AK Historypin of the Week
Wilcox Mansion, Delaware Avenue

The Albright Art Gallery (now the Albright-Knox Art Gallery) held an exhibition of photography in January 1940, which commemorated Buffalo’s vast architectural triumphs. Participants using the Historypin website and mobile app on supported devices can explore photographs and related content about numerous historic sites and buildings featured in the AAG’s 1940 exhibition. Every week, we will feature a pinned location from the Albright-Knox’s Historypin channel and provide detailed information and archival photographs about the site. This week’s pin is the Wilcox Mansion, located on Delaware Avenue.

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The building that now sits at 641 Delaware Avenue has changed greatly from the time of its original construction. The first thing built on the site was two family residences for officers in the temporary United States military barracks in the 1830s. The Buffalo or Poinsett Barracks, which extended from Main Street to Delaware Avenue and from North Street to Allen Street, were named after Joel Poinsett, the United States Secretary of War from 1837 to 1841. They were designed and constructed by the U.S. Army Engineers, under the direction of General Winfield Scott (1786–1866). The Buffalo or Poinsett Barracks were the largest U.S. military installation in the country at the time of construction.

In 1845, the Buffalo Barracks were moved to Fort Porter and the building was abandoned until 1847, when it was purchased by Joseph Masten (1809–1871), a former Mayor of Buffalo (serving 1843–1844 and 1845–1846) and a former judge of the Superior Court. The building was remodeled by Thomas Tilden (also known as George Thomas Tilden, 1845–1919) in 1863 and converted into a single family home. Masten had Tilden build the portico adorned with Doric columns on Delaware Avenue, making it the main entrance to the building. 

In 1883, Dexter Rumsey (1827–1906) purchased the house as a wedding present for his daughter, Mary Grace, and her husband, Ansley Wilcox (1856–1930). Ansley Wilcox was a lawyer and a civil service reform commissioner. Wilcox was also a founder of the Charity Organization Society and the Fitch Creche, the first day center for working mothers in the United States. Many of these reform groups met regularly at the Wilcox Mansion.

Ansley Wilcox made many improvements to the interior and exterior appearance of the house. In the 1890s, he built a large addition to the back that doubled the size of the residence. Around 1901, he enlisted the assistance of Buffalo architect George Cary (1859–1945) to rebuild the addition and remodel the interior. The addition consisted of a Gothic Revival morning room and a classical dining room, which contained intricate Georgian Revival woodwork details. During Ansley’s ownership of the property, the estate was visited by many prominent individuals, including President William Howard Taft and Secretary of State Philander Knox.

In 1901, the mansion became a monument of national importance due a horrible tragedy. After the shooting of President William McKinley at the Pan-American Exposition on September 6, Vice President Theodore Roosevelt traveled to Buffalo to be present in the event that the wound was fatal. Since Roosevelt was a close friend of Wilcox, he stayed at the Wilcox Mansion during this time. When President McKinley died on September 14, 1901, Roosevelt took the oath of office in the library of the Wilcox Mansion at 3:30 pm to become the twenty-sixth president of the United States.

In 1966, the house—which is the best remaining example of the Greek Revival style in Buffalo—was named a National Historic Site. The building is currently a museum, operated by the Theodore Roosevelt Inaugural Site Foundation, Inc., on behalf of the National Park Service and the United States Department of the Interior. The library in which Roosevelt was sworn into office has been remodeled back to its appearance at the time of that momentous event.
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TOP: Image courtesy of the Albright-Knox Art Gallery Digital Assets Collection and Archives, Buffalo, New York. © 2014 Albright-Knox Art Gallery. Photograph by Jay W. Baxtresser, Albright Art Gallery staff.
BOTTOM: Screenshot of the Albright-Knox Art Gallery’s channel on Historypin.

