Albright-Knox Art Gallery: Past Exhibitions, 2013—Present

The exhibition history for the Buffalo Fine Arts Academy and the Albright-Knox Art Gallery from 2013-present.

The Albright-Knox Art Gallery's 150-year tradition of collecting, conserving, and exhibiting the art of its time has given rise to one of the world’s most extraordinary art collections. Thomas Hoving, art historian and former director of the Metropolitan Museum of Art, New York, said that "the Albright-Knox Art Gallery should be on everyone’s list to see, for it’s an overwhelming art experience. Small, intimate, and seductive, the museum has one of the most thumping modern and contemporary collections in the world.";xNLx;;xNLx;All textural information stated in this time line © The Buffalo Fine Arts Academy, Albright-Knox Art Gallery, Buffalo, N.Y.

2012-07-27 10:18:58

Beauty, Life, and Spirit: A Celebration of Greek Culture

2012-08-21 10:18:58

Decade: Contemporary Collecting, 2002—2012

2013-01-19 10:18:58

Looking Out and Looking In: A Selection of Contemporary Photography

2013-01-26 10:18:58

Agnes Martin: The New York - Taos Connection (1947-1957)

2013-01-26 10:18:58

Dennis Maher: House of Collective Repair (2012-2013 Artist-in-Residence Exhibition)

2013-02-16 10:18:58

Kelly Richardson: Legion

2013-05-03 10:18:58

In: Introspection, Interaction

2013-05-31 10:18:58

Sweet Dreams, Baby! Life of Pop, London to Warhol

2013-06-21 10:18:58

R.B. Kitaj: Don't Listen to the Fools

2013-06-21 10:18:58

Trine Lise Nedreaas: Yana and Noname

2013-07-03 10:18:58

Robert Therrien

2013-08-16 10:18:58

Cubes and Rectangles, Boxes and Containers

2013-09-27 10:18:58

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

2013-10-04 10:18:58

Kota Ezawa: REDRAWN

Kota Ezawa (German, born 1969) recontextualizes images from art history and popular culture in animated videos, slide projections, light boxes, collages, and works on paper. Ezawa believes that “it is more interesting to look at something you know than to look at something you don’t know.” By appropriating videos and images from pivotal events in American history—such as the arresting silent film of the motorcade assassination of President John F. Kennedy recorded by Abraham Zapruder, or footage of the verdict announcement at the conclusion of the O. J. Simpson murder trial—in addition to commonplace images of American consumer life—such as in A Space of Your Own, 2007—Ezawa creates viewing experiences that are based on the familiar and laden with cultural significance.

2013-10-04 10:18:58

Millie Chen: The Miseries & Vengeance Wallpapers

The first iteration of Millie Chen’s Miseries & Vengeance works debuted in the exhibition Surveyor at the Albright-Knox Art Gallery in 2011; it consisted of hand-drawn imagery printed and applied directly on the walls of two adjacent galleries. The Miseries & Vengeance Wallpapers reproduces the imagery used for the original work as wallpaper, printed from high-resolution digital photography by Biff Henrich / IMG_INK. The Miseries & Vengeance Wallpapers was proposed for acquisition and acquired for the Gallery’s Collection in March 2013. This exhibition is facilitated by Curatorial Assistant Laura Brill.

2013-11-17 10:18:58

Anselm Kiefer: Beyond Landscape

Anselm Kiefer: Beyond Landscape explores the interplay of history, identity, and landscape in the work of one of the most important artists of our time. Several major works by Kiefer (German, born 1945) form the core of the exhibition. These include the Albright-Knox’s newly acquired der Morgenthau Plan (The Morgenthau Plan), 2012, a monumental panorama inundated with wildflowers that proliferate in the landscape surrounding the artist’s studio complex in Barjac, France; die Milchstrasse (The Milky Way), 1985­–87, an iconic depiction of a desolate, barren field; and Von der Maas bis an die Memel, von der Etsch bis an den Belt (From the Maas to the Memel, from the Etsch to the Belt), 2011–12, a seascape of epic proportions on loan to the museum.

