CEPA Gallery is proud to announce the purchase of ten student artworks by the Alliance Art Committee of the Roswell Park Cancer Institute. This will be the 2nd time photos from CEPA’s youth program have been purchased by the Art Committee. The students from CEPA’s after-school program at Highgate Heights Elementary, McKinley High School and Summer Photo Camps will each receive awards of $75.00 in addition to the honor of being selected to be in the permanent art collection of the Roswell Park Cancer Institute. The ten photographs are beautiful 16 by 20 inch color digital prints, selected from hundreds of images created during CEPA Gallery’s award-winning arts education program from 2015. These photographs will enhance the quality of life for patients and families for years to come. [divider] [one-half] [caption id="attachment_10656" align="alignnone" width="667"] Photo by Abril[/caption] [/one-half] [one-half last] [caption id="attachment_10665" align="alignnone" width="667"] Photo by Z-Nyi[/caption] [/one-half] [divider] [one-half] [caption id="attachment_10664" align="alignnone" width="667"] Photo by Sophie[/caption] [/one-half] [one-half last] [caption id="attachment_10663" align="alignnone" width="667"] Photo by Odrianna[/caption] [/one-half] [divider] [one-half] [caption id="attachment_10662" align="alignnone" width="667"] Photo by Jillian[/caption] [/one-half] [one-half last] [caption id="attachment_10661" align="alignnone" width="667"] Photo by Ja'nyia[/caption] [/one-half] [divider] [one-half] [caption id="attachment_10660" align="alignnone" width="667"] Photo by Jane[/caption] [/one-half] [one-half last] [caption id="attachment_10659" align="alignnone" width="667"] Photo by Erykah[/caption] [/one-half] [divider] [one-half] [caption id="attachment_10658" align="alignnone" width="667"] Photo by Carly[/caption] [/one-half] [one-half last] [caption id="attachment_10657" align="alignnone" width="667"] Photo by Anakin[/caption] [/one-half] [divider] For over 20 years, CEPA Gallery

CEPA and the Valley Community Association collaborated on a program working with eight girls to identify positive role models in their lives. After choosing a role model they photographed (learning how to use SLR cameras and strobe lights) them as well as wrote essays as to why they chose that person. The next part of the program focused on the girls themselves. They were asked to take self-portraits (as opposed to selfies), showing what they find most beautiful about themselves, whether inside or out. The program culminated in a reading and exhibit at Valley. Nikki Gorman and Karen Lewis team taught this program. Here are some quotes from their essays: This project made me realize that me and my dad have a very important relationship. I also realized that I really love photography. I loved being able to take pictures of my dad when he was laughing, to catch him at the right moment so that you really can get a feeling of the picture. I liked writing about all my different role models and narrowing it down. I am very fortunate to have more than one person to pick from. Taking the pictures of my dad really inspired me to

CEPA is pleased to present Resemblance and Representation, an exhibition of photographs and digital works by multi-disciplinary artist Frank O’Connor. This exhibition will run from January 29 — March 5, 2016. RESEMBLANCE AND REPRESENTATION: FRANK O'CONNOR AT CEPA by Jack Foran of The Public Buffalo / Feb. 17, 2016 Some of Frank O’Connor’s photos currently on display at CEPA seem plain and straightforward enough. Some often quite spectacular aerial views of urban built environment, and some nature images. Others are harder to figure. One looks a little like stir-fry. Another like rice noodles in close-up. But it’s the apparently plain and straightforward ones you have to watch out for. Watch out for tricks. One of the more spectacular photos—an aerial view of a huge stretch of the West Side, looking toward downtown—Niagara Street, the canal, Unity Island, toward the Erie Basin Marina and Coast Guard Station lighthouse in the distance—can clue you in to the kind of trickery. A wonderful photo, grand-scale, sepia-toned. But then as you gaze at it—admire it—gradually you perceive—begin to perceive—something’s amiss. Not quite right. Where’s the Peace Bridge? You think, it must be just out of frame. But no, it should be right in the middle of the picture, south of Unity Island, north of

Totems for a Flattened Now, an exhibition of photographs by Bay area-based artist Nando Alvarez-Perez, was chosen by Photo District News, a publication for photo professionals as a feature exhibition in their "Photo of the Day" section. Instagram “is probably my biggest influence, or at least what’s going into my eyes the most on a daily basis,” Nando Alvarez-Perez recently told an interviewer. The effected is visible in his exuberant strain of still life, which uses an everything-all-at-once esthetic to mash together cultural references from art history, pop culture and digital technology. His series “Totems for a Flattened Now,” on view until March 5 at CEPA Gallery in Buffalo, features bits of classical sculpture pictured in the studio or found in incongruous spots, and makes a comparison between the enduring nature of these iconic stones and the digital world’s brief half-life. The photos, Alvarez-Perez writes in a statement, “explore the ways by which images, myths and symbols are recycled, transformed, and re-represented according to our culture’s ever changing needs and desires.” In one photo, Venus on the Half Shell poses in front of a pet store goldfish tank, as if emerging from its waters; in another, a photo of Venus de Milo is set among fake

