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Past Exhibitions

    • The Natalie and Irving Forman Collection

      May 6–July 3, 2005

      The Natalie and Irving Forman Collection celebrated the significant gift of paintings, sculptures, and works on paper that was recognized at The Buffalo Fine Arts Academy’s Annual Meeting on October 8, 2003. The Formans, married for fifty-eight years, began collecting contemporary art in the 1950s.

    • Beyond/In Western New York 2005

      April 30–June 19, 2005

      The Albright-Knox Art Gallery has been organizing exhibitions dedicated to artists living and working in the Western New York region since 1934. Beyond/In Western New York 2005 continued the Gallery’s commitment to regional artists, and in an ambitious effort to expand the scope of the project, the geographic parameters for eligible artists was extended to Southern Ontario, North Eastern Ohio, North Western Pennsylvania, and Western and Central New York.

    • Georgia O'Keeffe and New Mexico: A Sense of Place

      January 28–May 8, 2005

      Georgia O’Keeffe and New Mexico: A Sense of Place organized by the Georgia O’Keeffe Museum, Santa Fe, New Mexico, was the first exhibition to present Georgia O’Keeffe’s paintings in conjunction with recent photographs of the actual locations that inspired a number of the works in this exhibition. The juxtaposition of the paintings with photographs sheds a new light on her representational style; one deeply committed to abstraction but somehow also true to the color, form, and sublimity of the New Mexico landscape.

    • Clyfford Still: Paintings from the Collection

      February 18–April 10, 2005

      The Gallery owns thirty-three paintings by Clyfford Still–the largest public collection of the artist’s work and an ensemble that spans the most critical developments of his career from 1937 to 1963.

    • Cover to Cover: Works and Words at the Albright-Knox Art Gallery

      December 11, 2004–April 3, 2005

      Cover to Cover: Works and Words at the Albright-Knox Art Gallery explored the relationship between the written word and the artistic image by examining themes that highlight the variety of forms and media used in the production of contemporary “works on paper.” The works in this exhibition ranged from artists books and photography to etchings and lithography.

    • In Focus: Themes in Photography

      September 24, 2004–January 30, 2005

      In Focus: Themes in Photography examined the Gallery’s extensive collection of photographs through a thematic lens. Combining nineteenth-century historic works with recent acquisitions of contemporary photography, this exhibition highlighted the Gallery’s commitment to the photographic medium for more than nine decades, which began in 1910 with an exhibition of work by Alfred Stieglitz.

    • English Prints from the Collection

      June 26–December 13, 2004

      This exhibition comprised a selection of post-war English printmaking from the rich holdings of the Albright-Knox Art Gallery’s permanent collection. Artists such as Frank Auerbach, Patrick Caulfield, William Stanley Hayter, Barbara Hepworth, Patrick Heron, David Hockney, Howard Hodgkin, Magda McHale, Henry Moore, Ben Nicholson, Eduardo Paolozzi, Victor Pasmore, and Bridget Riley were featured.

    • Bodily Space: Works from the Permanent Collection

      July 17–October 17, 2004

      Bodily Space: Works from the Permanent Collection, a sequel to the Rodin installation, confirmed the relevance of Rodin’s innovations while demonstrating the remarkable variance of a figurative tradition since the turn of the last century.

    • Bodily Space: New Obsessions in Figurative Sculpture

      April 20–September 7, 2004

      Bodily Space: New Obsessions in Figurative Sculpture was a compelling counterpart to Rodin: A Magnificent Obsession. By exploring the cultural relevance of the figurative tradition in art, this exhibition addressed overlapping themes that Rodin tackled a century prior such as the effect of space, context, and size on one’s perception of the sculptural body; the fine line between humor and horror; the uneasy merging of biology and technology; and the continuing relevance of narrative drama and abstraction in contemporary art.

    • Rodin: A Magnificent Obsession-Sculpture from the Iris and B. Gerald Cantor Foundation

      April 20–July 3, 2004

      The origin of modern sculpture begins with Rodin and the reaction he provoked by reconfiguring the human form. Before him, figurative sculpture had been wedded to the classical canons of beauty and form. No previous sculptor had envisioned or conceived the human figure as a fragmented or partial entity, nor had they explored sexuality and eros with such candid conviction.