2014-01-30 10:18:58

Millie Chen: Tour

Tour, 2014, an audio-video installation that contemplates arguably “healed” genocide sites, provokes the question: How can we sustain the memory of that which has become invisible? How can we possibly represent such horrific history and maintain the critical specificity of the local within a narrative about the global? Events that occurred over the last century retain heat as some victims and perpetrators are still alive, and justice, truth, and reconciliation processes are still underway. Yet, with the passage of this amount of time, these genocidal events are already archived as history—we have gained some distance from them, and have even started forgetting: Murambi, Rwanda (April 16–22, 1994); Choeung Ek, Cambodia (April 17, 1975–January 7, 1979); Treblinka, Poland (July 23, 1942–October 19, 1943); Wounded Knee, U.S.A. (December 29, 1890).

2014-03-07 10:18:58

One Another: Spiderlike, I Spin Mirrors

This exhibition, drawn primarily from the Albright-Knox Art Gallery’s Collection, considers the creative impulses of some of the most influential female artists of our time. Taking its title from a photograph by Janine Antoni (Bahamian, born 1964) and the poem “Childless Woman” by Sylvia Plath (American, 1932–1963), it focuses on the reciprocal nature of relationships, both real and imagined, and the complexity of their cultivation, sustainability, and occasional destruction. Human relationships evolve within social contexts that play a critical role in defining their parameters and possibilities. The artists assembled in One Another are ever mindful of the social roles they inhabit as women and as artists, and their works provide moments for reflection upon our own relationships and humanity.

2014-05-02 10:18:58

Albrecht Dürer: Highlights from the Collection

Albrecht Dϋrer: Highlights from the Collection presents works by the German artist Albrecht Dϋrer (1471–1528) in celebration of the quincentennial of Dϋrer’s Melencolia I, 1514. In addition to Melencolia I, this exhibition includes a selection of five prints depicting key moments in biblical history, a common theme in Dϋrer’s work. They include: St. Jerome in Penitence, ca. 1497; The Prodigal Son, 1535; The Virgin and Child with a Monkey, ca. 1498; and St. Eustace, ca. 1501.

2014-05-31 10:18:58

Ellie Ga: It Was Restored Again

Ellie Ga (American, born 1976) bases her narrative projects on historical and geographical explorations that span a wide range of media, including performance, photography, video, sculpture, and installations. Ga uses these tools to probe the distinctions between documentary and fiction, personal and civic histories, textual and visual information, and photography and film. Her most recent series of works, “Square, Octagon, Circle,” 2012–14, uses the ancient Pharos Lighthouse of Alexandria, Egypt, as a point of departure. This exhibition—Ga’s first solo exhibition in an American museum—features two new works from this series: Sayed and It Was Restored Again.

2014-06-21 10:18:58

Lucas Samaras: Reflections

The Albright-Knox Art Gallery acquired Lucas Samaras’s (American, born Greece, 1936) groundbreaking Room No. 2 in 1966, the same year it was created. Room No. 2 (popularly known as the Mirrored Room) was one of the earliest installation artworks designed for viewers to enter, rather than simply look at, and it was the first such immersive environment to become part of a museum collection.

2014-07-05 10:18:58

Sincerely Yours: Treasures of the Queen City

Buffalo is home to an extraordinary collection of modern and contemporary art, and the Albright-Knox Art Gallery enjoys a worldwide reputation for showcasing these treasures. From 2014 to 2015 the Albright-Knox is proud to present a national tour of more than seventy masterworks from the Collection. This exhibition of renowned artworks—including paintings by Paul Gauguin, Vincent van Gogh, Salvador Dalí, Frida Kahlo, Jackson Pollock, Mark Rothko, and Andy Warhol—opened in March 2014 at the Denver Art Museum to overwhelming critical acclaim.

2014-07-11 10:18:58

Printed Editions in the Sixties and Seventies: LeWitt, Roth, Ruscha

In the 1960s and 1970s, a time of great political and socioeconomic change, artists’ books gained new prominence as an alternative medium. Books—relatively inexpensive to produce, with the potential to be printed in large editions—enabled artists to disseminate their ideas to a broad audience. At the same time, the book format allowed artists to engage viewers in an intimate way and to bypass traditional exhibition venues.

2014-09-27 10:18:58

Tacita Dean: The Friar’s Doodle

Tacita Dean’s (British, born 1965) practice combines the hand of the artist with historical elements and narratives, resulting in films and drawings that suggest a joining together of the past, present, and future. Dean achieves this through the visual eloquence of her filmic works, which are first and foremost an exploration of the medium (typically 16-millimeter film) and how viewers connect to it. About this desired encounter, she has stated, “With film you look, and with video you just see.” Like experimental filmmakers Paul Sharits (American, 1943–1993) and Michael Snow (Canadian, born 1928), Dean is not afraid to make slow-paced films in which not much happens. By stepping outside of what has come to be expected of the moving image, particularly in fast-paced and dramatic Hollywood cinema, Dean is able to capture the more subtle, haunting elements of daily existence—such as the metamorphosis of light in a landscape or the poetic movements of two intertwined dancers.