CEPA Gallery is very pleased to have had its Summer 2015 Hollis Frampton exhibition named as one of the Best Gallery Shows of 2015 by Blouin Artinfo International. The global leader in arts news and commentary has been rolling out year-end lists since mid-December and has selected the Hollis Frampton exhibition as its 5th best exhibition in 2015, saying

1st place photo "Curving Walkway" by Frank Grace THE RICHARDSON CENTER CORPORATION AND CEPA GALLERY ANNOUNCE PHOTOGRAPHY CONTEST WINNERS & EXHIBITION Buffalo, NY—The Richardson Center Corporation and CEPA Gallery are delighted to announce the winners of the inaugural Richardson Olmsted Complex Photography Contest. The images will be presented in the CEPA Gallery exhibition, Interior Views: The Richardson Olmsted Complex, on view from Saturday, November 21, 2015 through Friday, December 17, 2015 at CEPA Gallery at 617 Main Street in the historic Market Arcade Building. The exhibition kicks off with an opening reception on Saturday, November 21, 2015 from 7:00-10:00 p.m. Both the exhibition and the opening reception are free and open to the general public. 40 photographs have been selected for display at CEPA Gallery in the exhibition Interior Views: The Richardson Olmsted Complex. Three winning photographs were chosen: Curving Walkways (First Place, by Frank Grace of Acushnet, MA), Hoping (Second Place, by Maureen Jameson of Amherst, NY), and Fading

CEPA is pleased to share the first of 8 video profiles of our 2015 CSA artists. This video features an interview with artist Anne Muntges for CEPA Gallery's innovative Community Supported Art (CSA) program, which commissioned eight Buffalo, NY-based artists to produce fifty “CSA shares” comprised of eight artworks each. Season One of CEPA's CSA features artists: Joel Brenden, Kyle Butler, Fotini Galanes, Megan Metté, Anne Muntges, Stacey Robinson, Marshall Scheuttle, and virocode – an impressive roster of locally-based, emerging artists, practicing in a variety of mediums, all with a national or international exhibition history. [divider] [button link="/community-supported-art-2015/" target="_self" color="highlight"] Visit CEPA's Community Support Art Main Page[/button] [button link="" target="_self" color="highlight"] Visit Anne Muntges' Webpage[/button]

CEPA Gallery is pleased to announce its receipt of a $7,500 grant from the Artis Grant Programs to support CEPA’s forthcoming exhibition, Place Relations: Identity in Contemporary Israeli and Arab Avant-Garde Art. Place Relations: Identity in Contemporary Israeli and Arab Avant-Garde Art is a two-part exhibition — running back to back and spanning our Summer 2016 and Fall 2016 exhibition seasons — of contemporary avant-garde photographic, video, media installation, and sound art featuring work by Israeli and Arab artists. Functioning as an analog to the current political and cultural divide between Israeli and Arab cultures, this curatorial effort seeks to elaborate, broaden, and humanize one of the most geo-politically charged topics facing our time. Some of the most prominent contemporary artists currently practicing — whose practices, age, and experiences vary broadly — have been selected in order to best illustrate the complex range of experiences within each respective community. CEPA Gallery Artistic Director and co-curator of the exhibitions David Mitchell remarked, “It is truly a tremendous honor to have been selected for support by Artis. The topic of Israeli/Arab relations has become so reduced by statistical and political analysis that nearly all semblance of humanity or the complex individual character of the

In conjunction with the their current exhibition at CEPA Gallery, Gregory Jones, founding editor of In the In-Between sat down with artists Gregory Halpern & Ahndraya Parlato to discuss their work. Gregory Jones: East of the Sun, West of the Moon is a collaborative series between the both of you, and the photographs were all made on the Solstices and Equinoxes of 2012 and 2013. Can you talk about how the idea to collaborate came together, and what made each of you want to pursue this project? Ahndraya Parlatto: The initial idea was mine. I was actually trying to think of a way that Gregory could shoot whatever he wanted, wherever he wanted, but still have some sort of loose cohesion. He was quick to point out that the nature of the project was actually well suited to my work, and so we decided to do it together. I think we were both excited to have a break from what we usually do, and to be forced to take ownership of making images that were ours, but also not entirely so. What I mean by ours, but not entirely so, is that it was important to us that we sort