Caught on CameraJuly 1951: Delaware Park Rose Garden Art ShowDuring the summer of 1951, the Albright Art Gallery sponsored the second annual Rose Garden Art Show. This sidewalk sale and exhibition of artwork by local artists occurred in the Delaware Park Rose Garden on July 24 and 25, from 6 pm until dark. One of the main draws of the exhibition was that featured art was priced for the “average pocketbook.”
The art show was open to all ages and urged all artists, amateur or professional, to bring their paintings, sculptures, and sketches to the open air show in the park. The exhibition featured not only art, but also included a variety of musical and dramatic entertainment. The 1951 Rose Garden Art Show featured more than 150 artists. More than 5,000 people attended and more than 200 artworks were sold.
The original 1950 art show was organized by Edgar C. Schenck, Director of the Albright Art Gallery, and the second show in 1951 was organized by James Vullo, an instructor at the Buffalo Art Institute. On the evenings of July 24 and 25, 1951, Mrs. Sydney Owen Jennings sketched portraits of visitors to the exhibit, including AAG Director Edgar Schenck (above).
Photo scanned from Albright Art Gallery, Gallery Notes, Annual Report, Volume XV, No. 3, 1949–1952, October 1951. Image courtesy of the Albright-Knox Art Gallery Digital Assets Collection and Archives, Buffalo, New York. © 2014 Albright-Knox Art Gallery

Caught on Camera
July 1951: Delaware Park Rose Garden Art Show

During the summer of 1951, the Albright Art Gallery sponsored the second annual Rose Garden Art Show. This sidewalk sale and exhibition of artwork by local artists occurred in the Delaware Park Rose Garden on July 24 and 25, from 6 pm until dark. One of the main draws of the exhibition was that featured art was priced for the “average pocketbook.”

The art show was open to all ages and urged all artists, amateur or professional, to bring their paintings, sculptures, and sketches to the open air show in the park. The exhibition featured not only art, but also included a variety of musical and dramatic entertainment. The 1951 Rose Garden Art Show featured more than 150 artists. More than 5,000 people attended and more than 200 artworks were sold.

The original 1950 art show was organized by Edgar C. Schenck, Director of the Albright Art Gallery, and the second show in 1951 was organized by James Vullo, an instructor at the Buffalo Art Institute. On the evenings of July 24 and 25, 1951, Mrs. Sydney Owen Jennings sketched portraits of visitors to the exhibit, including AAG Director Edgar Schenck (above).

Photo scanned from Albright Art Gallery, Gallery Notes, Annual Report, Volume XV, No. 3, 1949–1952, October 1951. Image courtesy of the Albright-Knox Art Gallery Digital Assets Collection and Archives, Buffalo, New York. © 2014 Albright-Knox Art Gallery

Sol LeWitt, Wall Drawing #1268: Scribbles: Staircase (AKAG), conceived 2006; executed 2010
If you missed AK Contemporary, a lecture and documentary film series focusing on contemporary artists on Friday, September 5, as part of M&T FIRST FRIDAYS @ THE GALLERY, read on to learn about the Conceptual artist Sol LeWitt and his installation on view at the Albright-Knox.
There is perhaps no one in the history of art that better embodied the notion of Conceptualism than Sol LeWitt. While playing a key role in formulating and defining what “Conceptualism” is in artistic terms, he also successfully and consistently incorporated the tenets of Conceptualism into his art and daily working practice. 
Throughout his career, LeWitt created various types of works, including books, prints, wall drawings, and sculptures he called “structures.” His first wall drawing, created in 1969, involved the simple act of drawing lines on the wall of a New York gallery. The artist returned to a new form of wall drawing in the last years of his life. These later drawings, known as “scribble drawings,” are composed of hand-drawn graphite scribbles on a wall surface. 
Wall Drawing #1268: Scribbles: Staircase (AKAG), LeWitt’s scribble wall drawing currently on view in the stairwell that connects the 1962 Knox and 1905 Albright Buildings, holds the distinction of being the artist’s last and largest scribble drawing. While the discussions for the acquisition and installation of this work happened in 2006, along with the work’s initial conception by the artist, the work was executed in 2010, after the artist’s death, by a team of artists from LeWitt’s studio and a crew of artists hired by the Albright-Knox. 
The work covers more than 2,200 square feet of wall surface and is composed of millions of scribbles created by 1,717 graphite pencils. It took sixteen artists fifty-four days, or 5,026 hours, to complete the work, which was unveiled on October 16, 2010, and will be on view indefinitely.***Sol LeWitt (American, 1928–2007). Wall Drawing #1268: Scribbles: Staircase (AKAG), conceived 2006; executed 2010. Graphite on three walls, dimensions variable. Collection Albright-Knox Art Gallery, George B. and Jenny R. Mathews Fund, 2007. © 2014 The LeWitt Estate / Artists Rights Society (ARS), New York. Photograph by Tom Loonan.