2014-11-09 10:18:58

Imperfections by Chance: Paul Feeley Retrospective, 1954–1966

By the time of his death, Paul Feeley (American, 1910–1966) had achieved a level of recognition that far exceeded the twelve-year trajectory of his mature work. Honored during his lifetime by multiple solo exhibitions at the Tibor de Nagy Gallery and the Betty Parsons Gallery, and two years after his death by a full-bodied retrospective at the Solomon R. Guggenheim Museum, Feeley produced idiosyncratic abstractions that are the timely subject of a major retrospective organized by the Albright-Knox Art Gallery.

2014-11-09 10:18:58

Giving up One's Mark: Helen Frankenthaler in the 1960s and 1970s

Helen Frankenthaler (American, 1928–2011) had her first solo exhibition at Tibor de Nagy Gallery in 1951, an exhibition that synthesized the most radical aspects of works by Arshile Gorky, Willem de Kooning, and Jackson Pollock, with ambitious canvases of textured surfaces, pale color, and calligraphic drawing. The following year, with Mountains and Sea, 1952, she created another kind of painterly space by staining unprimed canvas with oil paint while allowing telltale signs of drawing to remain.

2014-12-13 10:18:58

Arturo Herrera: Little Bits of Modernism

Selected from the Albright-Knox Art Gallery’s substantial holdings by Arturo Herrera (Venezuelan, born 1959), this exhibition gives prominence to the artist’s multifaceted practice.

2015-01-22 10:18:58

David Adamo

David Adamo (American, born 1979) is an expert transformer of materials. His roughly carved cedar sculptures are formally elegant abstractions that reveal his fascination with the accidental and even surreal shapes he observes in nature. These include trees gnawed by beavers, stumps hollowed by woodpeckers, and earth mounded by termites. He also makes humorous and unexpected small-scale sculptures, such as orange peels made of bronze and green packing peanuts meticulously modeled in ceramic.

2015-01-22 10:18:58

Robert Heinecken: Surrealism on TV

Conceptual photographer Robert Heinecken (American, 1931–2006) immersed his practice in popular culture, creating a monumental body of provocative, photo-based work that critiques the aesthetics of conventional photography. Heinecken often referred to himself as a paraphotographer, given that his images were usually sourced from photographs taken by other people. Working in a cross-disciplinary approach, placing his work outside the traditional practices commonly associated with the medium, he utilized images culled from the mass media and reanimated them as collages, prints, sculptures, and, later in his career, videos. Exploring issues around commercialism, sex, and gender, Heinecken rose to prominence in Los Angeles in the 1960s and carved a path for other artists also using appropriation as a basis of their practice, including Barbara Kruger (American, born 1945), Sherrie Levine (American, born 1947), and Richard Prince (American, born 1949). His work has also influenced a bevy of contemporary artists who source imagery from the Internet to explore questions of originality and the culture of viral, image-based memes perpetuated by Web users.

2015-03-08 10:18:58

Overtime: The Art of Work

From its sweat, danger, and drudgery, to its heroism, daring, and pride, the labor of others has fascinated artists throughout the modern period; work is one of art’s most enduring subjects. How and why artists choose to represent work, however, changed fundamentally with the mid-nineteenth century’s rise of industrialized labor, a phenomenon that coincided with the development of Realism and Impressionism, heralds of modernism in the arts. While some artists reacted with nostalgia, romanticizing traditions and artisanal trades, others eschewed such idealization, bringing dignity to workers with frank portrayals of those whose load would not be lightened by this newly mechanized era. Some artists documented norms and working conditions in a straightforward manner—simply making workers visible has itself been a strategy—while others openly advocated for greater equity and social development. In recent years, many artists have drawn attention to the embodied experience of work, finding new ways to represent often “invisible” jobs such as shipping or sanitation, or highlighting the dramatic transformations information technology has brought to our working lives.

