Squeaky Wheel Film & Media Art Center Access | Education | Exhibition Est. 1985 in Buffalo, NY
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ALT Blue and orange light curved around a flecked surface. On top of the image are the logos of Squeaky Wheel and the New York State Council of the Arts and the words “Breath Worlds. Kalpana Subramanian”.
ALT A group of people gather outdoors around a small bonfire at dusk. Children are running and playing. Fireworks light up the sky. Text reads, "Free Mentorship & Consultation Service - Field of Vision."
ALT An image with text underneath. The text states: “Now online. Heard Everywhere But Here by Amy Ching-Yan Lam. A newly commissioned essay for the exhibition Jordan Lord | The Voice of Democracy, which was on view at Squeaky Wheel November 10, 2023–March 8, 2024. The image is a view of the installation of Jordan Lord’s exhibition “The Voice of Democracy” in Squeaky Wheel’s gallery space. On the left is “I Didn’t Set Out to Make a Film About Religion”, a red projected image on a wall, with a red color field and the captions “‘We Heart New College”, people holding cameras, police officers”. On the far end of the room is a person looking at a dimly lit television screen wearing headphones, featuring “An All-Around Feel Good”. On the television are a tree and captions underneath.
ALT An image with text underneath. The text states: “The image of your father speaking through you—despite, or because of, his own silence—perfectly illustrates the functioning of ideology. The pain and tenderness requisite in attempting to transform that speech is expressed in Jordan’s description of a close-up photograph that their mother took of a hug between them and their father, after they won the contest: ‘My mom takes the photo almost as if she’s inside the hug, but also outside it.’’ - Amy Ching-Yan Lam”. The image is a still from “How Is It That You Frame Old Glory In Your Mouth?”. Jordan and their father Albert are hugging in a photograph from the mid-2000s, taken by their mother Deborah. Albert’s face mostly fills the frame, as they hug in profile to the camera. He looks ahead with his mouth open, as he tells Jordan something. It might be a smile or he might be tearing up. A caption on the bottom of the still says “It also does not name who and what sacrificed them.”
![An image with text underneath. The text states: “[Jordan Lord’s films] don’t hide from the audience the material conditions of art. They note in ‘How Is It That You Frame Old Glory In Your Mouth?’ that it’s the first film that they ever got funding for. The short film ‘An All-Around Feel Good’ seems to be comprised mostly of footage shot on a phone or consumer-grade camera, and ‘I Didn’t Set Out to Make a Film About Religion’ consists only of solid colours and text. This approach lends the work a sense of lightness—there isn’t an overwrought form or attachment to production value; what’s prioritized is the speed at which ideas move and actions have consequences.’ - Amy Ching-Yan Lam”. The image is a still from the film “An All-Around Feel Good”. An image of the Colorado State Fair, taken from the bleachers on a bright sunny day. “Belonging to the nation-state is not premised on seeing or attending.”](https://pbs.twimg.com/media/Gagts5qXsAAr2mo.jpg?name=orig)
ALT An image with text underneath. The text states: “[Jordan Lord’s films] don’t hide from the audience the material conditions of art. They note in ‘How Is It That You Frame Old Glory In Your Mouth?’ that it’s the first film that they ever got funding for. The short film ‘An All-Around Feel Good’ seems to be comprised mostly of footage shot on a phone or consumer-grade camera, and ‘I Didn’t Set Out to Make a Film About Religion’ consists only of solid colours and text. This approach lends the work a sense of lightness—there isn’t an overwrought form or attachment to production value; what’s prioritized is the speed at which ideas move and actions have consequences.’ - Amy Ching-Yan Lam”. The image is a still from the film “An All-Around Feel Good”. An image of the Colorado State Fair, taken from the bleachers on a bright sunny day. “Belonging to the nation-state is not premised on seeing or attending.”
ALT White text on a dark background: Open to filmmakers, artists, curators, scholars, among others working in media arts, Squeaky Wheel’s Workspace Residency provides time, support, and equipment access for new or in-progress projects. We aim to support our residents’ careers and continue our relationships after the residency has concluded. Former residents have been invited to present exhibitions, performances, screenings, among other activities.
ALT White text on a dark background: The two-week Spring 2025 session offers residents with up to $1200 in stipends and artist fees, accommodations, $400 in travel support, and optional financial assistance for child-care and/or disability support.
ALT White text on a dark background: Spring 2025 residency dates: April 4–19, 2025 Application period: Open September 23. Deadline Friday, October 25. In-person info-session: Saturday, September 21, 3 pm Virtual info-session: Monday, September 23, 12 pm ET Notification date: December 1, 2024 Learn more, sign up for the info-sessions and/or one-on-one feedback meetings with the curator, and apply at squeaky.org
ALT A billboard on a sunny winter day, with leafless trees and some vegetation. Train tracks intersect the photograph. The billboard, mostly in yellow, features a haiku, credited to Jason Livingston and Phoebe A. Cohen: “No one noon, look up! Do you know that I loved you in the sun’s absence?” Vertical lines in gradients of orange and yellow are next to the hashtag #InthePathofTotality, and Squeaky Wheel’s logo.