Sol LeWitt, Wall Drawing #1268: Scribbles: Staircase (AKAG), conceived 2006; executed 2010

If you missed AK Contemporary, a lecture and documentary film series focusing on contemporary artists on Friday, September 5, as part of M&T FIRST FRIDAYS @ THE GALLERY, read on to learn about the Conceptual artist Sol LeWitt and his installation on view at the Albright-Knox.

There is perhaps no one in the history of art that better embodied the notion of Conceptualism than Sol LeWitt. While playing a key role in formulating and defining what “Conceptualism” is in artistic terms, he also successfully and consistently incorporated the tenets of Conceptualism into his art and daily working practice. 

Throughout his career, LeWitt created various types of works, including books, prints, wall drawings, and sculptures he called “structures.” His first wall drawing, created in 1969, involved the simple act of drawing lines on the wall of a New York gallery. The artist returned to a new form of wall drawing in the last years of his life. These later drawings, known as “scribble drawings,” are composed of hand-drawn graphite scribbles on a wall surface. 

Wall Drawing #1268: Scribbles: Staircase (AKAG), LeWitt’s scribble wall drawing currently on view in the stairwell that connects the 1962 Knox and 1905 Albright Buildings, holds the distinction of being the artist’s last and largest scribble drawing. While the discussions for the acquisition and installation of this work happened in 2006, along with the work’s initial conception by the artist, the work was executed in 2010, after the artist’s death, by a team of artists from LeWitt’s studio and a crew of artists hired by the Albright-Knox. 

The work covers more than 2,200 square feet of wall surface and is composed of millions of scribbles created by 1,717 graphite pencils. It took sixteen artists fifty-four days, or 5,026 hours, to complete the work, which was unveiled on October 16, 2010, and will be on view indefinitely.

***
Sol LeWitt (American, 1928–2007). Wall Drawing #1268: Scribbles: Staircase (AKAG), conceived 2006; executed 2010. Graphite on three walls, dimensions variable. Collection Albright-Knox Art Gallery, George B. and Jenny R. Mathews Fund, 2007. © 2014 The LeWitt Estate / Artists Rights Society (ARS), New York. Photograph by Tom Loonan.

AK Historypin of the Week
Porter-Allen House, Niagara Street

The City of Buffalo, New York, possesses a remarkable number of architectural masterpieces from the late nineteenth and early twentieth century. Recognizing the rich architectural and planning heritage, the Albright Art Gallery (now the Albright-Knox Art Gallery) held an exhibition of photography in January 1940, which commemorated these vast architectural triumphs. More than 120 photographs were displayed in the exhibition, which was organized by Henry-Russell Hitchcock, the dean of American architectural historians, with the assistance of Gordon Bailey Washburn, former director of the Albright Art Gallery.

Participants using the Historypin website and mobile app on supported devices can explore photographs and related content about numerous historic buildings featured in the AAG’s 1940 exhibition. Every week, we will feature a pinned location from the Albright-Knox’s Historypin channel and provide detailed information and archival photographs about the site. This week’s pin is the Porter-Allen House, located on Niagara Street.

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Peter Buell Porter (17731844) was an American lawyer, soldier, and politician who served as United States Secretary of War from 1828 to 1829, and was one of the major figures in establishing Western New York. His house (now known as the Porter-Allen House) located at 1191 Niagara Street, between Ferry and Breckenridge Streets, was composed of several structures, including a summerhouse, a fishpond, and an orchard, and was situated on more than five acres of land along the Niagara River. During Porter’s ownership of the property, the estate was visited by many prominent individuals, including former President John Quincy Adams, DeWitt Clinton, and Seneca orator Red Jacket, as well as many military personnel.

The estate was purchased around 1837 by Lewis Fahey Allen, the secretary and financial manager of the Western Ensurance Company. It remained the Allen family home for over fifty years. During Allen’s ownership of the property, the estate was visited by former Presidents Millard Fillmore and Grover Cleveland (Allen was his uncle!).

In the early 1900s, after Allen’s death, the property was sold to E. R. Thomas, who built an automobile factory on the site. E. R. Thomas Motor Company was a manufacturer of motorized bicycles, motorized tricycles, motorcycles, and automobiles in Buffalo, New York, between 1900 and 1919.

The home was eventually demolished in 1911. Rich Products Corporation is now located on the property.

TOP: Image courtesy of the Albright-Knox Art Gallery Digital Assets Collection and Archives, Buffalo, New York. © 2014 Albright-Knox Art Gallery. BOTTOM: Screenshot of the Albright-Knox Art Gallery’s channel on Historypin.

