“Indigenous women from the Shahsevan tribal Confederacy camped in their tents (Alachiq) in their summering grounds. They display a two-humped Bactrian camel. The Shahsevan have an age-old relationship with these camels, which have served as transport on their migratory routes for centuries. The Shahshevan believe that the camels bring blessings to their lands, which are an important habitat of the Bactrian camel.”

A new photoessay put together by international organizations Cenesta and Global Forest Colition showcases Indigenous Peoples and local communities in Iran acting as stewards of natural resources and nature through participartory and counter mapping procedures of their own lands, made possible in part by Indigenous Peoples’ and Community Conserved Territories and Areas (ICCAs).

To view the entire photo collection and to learn more about this empowering and visually beautiful process documented by Cenestna, click here.

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The July 28th closing reception for Hope And Fear: Using Art Therapy to Cope in Times of Transition, the collaborative exhibit between ¡Buen Vivir! Gallery and Art Therapy Buffalo, was once again packed with enthusiastic participants.  Inside, people contributed their hopes and fears to the interactive sculpture, while outside, participants were guided through an exercise about tolerance.  People of all ages enjoyed the event.  Photos from the evening are below.

If you never got a chance to see the exhibit while it was still up at ¡Buen Vivir!, or you just want to see it again, the entire exhibit is now available online.

 

 

 

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(To read more on the exhibit, please go to the Current page)

June was not only the opening of our new collaborative art exhibition with Art Therapy Buffalo, “Hope and Fear: Using Art Therapy to Cope in Times of Transition,” but it also brought us the annual Pride and Arts festivals. This has been a very unique and hands on exhibition, offering visitors and passersby alike at all of these events the opportunity to view and participate in the art. If you missed any of our opening events, fear not! Join us at our closing reception on Friday, July 28th from 6-9pm, or stop by for “Ask an Art Therapist” during open hours at the gallery on Saturdays from 10am-2pm in July! As always, contact us anytime to to schedule another viewing opportunity.

To see the live performance art piece by one of the exhibiting art therapists at the opening reception, click here.

There will be an encore interactive performance at the closing reception on Friday July 28th, around 7:30pm – come join us!

In the meantime, enjoy some of these photos captured during this month’s opening reception and Pride weekend events:

 

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*6_LangellePhotographs by Orin Langelle

The Opening Reception for Are Humans Disappearing by photographer Orin Langelle takes place from 6 to 9 p.m. on First Friday May 5th at the ¡Buen Vivir! Gallery for Contemporary Art in Buffalo at 148 Elmwood Avenue.  Wine and hors d’oeuvres will be available.  Exhibit closes May 26th.

The theme of the exhibit Roadmap to Extinction: Are Humans Disappearing? is the possibility of human extinction if serious steps are not taken.

It was first shown in 2009 in Copenhagen, Denmark during the annual UN Climate Convention. Its original theme was climate change and its threat to human kind.

These are not the usual photographs one associates with climate change: ice caps and glaciers melting or polar bears adrift.

Others viewers commented that the exhibit reflects our fleeting existence. The photos depict a progression of images moving in stages from recognizable human forms to figures almost completely unrecognizable.

Today the images continue to reveal that, in the age of Trump, we face an existential crisis in which humanity itself may well be rapidly disappearing.

The photographs in Roadmap to Extinction: Are Humans Disappearing? were shot in October 2008 in the Gothic Quarter of Barcelona, Spain. They were inspired by a International Union for the Conservation of Nature (IUCN) conference happening there where Shell Oil sponsored the climate justice pavilion. The photos reflect the sublime absurdity of the world’s dirtiest companies offering so called ‘solutions’ to social and ecological crises.

The photos also expose the reality that time and space are fleeting and we are on this planet for only a brief time, so we should use that time meaningfully.

After the Opening Reception the show is by appointment only. For an appointment, please call +1.716.931.5833.

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Peter Beard and Jackie Kennedy Onassis walk through crowd during the opening of The End of the Game – The Last Word from Paradise

MARCH 10, 2017 – The prominent online daily photo magazine L’Œil de la Photographie, of Paris and New York today published all of the photographs from Orin Langelle’s 2015 exhibit The End of the Game: The Last Word from Paradise – Revisited.

Langelle’s photos document photographer Peter Beard’s first one-person show at the International Center of Photography in Manhattan in 1977, including his 40th birthday party at Studio 54.