2015-03-08 10:18:58

Eye to Eye: Looking Beyond Likeness

Drawn entirely from the Albright-Knox’s extensive collection of portraits, Eye to Eye: Looking Beyond Likeness features more than sixty-five works in painting, photography, sculpture, and video. This comprehensive exhibition of captivating depictions from the late eighteenth century to post-modernity explores the evolution of Western portraiture by delving into the complex network of social conventions and artistic practice that have shaped the genre. History is rife with traditional images of royal and bourgeois culture that exemplify an artist’s ability to characterize the beauty, power, virtue, and wealth of the sitter. Yet this history also boasts a break with convention as artists begin to explore more innovative ways to embody individuality. Turning to their inner circles and unknown models, they began, at the same time, to reconsider composition and employ new media.

2015-03-20 10:18:58

Jeff Koons: Gazing Ball (Charity)

The Albright-Knox was recently presented with an exclusive opportunity to exhibit a new work by Jeff Koons (American, born 1955), who is recognized for his dynamic and sometimes provocative sculptural practice. Koons made Gazing Ball (Charity) for a 2014 auction to benefit Project Perpetual, an organization that advocates for children identified as high-risk by the United Nations Foundation. Often inspired by the history of art, Koons directly based this sculpture on a painting by one of his major artistic influences: Pablo Picasso (Spanish, 1881–1973). La Soupe, 1902, was created at the height of Picasso’s Blue Period and depicts a little girl reaching for a steaming bowl of soup held by a second figure, possibly her mother.

2015-05-22 10:18:58

Shayne Dark: Natural Conditions at the Buffalo and Erie County Botanical Gardens

Shayne Dark (Canadian, born 1952) is known for using locally sourced and natural elements such as branches, limbs, roots, and tree trunks to create surreal and astounding sculptures. His work prizes nature as inspiration for his abstract and colorful forms. Situating Dark’s monumental works in and around the Buffalo and Erie County Botanical Gardens’ Lord & Burnham–designed conservatory, itself nestled within a landscape originally crafted by Frederick Law Olmsted, provides a remarkable opportunity to harness the Gardens’ existing natural drama. Dark’s striking use of bold color is meant to complement and enhance the organic surroundings, bringing art and nature together in a magnificent and harmonious display.

2015-06-09 10:18:58

Kaarina Kaikkonen: We Share a Dream, 2015

2015-06-13 10:18:58

Dan Colen: Shake the Elbow

This installation debuts a new group of colorful abstract paintings by the New York–based artist Dan Colen (American, born 1979). Inspired by the Abstract Expressionist painters, especially Jackson Pollock (American, 1912–1956), who form the cornerstone of the Albright-Knox Art Gallery’s Collection, Colen translates the gestures of action painting into piles, globs, and skeins of multicolored chewing gum. As Colen has said, “A lot of my work is about what’s abstract and what’s pictorial. Is it bubblegum, or is it an abstract painting using bubblegum? The energy comes from walking that line.”

2015-06-20 10:18:58

Screen Play: Life in an Animated World

Animation permeates twenty-first century culture; from movies and television to videogames and advertising, it fills virtually all of the screens ubiquitous in contemporary life. Screen Play: Life in an Animated World is the first exhibition devoted exclusively to examining the work of contemporary artists who use the techniques, technologies, and tropes of animation as tools in their practices. This unprecedented exhibition gathers together almost fifty captivating film, video, and immersive installations created during the past twenty-five years by more than three dozen artists from nearly twenty nations, filling the galleries of the 1905 Building and its Sculpture Court as well as the Gallery for New Media and the Auditorium.

2015-07-11 10:18:58

Artist to Artist

This exhibition features photographs of prominent twentieth- and twenty-first-century artists from the Albright-Knox’s Collection. Taken by fellow artists, these portraits were created over a span of more than seventy years and capture artistic figures that define the modern and contemporary art world. The exhibition blurs the boundaries between artist and subject while highlighting the museum’s long history of active engagement with contemporary artists; works by each of the artists depicted are part of the museum’s Collection.

2015-10-10 10:18:58

Eija-Liisa Ahtila: Ecologies of Drama

This is the first United States career survey of the pioneering artist Eija-Liisa Ahtila (Finnish, born 1959). Ahtila’s provocative, intensely mesmerizing moving-image installations picture what it means to be human, to experience transcendence as well as frailty, to be awed by nature, and to reason with loss. This selected survey of the past twenty years of Ahtila’s multichannel installations includes works from every period of her career, and it features the North American premiere of her newest work, the four-channel installation Studies on the Ecology of Drama 1, 2014.