Caught on Camera
Beyond/In Western New York 2010: Alternating Currents

As we welcome Shark Girl, 2013, by Casey Riordan Millard, a product of the Albright-Knox’s Public Art Initiative with Erie County and the City of Buffalo, we highlight past partnerships the Albright-Knox Art Gallery has forged to bring innovative public art to Buffalo.

Beyond/In Western New York 2010: Alternating Currents was an exhibition of contemporary art organized through a curatorial collaboration of twelve regional museums and galleries. More than one hundred artists from Western New York and beyond created works addressing the theme “Alternating Currents,” with its implications of technology, energy, and power.

Many of these pieces were public artworks that were placed temporarily or permanently throughout Buffalo. Highlighted here are three of the amazing public works featured in this exhibition.

—Kim Adams, a Canadian-born sculptural artist, created an intricate and alluring piece titled Optic Nerve, 2010. Adams punched thousands of holes, with no specific design, into a 2010 Ford Transit. Illuminated at night, Optic Nerve enticed viewers to find a pattern in the intentional chaos of light. Adams shows that the industrial/commercial object can be a positive outlet for creativity, innovation, and playfulness. This work was on view in the parking lot of Babeville on Delaware Avenue, home of Hallwalls Contemporary Arts Center.

—Fastwürms’s work portrays the artists’ affinity with nature and its inhabitants. Kim Kozzi and Dai Skuse, members of the artists’ collective known as Fastwürms,  created a large sculpture titled Owl. This work evokes both the naturalistic, being based on the long-eared owl (Asio otus), as well as the commercial, through a flawless paint job reminiscent of muscle cars and speedboats. Owl, standing at a height of six feet, was perched above the entrance to the Albright-Knox Art Gallery, peering down at visitors with its LED eyes. The connection of technology to the natural world suggests that a new exploration of sustainable energy systems is needed to harmonize with nature. 

—Reinhard Reitzenstein’s To Have a Grip on the Earth So That the Whole of This Globe Can Quiver, 2010, was installed as a public artwork at the edge of Buffalo’s historic Larkin District and remains on view today. Reitzenstein’s sculpture portrays an electrical tower curving back into the earth. Once again, the relationship of industry and nature is examined as the artist alludes to an unfinished idea pursued by Nikola Tesla, inventor of alternating current. Tesla envisioned using the earth as a transmitter for electricity, an idea that is reflected through the merging of the electrical tower with the ground itself. The tower’s stance (with its “head” in the “sand”) could also be interpreted as a statement of avoidance of alternative energy sources.

The Albright-Knox, in partnership with Erie County and the City of Buffalo, will present a variety of public art installations as part of the Public Art Initiative, established in 2013. Shark Girl, 2013, by Casey Riordan Millard, is currently on view at Canalside in downtown Buffalo. 

Images courtesy of the Albright-Knox Art Gallery Digital Assets Collection, Buffalo, New York. 1. Photograph of Kim Adams’s Optic Nerve by Biff Heinrich. 2. Photograph of Fastwürms’s Owl by Tom Loonan. 3. Photograph of Fastwürms’s Owl by Nancy J. Parisi. 4. Photograph of Reinhard Reitzenstein’s To Have a Grip on the Earth So That the Whole of This Globe Can Quiver by Biff Heinrich.

#InsideAK
A Day in the Life of Andrew from the Buildings and Grounds Department

1. Hi there, this is Andrew and I am very excited to take over the AK’s Instagram account today. I am a member of the Buildings and Grounds Department. My job allows me to explore many areas of the museum that the public (and some staff!) never get to see. The space above the main sculpture court is hands-down my favorite place within the gallery. There are countless signatures and notes inscribed onto the Carnegie steel and drywall from past maintenance men. It is a constant reminder of just how old and interesting the museum’s building truly is. Also, most of the notes are not kid-friendly and hilarious! 

2.  In order to work in the Buildings and Grounds Department at the AK, you must also be a bit of a daredevil. A handful of artwork installations often require wire and supports mounted from the crawlspace above particular galleries. For example, I recently captured this photo directly above Gallery 5 in the 1905 Albright Building. Please keep in mind that falling off the wooden support beams means falling through the gallery ceiling below. So one needs to be ever mindful of where he or she steps! 