The photographs and accompanying article can be viewed in L’Œil de la Photographie
MARCH 10, 2017 – WRITTEN BY Anna Winand:

The End of the Game, Revisited English

Fin de partie – Dernier message du Paradis, Revisité French

About Langelle’s Exhibit:

Over four months Langelle photographed Beard and the people, many celebrities, that were part of Beard’s life prior to and during the exhibit’s installation and the subsequent opening, plus Beard’s 40th birthday party at Studio 54 in January of 1978.

Langelle’s photographs are of events surrounding Beard’s 1977’s The End of the Game. The ICP installation consisted of Beard’s photographs, elephant carcasses, burned diaries, taxidermy, African artifacts, books and personal memorabilia.

In the early 60s Beard worked at Kenya’s Tsavo National Park, during which time he photographed and documented (illegally) the demise of over 35,000 elephants and 5,000 Black Rhinos.

With the support of the Peter Beard Studio, ¡Buen Vivir! Gallery presented this exhibition to commemorate the 50th anniversary of Beard’s book, The End of the Game – The Last Word from Paradise.

Langelle’s exhibit can be viewed at ¡Buen Vivir! Gallery for Contemporary Art

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Buffalo, NY– On January 27, CEPA Gallery (Contemporary Photography & Visual Arts Center) opened the 2017 CEPA Gallery Members’ Exhibition. Photographers Natalie Dilenno and Orin Langelle received the 2017 Exhibition Awards.

2017 Exhibition Award winner Natalie DiIenno Underground Gallery

2017 Exhibition Award winner Natalie DiIenno
CEPA Underground Gallery

Both Langelle and Dilenno will have a solo exhibit at the CEPA Gallery in 2018. CEPA Gallery’s 2017 Members’ Exhibition features the photography and photo-related work of some of Western New York’s most talented artists. The exhibit runs until March 4, 2017.

The juror was Maiko Tanaka, the new Executive Director at Squeaky Wheel Film and Media Arts Center.

2017 Exhibition Award winner Orin Langelle Underground Gallery

2017 Exhibition Award winner Orin Langelle
CEPA Underground Gallery

Langelle is the Director of the ¡Buen Vivir! Gallery for Contemporary Art and Langelle Photography in Buffalo, NY. Langelle also serves as the Strategic Communications Director of Global Justice Ecology Project.

Langelle Photography and the ¡Buen Vivir! Gallery for Contemporary Art are part of Global Justice Ecology Project’s Social Justice Media Program.

Orin Langelle is a concerned photographer, who for four decades has been documenting social and environmental struggles.

Since 1972 Langelle has documented peoples’ resistance to war, corporate globalization, ecological destruction and human rights abuses. His first photographic assignment was to cover the protests against the Vietnam War at the 1972 Republican National Convention in Miami Beach. Langelle’s Exhibition Award photograph was from that first assignment (below).

 

Republican National Convention—Miami Beach, FL 1972. Wounded soldier from Vietnam Veterans Against the War (VVAW) in a wheelchair during protests against the RNC. Photo: Langelle

Republican National Convention—Miami Beach, FL 1972. Wounded soldier from Vietnam Veterans Against the War (VVAW) in a wheelchair during protests against the RNC. Photo: Langelle

Langelle says, “I approach my role as concerned photographer by not merely documenting the struggle for social and ecological justice, but by being an active part of it. This has enabled me to garner the trust of many of the subjects I have documented, allowing me access that would not have been possible otherwise. In this way, I have been able to expose the truth that is so often hidden by the powers of injustice.”

He continues, “My work is an historical look at social movements, struggle and everyday life.  It is designed to counter the societal amnesia from which we collectively suffer—especially with regard to the history of social and ecological struggles. This is not merely a chronicling of history, but a call out to inspire new generations to participate in the making of a new history.  For there has been no time when such a call has been so badly needed.”

When asked about her Exhibit Award photo, Natalie DiIenno says, “I’ve been studying Yves Kline and appropriated that image because he influences my work so much.”

She continued, “I’ve been making blue artworks recently, so he’s been a major reference for the blue and his concepts that deal with the notion of the ‘void’. A whole. That image is just a more literal explanation of this idea than his blue paintings (and my blue abstract photographs).”

[Note]: Many in the art world consider Yves Klein the most influential, prominent, and controversial French artist to emerge in the 1950s. He is remembered above all for his use of a single color, the rich shade of ultramarine that he made his own: International Klein Blue. Klein (1928 – 1962) said, “The imagination is the vehicle of sensibility. Transported by the imagination, we attain life, life itself, which is absolute art.”


Photographs of Natalie DiIenno and Orin Langelle, courtesy CEPA Gallery.