2015-10-24 10:18:58

Looking at Tomorrow: Light and Language from the Panza Collection, 1967-1990

This exhibition celebrates the Albright-Knox’s recent landmark acquisition of immersive light and sound installations, and Minimal and Conceptual artworks from the celebrated Panza Collection. The majority of the works on view date from the 1960s and 1970s, decades in which artists across the globe redefined art by expanding its material, spatial, and temporal possibilities. The exhibition also includes a group of works from the 1980s that reveals how a younger generation of artists continued to draw inspiration from this earlier moment. The title of the exhibition comes from Hamish Fulton’s Looking at Tomorrow (Scottish North West Highlands), 1974, a photographic series that records Fulton’s journey by foot across a mountainous region in Scotland. Just as Fulton combines performance, text, and photography to reimagine the means by which one documents an encounter with landscape, numerous artists in Looking at Tomorrow expand the spatial possibilities of art, creating installations for the experience of light and sound. Other artists turn to language, written on the wall, projected, printed, or appended to photographs, and marry subjects and methods associated with prose, poetry, and philosophy with the visual arts. Using language as material, these artists turned previously “non-art” situations, such as a conversation or the pages of a magazine, into works of art.

2015-11-15 10:18:58

Monet and the Impressionist Revolution, 1860—1910

With broad strokes, Monet and the Impressionist Revolution, 1860–1910 highlights the transformation of Claude Monet's (French, 1840–1926) visual practice. He brought painting to the brink of abstraction, but on no occasion crossed over into completely nonrepresentational imagery. One of the founders of French Impressionism, Monet painted outside en plein air (in the open air), where he refined his use of color to reveal the ambiance of natural light. Monet worked alongside artists including Pierre-Auguste Renoir (French, 1841–1919), Édouard Manet (French, 1832–1883), Camille Pissarro (French, 1831–1903), and Alfred Sisley (British, born France, 1839–1899), while leading and serving as an inspirational figure within the movement. Using visible brushstrokes and developing open compositions, the Impressionists were the pioneers of “action painting” long before the time of Abstract Expressionism in the mid-twentieth century.

2016-01-16 10:18:58

Joan Jonas: Good Night Good Morning

Joan Jonas (American, born 1936) is best known for her unique combination of installation, performance, drawing, photography, and film. Jonas characteristically develops her wide-ranging works by continually supplementing and refining them over the course of several years. Often, she will repeat a performance only to then transform it into an installation when she feels that the narrative has reached completion. This exhibition will debut two works by Jonas that the museum recently acquired. Despite the thirty years between their creations, they are expressly connected.

2016-01-23 10:18:58

Erin Shirreff

In her work across media, Erin Shirreff (Canadian, born 1975) mines the network that connects sculpture to its photographic representation. Her acclaimed and interrelated bodies of work include video studies of individual photographs, cut-metal and poured-plaster sculptural assemblages, interruptive and overlapping photographs and collages, and photographic canvases, which depict forms that refer to her sculpture. In an age when the ubiquity of smartphones has effectively collapsed the firsthand viewing of art with the creation of its representation, Shirreff explores the many ways we still try to access or “grasp” objects: through the photographic images we circulate, the art historical narratives we construct, and the time we dedicate to absorption. As much as our encounters with Shirreff’s artworks are corporeal—we physically and sensorially navigate the scale, texture, stuff, and weight of these objects and traces—their dialogue with history is also phantasmagoric. They ask us to enter the spaces between objects and our memories of them, and between representation and its history.

2016-02-27 10:18:58

Torey Thornton: Sir Veil

Torey Thornton’s (American, born 1990) purposely ambiguous imagery is nestled between abstraction and figuration. The result is a distinct visual tension that characterizes his pictorial spaces. This mini-survey exhibition considers Thornton’s process and the important role language, both graphic and visual, plays in his practice.

2016-02-27 10:18:58

For the Love of Things:Still Life

During the seventeenth century, still life painting surfaced as a distinctive thematic genre. And, for nearly five hundred years, the appeal of its flourishing flora and abundant fare has remained constant. Although still life painting has never received the critical recognition of other subjects—for example, the portrait or the landscape—lifelike portrayals of the everyday created by highly skilled artists elevated the style to a lasting popular appreciation. This imagery, however, has proven to be more than merely a case of art imitating life. Instead, a system of allegorical symbolism and hidden meanings behind the selection and arrangements of the objects denotes conceptual strategies that resonate with enthusiasts.

