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Installation view of Ken Price: Slow and Steady Wins the Race, Works on Paper, 1962–2010. Photograph by Tom Loonan.

Ken Price: Slow and Steady Wins the Race, Works on Paper, 1962–2010

Friday, September 27, 2013
Sunday, January 19, 2014

1905 Building

Co-organized by the Albright-Knox and The Drawing Center, this exhibition included more than 60 works on paper by the sculptor Ken Price (American, 1935–2012), many of which had rarely been exhibited. While the artist is best known for his sculpture, which draws heavily on traditional Mexican ceramics and the Southwestern folk art that the artist grew up with, this exhibition offered a rare look at his dedication to the medium of drawing. Including a “Friends of Ken Price” gallery featuring works from the Albright-Knox’s renowned collection, Slow and Steady Wins the Race highlighted the museum’s ongoing engagement with Price’s influential work.

Born in Los Angeles, Price began his artistic career at the age of 18 at Santa Monica City College, going on to earn his MFA from the New York State College of Ceramics at Alfred University in 1959. After his first solo exhibition in 1960, his sculpture continued to affect the art world through exhibitions all over the world. A member of the West Coast community for most of his life, Price helped to foster the eruption of the contemporary art scene in Los Angeles in the 1960s.

Ken Price: Slow and Steady Wins the Race, Works on Paper, 1962–2010 opened at The Drawing Center, New York, on June 19, 2013, and was on view there through August 18, 2013. After leaving the Albright-Knox, the exhibition traveled to the Harwood Museum of Art, Taos, New Mexico, where it was on view from February 22 to May 4, 2014.

This exhibition was co-organized by the Albright-Knox Art Gallery and The Drawing Center. It was organized at the Albright-Knox by Chief Curator Douglas Dreishpoon.

Exhibition Sponsors

This exhibition was made possible, in part, by an award from the National Endowment for the Arts.

Major support for the exhibition and accompanying catalogue was provided by the Matthew Marks Gallery, Dedalus Foundation, James Corcoran, Tracy Lew, and Beth Rudin DeWoody. Additional funding is provided by Franklin Parrasch, Suzanne Deal Booth and David G. Booth, and Sara Szold. 

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