The CEPA Gallery is located at 617 Main Street, Buffalo, NY 14203. Viewing hours are Monday–Friday, 9:00 a.m. – 8:00 p.m. and Saturday, 10:00 a.m. – 5:00 p.m.

More about CEPA after the current exhibits:

Other Exhibits that Opened January 27 at CEPA

David Jaan: I See People

David-Jaan-Portfolio-Featured-Image

Lingxiang Wu: A Modern Flaneur’s Possession

Linxiang-Wu-Portfolio-Featured-Image

Exterior Views: The Richardson Olmsted Complex

Cepa_Gallery_Lavin_Thomas_Towers_DetailsandAbstractions_first_place-1

Located in Buffalo’s historic Market Arcade Complex, CEPA Gallery is a full-service contemporary photography and visual arts center with impact in both the local and national communities serving approximately 300,000 individuals annually.

With four galleries of changing exhibits and events, multimedia public art installations, arts education programs, and an open-access darkroom and digital photo lab, CEPA creates a vibrant presence in the heart of downtown Buffalo.

CEPA’s programs are made possible with public funds from the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature and the National Endowment for the Arts.

Originally incorporated as the Center for Exploratory and Perceptual Art to serve as a community darkroom and exhibition space, CEPA Gallery was founded during the Alternative Space Movement in May 1974 by recent graduates of the University of Buffalo.

Throughout its history, CEPA has strived to reflect the creative priorities for working artists, while growing to accommodate the educational and social needs of Western New York’s diverse community. Over the years, CEPA has evolved into a nationally recognized arts center that is truly international in scope, but regional in spirit. It is now one of the oldest and largest not-for-profit photography-based arts centers in the United States.

CEPA remains dedicated to photography and the photo-related and electronic arts, and has developed its programs and opportunities to provide working artists, urban youth, and other individuals with the necessary programs and facilities for the production and reception of contemporary art.

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Buffalo, NY–CEPA Gallery (Contemporary Photography and Visual Arts Center) announced the 2017 CEPA Gallery Members’ Exhibition. This year’s exhibition opened on Friday, January 27, 2017. The exhibit runs until March 4, 2017.

CEPA Gallery’s 2017 Members’ Exhibition features the photography and photo-related work of some of Western New York’s most talented artists.

The juror was the new executive director at Squeaky Wheel Film and Media Arts Cenrter’s Maiko Tanaka.

2017 Exhibition Award winner Natalie DiIenno Underground Gallery

2017 Exhibition Award winner Natalie DiIenno
Underground Gallery

2017 Exhibition Award winner Orin Langelle Underground Gallery

2017 Exhibition Award winner Orin Langelle
Underground Gallery

Two photographers, Natalie Dilenno and Orin Langelle received the 2017 Exhibition Awards.

They will both have a solo exhibit at the CEPA Gallery in 2018.

Langelle is the Director of the ¡Buen Vivir! Gallery for Contemporary Art and Langelle Photography in Buffalo, NY.



A full article will be coming soon.





Other Exhibits that Opened January 27

David Jaan: I See People

Lingxiang Wu: A Modern Flaneur’s Possession

Exterior Views: The Richardson Olmsted Complex

Big Orbit – A CEPA Gallery Project Space

In late 2013, Big Orbit Gallery and their programs officially merged with CEPA Gallery. This strategic initiative will safeguard the mission and history of Big Orbit, while ensuring the continued growth of the region’s only program dedicated to the art and artists of Western New York.

BIG ORBIT’S HISTORY

A REGIONAL ORGANIZATION WITH A NATIONAL AUDIENCE

Since its inception in 1991, Big Orbit Gallery has been an artist-run arts center dedicated to transcultural, multidisciplinary explorations of contemporary art issues, with its primary focus being the promotion of the art and artists of Western New York.

Through programming that ranges everything from painting and performance art to architectural installations and live sound sculpture, Big Orbit extends the legacy of artistic innovation historically associated with Buffalo, providing a basis for the creation of new boundary-pushing work. The gallery encourages the under-represented, emerging and established artists in the community through solo exhibition opportunities, and curated group exhibits promoting social awareness.

By embracing many artistic disciplines, including visual, performance, and media arts, Big Orbit takes great pride in establishing a creative dialogue between artists and community while raising awareness of the arts developing in Western New York.

TEN YEARS OF SPIN ON WESTERN NEW YORK ART

An Essay by Elizabeth Licata

There had been an art gallery at 30 Essex Street since the 1970s . . . [I]t played a small but significant role in the Buffalo art scene—with the usual peaks and valleys—until late 1990, when it simply ran out of steam.

