.
Revisiting Cynthia Ozick’s writings on Helen Keller and Anne Frank, both included in the writer’s new career-spanning essay collection, are reminders that all Ozick’s tales feel like cautionary ones—it’s just not always clear what to avoid or how.
Actor, director, and playwright Christopher Morris on the intensive research and moral questioning behind his play The Runner, opening this week in a new production presented by Koffler Arts.
