In the early 1980s, the Albright-Knox offered a series of Advanced Placement Drawing courses for area high-school students.

In the 1960s, the Albright-Knox wrote to a selection of artists to ask for statements about their work. R. B. Kitaj responded with thoughts about his painting Walter Lippmann.

In September 1955, the Albright Art Gallery hosted World at Work 1930–1955, an exhibition of more than fifty paintings, watercolors, and drawings originally commissioned by Fortune magazine.

In his intricate compositions, Kelly Wallace aims to capture the universal beauty of the landscape while also acknowledging the manmade world’s decline and imminent potential for collapse.

On Wednesday, February 12, 1986, Dr. Monroe Fordham gave a talk on “The Afro-American Diaspora: Harriet Tubman, ‘Moses of Her People.’”

Betsy Casañas's new #AKPublicArt mural is inspired by the mixed and integrated Latinx community she encountered in Buffalo.

Tam Van Tran blurs the boundaries between painting, drawing, and sculptural practices by merging traditional materials—such as canvas, paper, and paint—with decidedly less conventional ones—including algae, beet juice, eggshells, spirulina, and staples.

In June 2008, artist Ingrid Calame led a team of ten local students in a series tracing sessions at various sites in the community.

On the occasion of Joe Bradley's mid-career survey at the Albright-Knox, we're taking a closer look at each of the artist’s diverse bodies of work from the past decade, beginning with his modular paintings. 

Oriental Adventure was a week-long series of Chinese pottery and calligraphy demonstrations organized in conjunction with the exhibition Far Eastern Art in Upstate New York.

On the occasion of Joe Bradley's mid-career survey at the Albright-Knox, we're taking a closer look at each of the artist’s diverse bodies of work from the past decade, including his abstractions.

James Drake’s drawings, videos, and prints are fueled by his interest in the various forms of language.