2016-05-14 10:18:58

Marie Lorenz: Ezekia

Marie Lorenz (American, born 1973) is a New York–based artist who uses the tide to navigate, explore, and document urban waterways in boats she builds by hand. In 2005, the printmaker, sculptor, and filmmaker started her Tide and Current Taxi project. As part of this project, she explores New York Harbor and beyond, taking visitors in a rowboat built from salvaged materials to disused coastlines and inaccessible islands, and experiencing the urban environment from the rare perspective of the water. Along the way, she often collects trash that becomes material for her artworks in other mediums.

2016-05-26 10:18:58

Shade: Clyfford Still/Mark Bradford

Shade: Clyfford Still / Mark Bradford features the work of celebrated American artists Mark Bradford (born 1961) and Clyfford Still (1904–1980). For the exhibition, Bradford has helped select more than twenty paintings from the Albright-Knox's important collection of works by Still. In adjacent galleries, Bradford presents a group of his own paintings—created specifically for this exhibition—that manifest an ongoing conversation with both Still’s abstractions and the broader legacy of Abstract Expressionism.

2016-06-18 10:18:58

Defining Sculpture

Featuring works drawn exclusively from the Albright-Knox’s Collection, Defining Sculpture offers a perspective on the medium’s remarkable development and hybridity from the postwar years to the present. Radically transformative Pop art sculptures by Marisol and Claes Oldenburg, inspired by Robert Rauschenberg’s all-but-the-kitchen-sink Combines, join sprawling and monumental abstractions by Polly Apfelbaum, Katharina Grosse, and Tara Donovan that celebrate the glorious possibilities of color, while selected statements by contemporary sculptors provide timely points of view.

2016-07-09 10:18:58

Joan Linder: Operation Sunshine

In a world saturated with born-digital imagery, artist Joan Linder (American, born 1970) prefers to employ more traditional materials: a quill pen and ink. Taking as her subject what she describes as “the banality of mass-produced domestic affairs,” Linder explores issues related to the “politics of war, sexual identity and power, and the beauty disclosed in the close scrutiny of natural and man-made structures.” Working to create both large-scale and more intimately sized drawings, she allows her eye to direct her hand in mark-making. Linder has spent countless hours rendering, in excruciating detail, quotidian objects and places—everything from junk mail and a kitchen sink to neighborhood bars and a gross anatomy lab. The size of the subject often dictates the size of the object, which further articulates her interest in the one-to-one relationship between the observer and the observed. By no means, however, is she aiming to create an exact facsimile. Instead, Linder embraces the limitations of her materials, which can leave behind smudges and pools of color no matter how deftly she applies them. These imperfections are a welcome part of the final image.

2016-10-01 10:18:58

Claudia Joskowicz: Every Building on Avenida Alfonso Ugarte—After Ruscha

In her video works, Claudia Joskowicz (Bolivian, born 1968) considers how popular media circulates and shapes collective memory, contemporary history, and social realities. Every Building on Avenida Alfonso Ugarte—After Ruscha, 2011, documents everyday movement in El Alto, one of the fastest-growing urban centers in Bolivia and also the site of violent clashes during the Bolivian gas conflict of 2003. In Joskowicz’s hands, El Alto embodies the intersection between everyday life and recent historical events that shape Bolivia’s political and social landscape as well as its international reputation. This installation marks the first time Every Building on Avenida Alfonso Ugarte has been shown in a museum in the United States.

2016-10-22 10:18:58

Rosalyn Drexler: Who Does She Think She Is?

This historic and long-overdue monographic exhibition celebrates Rosalyn Drexler’s multidisciplinary artistic practice and acknowledges her important contribution to Pop art. Drexler (American, born 1926) began using imagery culled from popular culture in 1961, the same year as Andy Warhol and Roy Lichtenstein. Her artwork, however, was often overshadowed by that of her male counterparts. During the 1960s, Drexler developed a unique way of addressing themes from popular culture and the representation of gender roles in mass media. She pulled figures from movie posters, magazines, and advertisements, and set them against boldly colored painted backgrounds. Her subject matter focused on intimacy, violence, and masculinity, a personal, and at times darker, spin on Pop appropriation. Such themes were influenced by her life outside of the visual arts, including her role as a mother, her short-lived stint as a female wrestler, and her renowned work as a playwright and novelist. Drexler’s first play was published in 1963 and her first novel in 1965. She is the recipient of three Obie Awards and an Emmy Award.

Albright-Knox Art Gallery: Past Exhibitions, 2013—Present

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