3. In case none of you have seen it, the museum’s campus is incredibly beautiful in the early morning hours. This is the east wall of the Auditorium, as the sun is starting to rise. 

4. This is our table saw blade and it plays a rather important role in the AK’s Buildings and Grounds Department. It is the starting point of all pedestals, cabinets, plinths, and display cases that will eventually support and display the museum’s amazing Fine Art Collection. My boss, Ken, is a wood-working master and an incredible resource to learn from. I am lucky to work for him and alongside so many other talented and hardworking people. 

5. In my final #InsideAK post, I wanted to share one of the best experiences I have had while working here at the AK. Last summer, I was able to assist in the tiling and grouting of the sculpture “Underlife,” 2012–13, with the artist, Mr. Jason Middlebrook himself. Jason is a pretty cool cat and it was super fun to work with him. That, coupled with the magnificence of the finished piece, made this an incredible project to work on! Thank you for spending the day with me!

Follow the Albright-Knox on Instagram (@AlbrightKnox) for more behind-the-scenes photos!

Photographs by Andrew Mayer. © 2014 Albright-Knox Art Gallery

AK Historypin of the Week
Buffalo Public Library, Washington Street

The city of Buffalo, New York, possesses a remarkable number of architectural masterpieces from the late nineteenth and early twentieth century. Recognizing the rich architectural and planning heritage, the Albright Art Gallery (now the Albright-Knox Art Gallery) held an exhibition of photography in January 1940, which commemorated these vast architectural triumphs. More than 120 photographs were displayed in the exhibition, which was organized by Henry-Russell Hitchcock, the dean of American architectural historians, with the assistance of Gordon Bailey Washburn, former director of the Albright Art Gallery.

Participants using the Historypin website and mobile app on supported devices can explore photographs and related content about numerous historic buildings featured in the AAG’s 1940 exhibition. Every week, we will feature a pinned location from the Albright-Knox’s Historypin channel and provide detailed information and archival photographs about the site. This week’s pin is the Buffalo Public Library, located on Washington Street.

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The origins of the Buffalo Public Library date back to 1835, when it was founded as the Young Men’s Association. The YMA (not to be confused with the Young Men’s Christian Association) was a private subscription library for paid members. In 1883, the Association’s members began raising funds for a new building and held an architectural competition. After competing with many notable architects, including Henry Hobson Richardson, Cyrus L. W. Eidlitz (1853–1921) won with his design. 

The building was constructed between 1884 and 1887. In 1886, the Association changed its name to “The Buffalo Library” and remained a private library for the next decade. In 1897, The Buffalo Library gave its collection to the citizens of Buffalo. The doors of the Buffalo Public Library were open and it was free for use by the public. The building housed the Buffalo Fine Arts Academy from 1887 to 1905, until the construction on the Albright Art Gallery building was completed. During this time, the BFAA opened an art school which was merged with the Students’ Art Club to form the Art Students’ League in 1891. 

In 1963, construction began on the current location of the Buffalo & Erie County Public Library’s Central Library building and its doors opened to the public in October 1964. The Second Court House, or the Old Erie County Court House, preceded the building on the Washington Street site opposite Court House Park or Courthouse Square, now known as Lafayette Square. 
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The Central Library is home not only to great literature, but also hosts great art. From August 17 to August 22, 2014, Tape Art, a collective of artists based in Providence, Rhode Island, created a mural titled Buffalo Caverns on the north wall of the Central Library branch of the Buffalo & Erie County Public Library. This project is part of the Public Art Initiative, an innovative partnership between the Albright-Knox, Erie County, and the City of Buffalo. The mural is on view through August 29, 2014.

TOP: Image courtesy of the Albright-Knox Art Gallery Digital Assets Collection and Archives, Buffalo, New York. © 2014 Albright-Knox Art Gallery. Photograph by Jay W. Baxstresser, Albright Art Gallery Staff.
BOTTOM: Screenshot of the Albright-Knox Art Gallery’s channel on Historypin.

 

Caught on Camera
April 1980: Kenneth Snelson

Coronation Day by Kenneth Snelson was constructed in April 1980 in the City Court Plaza on Niagara Square in downtown Buffalo. The abstract sculpture is composed of twelve chrome steel tubes suspended by a web of steel cables. There is harmony throughout the design of the work: the triangular base is made of three upright steel tubes, which are reflected by three inverted tubes reaching out toward the sky. The sculpture was funded jointly by the City of Buffalo and the National Endowment for the Arts and was created with the intention of becoming the key artwork downtown, a place for people to gather. Snelson’s work has been featured in three exhibitions at the Albright-Knox and the museum has several of his works in the Collection. Four Chances, 1982, can be seen on the museum’s grounds.

