In his Portrait of Postman Roulin, Vincent van Gogh captured an image of his friend in his full, utterly unique humanity.
Each Wednesday this month we're highlighting five women artists with works in our collection. This week we focus on artists whose works are included in our current exhibition We the People: New Art from the Collection.
Exhibition Spotlight: Morgan Law on Dan Halter’s Rifugiato Mappa del Mondo (Refugee Map of the World)
As part of We the People: New Art from the Collection, the Albright-Knox asked members of the community for their thoughts on works in the exhibition. Morgan Law chose Dan Halter’s Rifugiato Mappa del Mondo (Refugee Map of the World).
Karima Amin, storyteller and founder/director of Prisoners Are People Too, Inc., reflects on Hank Willis Thomas’s We The People.
Yuji Agematsu’s zip: 01.01.06 . . . 06.30.06 is an unconventional portrait of a very specific time and place: January 1 through June 30, 2006, in New York.
Educator Ebony Pope reflects on Njideka Akunyili Crosby’s “The Beautyful Ones” Series #5.
With Loud Tactile Painting, Yaacov Agam aimed to disrupt the traditional rules of the art museum.
Sopheap Pich's Cycle, on view as part of We the People: New Art from the Collection, traces the connections between the human and natural worlds.
Subodh Gupta's This is not a fountain combines used pots and pans and working faucets to speak to the transformation of family and community in contemporary India.
Giant Steps: Artists and the 1960s includes some of the mainstays of the Albright-Knox's collection, like Jasper Johns's Numbers in Color, 1958–59, and Roy Lichtenstein's Head—Red and Yellow, 1962.
Robert Indiana's Hartley Elegies commemorate the seventy-fifth anniversary of the German soldier Karl von Freyburg’s death and his relationship with Marsden Hartley.