In stepped artists Katrin Jurati and Alan Van Every, then renting studio space in the Essex Street Complex. Jurati and Van Every decided to take over . . . revitalizing a mission and identity that up until then had been loosely-defined. In effect, they not only brought the gallery back to life, they gave it a personality.

They called the gallery Big Orbit . . . the astrological metaphor suggested the connectivity of artists and art spaces, big and small, revolving in the same cultural sky.

By the end of their tenure as Big Orbit co-directors, Jurati and Van Every had completed the process for the gallery to become its own 501(c)(3) organization. And another pair of young artists was ready to step in.

Read the complete essay.

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Buffalo, NY–Just days before the Presidential election, photojournalist and ¡Buen Vivir! Gallery for Contemporary Art Director Orin Langelle will speak about his timely new exhibit If Voting Changed Things [1] during a First Friday artist’s talk at the Allentown gallery. The talk will take place at 7 p.m. on November 4th at 148 Elmwood Avenue in Buffalo. The event will include a reception from 6 to 9 p.m. including wine and hors d’oeuvres.

If Voting Changed Things documents protests at the Republican National Convention in Miami in 1972 as well as protests at the Republican and Democratic National Conventions in New York City and Boston in 2004. This exhibit was timed to coincide with this year’s contentious election, and explores avenues for political change open to the public that are outside of the electoral system.

“The current uprising in Standing Rock, where indigenous peoples are trying to stop a new oil pipeline set to cross indigenous territory, is using many forms of direct action to protect sacred lands,” said Anne Petermann, Executive Director of Global Justice Ecology Project. [2] She continued, “The tactics used in this uprising, from civil disobedience to blockades of construction equipment, provide a stark contrast to the focus on the election as the sole option for having a say in what our future looks like.”

According to photographer Orin Langelle, “This Presidential election surely qualifies as one of most bizarre and fraudulent bread and circus reality shows ever designed to distract attention from the very real perils we collectively face.” Langelle added, “Clearly it demonstrates the need for fundamental systemic change. In the eleven elections since I shot those first protest photos at the Republican National Convention in 1972, things have only gotten worse. But not just worse. Catastrophic. We stand on the abyss of runaway climate change and are in the midst of the Sixth Great Extinction. Institutional racism is even more ingrained–with Buffalo being one of the most segregated cities in the U.S.”

David Reilly, a professor at Niagara University recently reviewed the exhibit [3] and said, “If Voting Changed Things… marginalized groups wouldn’t be in the streets. The electoral process in America has produced and validated a government that has produced institutional racism, militarization within and from our society, mass incarceration, crippling debt, perpetual war, homelessness, a failed health care system, eroding and ineffective education, and environmental exploitation.”

The exhibit is on display until December 2nd at the ¡Buen Vivir! Gallery for Contemporary Art. [4]

Contact: Kip Doyle, Media Coordinator, +1.716.931.5833 (office), +1.716.867.4080 (mobile) <kip@globaljusticeecology.org>

Notes:

[1] If Voting Changed Things

[2] Global Justice Ecology Project

[3] Reilly reviewed the exhibit for CounterPunch’s Weekend Edition on October 28th Complete the Sentence: an Exploration of Orin Langelle’s “If Voting Changed Things…”  and The Public on November 2nd At Buen Vivir: “If Voting Changed Things”

[4] The ¡Buen Vivir! Gallery for Contemporary Art was founded with the mission to utilize art and photography to present an historical look at movements for change, struggle and everyday life. It is designed to counter the societal amnesia from which we collectively suffer—especially with regard to the history of social and ecological movements and issues, and to inspire new generations to participate in the making of a better world.

The name of the gallery, ¡Buen Vivir!, is a concept stemming from Indigenous and other cultures of the Southern Americas. ¡Buen vivir! means life in harmony between humans, communities, and the Earth–where work is not a job to make others wealthier, but for a livelihood that is sustaining, fulfilling, and in tune with the common good. to utilize art and photography to present an historical look at movements for change, struggle and everyday life. It is designed to counter the societal amnesia from which we collectively suffer—especially with regard to the history of social and ecological movements and issues, and to inspire new generations to participate in the making of a better world.

¡Buen Vivir! Gallery for Contemporary Art, 148 Elmwood Avenue, Buffalo, NY, +1.716.931.5833 buenvivirgallery.org

¡Buen Vivir! Gallery is part of the Social Justice Media Program of Global Justice Ecology Project

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