The Albright-Knox, in partnership with Erie County and the City of Buffalo, will present a variety of public art installations as part of the Public Art Initiative, established in 2013. A new temporary public art installation is currently on view on the north façade of the Central Library branch of the Buffalo & Erie County Public Library at Lafayette Square, just a few blocks from Coronation Day. Tape Art, a collective of artists from Providence, Rhode Island, created a mural titled Buffalo Caverns made entirely of low-adhesive tape. The mural will be on view through Friday, August 29. When you visit Buffalo Caverns, make sure to visit Coronation Day and see a part of Buffalo’s public art past while enjoying a new work before it disappears!

Images courtesy of the Albright-Knox Art Gallery Digital Assets Collection and Archives, Buffalo, New York. © 2014 Albright-Knox Art Gallery

Casey Riordan Millard (American, born 1973)Shark Girl, 2013Painted fiberglassPublic Art Collection of the Albright-Knox Art Gallery
Shark Girl is the absurd, hilarious, and bittersweet creation of the artist Casey Riordan Millard. While Shark Girl might appear sorrowful or lonely, there is also a comic element to this “fish out of water.” Here, in Millard’s first public sculpture, Shark Girl patiently waits, legs daintily crossed, hands folded, for a companion to join her.
Appearing in nearly all of Millard’s paintings, drawings, and sculptures, Shark Girl was originally conceived as the artist reflected upon the existential conundrums of life, love, family, and loss. Shark Girl can be seen as Millard’s diversionary tactic or as her mechanism for confronting the challenges of contemporary life.
Shark Girl’s yearning and desire for normalcy and acceptance trigger equal parts laughter and empathy. The boulder upon which she sits provides viewers with the opportunity to bring the work to life by taking a seat and initiating a friendship with this bizarre half-shark, half-girl.
This work is part of the Public Art Collection of the Albright-Knox Art Gallery and a product of the Public Art Initiative, an innovative partnership between the Albright-Knox and Erie County established in 2013 to enhance our shared sense of place and cultural identity in the urban and suburban landscapes of Western New York. The City of Buffalo joined the partnership in 2014. The Initiative promotes education about the arts through its Collection, related programming, and creative partnerships.
Shark Girl is currently on view at Canalside in downtown Buffalo. Photograph by Kelly Carpenter.

Casey Riordan Millard (American, born 1973)
Shark Girl, 2013
Painted fiberglass
Public Art Collection of the Albright-Knox Art Gallery

Shark Girl is the absurd, hilarious, and bittersweet creation of the artist Casey Riordan Millard. While Shark Girl might appear sorrowful or lonely, there is also a comic element to this “fish out of water.” Here, in Millard’s first public sculpture, Shark Girl patiently waits, legs daintily crossed, hands folded, for a companion to join her.

Appearing in nearly all of Millard’s paintings, drawings, and sculptures, Shark Girl was originally conceived as the artist reflected upon the existential conundrums of life, love, family, and loss. Shark Girl can be seen as Millard’s diversionary tactic or as her mechanism for confronting the challenges of contemporary life.

Shark Girl’s yearning and desire for normalcy and acceptance trigger equal parts laughter and empathy. The boulder upon which she sits provides viewers with the opportunity to bring the work to life by taking a seat and initiating a friendship with this bizarre half-shark, half-girl.

This work is part of the Public Art Collection of the Albright-Knox Art Gallery and a product of the Public Art Initiative, an innovative partnership between the Albright-Knox and Erie County established in 2013 to enhance our shared sense of place and cultural identity in the urban and suburban landscapes of Western New York. The City of Buffalo joined the partnership in 2014. The Initiative promotes education about the arts through its Collection, related programming, and creative partnerships.

Shark Girl is currently on view at Canalside in downtown Buffalo. Photograph by Kelly Carpenter.

Beyond the Breakwater
Have you stopped by to see the Albright-Knox’s current exhibition in the Gallery for New Media, Ellie Ga: It Was Restored Again? If not, you still have time! The exhibition—Ga’s first solo show in an American museum—features two new works from her most recent series, “Square, Octagon, Circle,” 2012–14, which uses the ancient Pharos Lighthouse of Alexandria, Egypt, as a point of departure. Previously, we took a closer look at one of the works in the exhibition, It Was Restored Again, 2013, and today we explore the murky waters beneath the site of the lighthouse with Sayed, 2013.
During Ga’s time in Alexandria she learned to scuba dive in order to explore, firsthand, the submerged ruins of the Pharos Lighthouse, discovered in 1994 by the French archaeologist Jean-Yves Empereur on the floor of Alexandria’s Eastern Harbor. The single-channel video Sayed takes its moniker from the name of a local diving guide whom Ga accompanied on an underwater excursion. The viewer becomes an underwater witness as Ga and Sayed navigate the stone ruins beneath the ancient site and discuss the many gaps in current archaeological knowledge. As they explore, the pollution and swell make taking images of the remains nearly impossible. It is futile to try to capture what is left, leaving it up to us to reconstruct story of the lighthouse from what history has left behind.
Ga has written of her experience:

The sea is rough but not nearly as agitated today so I bring my brass lighthouse sculpture underwater for a photo shoot. As our dive-guide predicted, the visibility is really, really bad. Much worse than last time, which was also pretty bad. Again the wall of brown and green clouds and no visible bottom to swim towards. A meter of visibility at the most. Probably less. Luckily our guide is wearing yellow flippers and I’m able to follow him. We lose my companion almost instantly. My guide gestures emphatically that I am to hold onto this rock and not move. How long I wait at the rock I don’t know. Elapsed time is impossible to calculate underwater, perhaps because there is no horizon to measure time passing against. 5 minutes and 30 minutes are indistinguishable from one another. (http://notesfromalexandria.wordpress.com/)

Ellie Ga: It Was Restored Again will be on view through Sunday, September 14, 2014.
IMAGE: Ellie Ga (American, born 1976). Detail of Sayed, 2013. Single-channel video with sound, edition of 3 plus 1 AP. Running time: 5 minutes, 30 seconds. Image courtesy the artist and Bureau, New York.

Beyond the Breakwater

Have you stopped by to see the Albright-Knox’s current exhibition in the Gallery for New Media, Ellie Ga: It Was Restored Again? If not, you still have time! The exhibition—Ga’s first solo show in an American museum—features two new works from her most recent series, “Square, Octagon, Circle,” 2012–14, which uses the ancient Pharos Lighthouse of Alexandria, Egypt, as a point of departure. Previously, we took a closer look at one of the works in the exhibition, It Was Restored Again, 2013, and today we explore the murky waters beneath the site of the lighthouse with Sayed, 2013.

During Ga’s time in Alexandria she learned to scuba dive in order to explore, firsthand, the submerged ruins of the Pharos Lighthouse, discovered in 1994 by the French archaeologist Jean-Yves Empereur on the floor of Alexandria’s Eastern Harbor. The single-channel video Sayed takes its moniker from the name of a local diving guide whom Ga accompanied on an underwater excursion. The viewer becomes an underwater witness as Ga and Sayed navigate the stone ruins beneath the ancient site and discuss the many gaps in current archaeological knowledge. As they explore, the pollution and swell make taking images of the remains nearly impossible. It is futile to try to capture what is left, leaving it up to us to reconstruct story of the lighthouse from what history has left behind.

Ga has written of her experience:

The sea is rough but not nearly as agitated today so I bring my brass lighthouse sculpture underwater for a photo shoot. As our dive-guide predicted, the visibility is really, really bad. Much worse than last time, which was also pretty bad. Again the wall of brown and green clouds and no visible bottom to swim towards. A meter of visibility at the most. Probably less. Luckily our guide is wearing yellow flippers and I’m able to follow him. We lose my companion almost instantly. My guide gestures emphatically that I am to hold onto this rock and not move. How long I wait at the rock I don’t know. Elapsed time is impossible to calculate underwater, perhaps because there is no horizon to measure time passing against. 5 minutes and 30 minutes are indistinguishable from one another. (http://notesfromalexandria.wordpress.com/)

Ellie Ga: It Was Restored Again will be on view through Sunday, September 14, 2014.

IMAGE: Ellie Ga (American, born 1976). Detail of Sayed, 2013. Single-channel video with sound, edition of 3 plus 1 AP. Running time: 5 minutes, 30 seconds. Image courtesy the artist and Bureau, New York.