Albright-Knox Art Gallery: Highlights of the Collection

Author:

Smith, Mariann W.
Publisher:

Scala Publishers in association with the Albright-Knox Art Gallery
Buffalo, New York; London, England
Editor:

Hatley, Pam; Martin, Pamela
Type:

Collection catalogue
Year:

2011

This catalogue of selected works from the Albright-Knox's collection was published on the occasion of the sesquicentennial of the Buffalo Fine Arts Academy, governing body of the Albright-Knox. This new book—which features highlights from one of America’s finest collections—is a must-have for art enthusiasts. It showcases the museum’s recent acquisitions and cornerstone works, tracing the evolution of modern and contemporary art. The first decade of the twenty-first century saw unprecedented growth in art production, with artists exploring new mediums, new approaches, and new subjects. This book illuminates and illustrates the range and diversity of the museum’s collection and reflects the experience of contemporary art. Visual conversations are rich in contrasts, with exciting discoveries at every turn.

La voix des airs (The Voice of Space), 1928

René Magritte

Black Star Press (rotated 90 degrees counterclockwise); Press, Black Star, 2006

Kelley Walker

The Holstein Manifesto, 2008

Matthew Ritchie

Black, vine-like tendrils cover much of a large white wall. These are interrupted to the left of center by a large painting featuring more of the tendrils overlaid with abstract washes of copper and taupe paint. On the right side, the tendrils coalesce in a large sphere encircled by the phrases “division of the heavens,” “division of the waters,” “division of the bodies,” and “M theory” in cursive. On the floor in front of the wall rests a long, tube of perforated aluminum surrounded by Tarot cards.

Reckless from the series "Fallen Paintings", 1998

Polly Apfelbaum

1957-D-No. 1, 1957

Clyfford Still

Yellow, jagged-edged forms tear through portions of this mostly matte black canvas. The largest of these forms runs the full height of the painting near its right edge. Each of the yellow streaks includes small areas of white, which most appear in the center of the form, flanked by larger areas of yellow. Three small patches of unpainted canvas are visible near the bottom-left corner.

Orange and Yellow, 1956

Mark Rothko

Two hazily painted rectangles, one yellow and the second a burnt orange, float against an orange creamsicle colored background, which is visible along the margins of the canvas and in a strip separating the two rectangles. The yellow rectangle is smaller, extending about a third of the way down from the top of the canvas. The burnt orange rectangle fills much of the bottom two thirds of the canvas.

Convergence, 1952

Jackson Pollock

Elegy to the Spanish Republic XXXIV, 1953-1954

Robert Motherwell

Ace, 1962

Robert Rauschenberg

Son, 1984

Francesco Clemente

This vertically oriented painting features portions of a dark tree trunk, branches, and leaves set against patches of light gray sky. Hanging from select branches are four large yellow orbs resembling suns or planets. T-shaped fasteners connect these hanging shapes to the tree.

Untitled (Mylar), 2007

Tara Donovan

Buffalo Harbor from the Foot of Porter Avenue, 1871

Lars Gustaf Sellstedt

Second Means of Egress (Orange), 2004

Sarah Sze

Stacked Revision Structure, 2005

Liam Gillick

The Quiet of Dissolution, Firestorm, 2008

Sonja Braas

Only God Knows I'm Good, 2009 (produced 2011)

Tracey Emin

The phrase “Only God Knows I’m Good” in cursive English script is fabricated in snow white neon, which is mounted on a wall.

Failed Back, 2004

Clare Woods

Citoanima Demopylea, 2003

Ernesto Neto

Untitled #2, 2010

Lari Pittman

Vampire Wannabes, 2010

Rachel Harrison

Black is Beautiful from the series Challenger Fragments Wall, 2010

McCallum & Tarry

Mashing up the Clouds, 2010

Casey Cook

Tempest in Red, 2009

Sandra Cinto

Provisory Object 01, 1997

Edith Dekyndt

Untitled, 2007

Philip Argent

Jakob/Big Psycho VII, 2010

Erwin Wurm

Bitch's Brew from the series After Le Mépris, 2010

John Massey

(A long pause), 2010

Soo Kim

Points on a Line, 2010

Sarah Morris

Starfield, 2010

Vija Celmins

Coney Island, N.Y., USA, June 20, 1993, 1993 (printed 1998)

Rineke Dijkstra

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

Sol LeWitt

Emancipation Approximation, 2000

Kara Elizabeth Walker

2001, 2001

Liz Larner

Mississippi Gottdam, 2007

Mark Bradford

Untitled (Fault), 2008

Mark Fox

Fervor (Couple at Intersection), 2000

Shirin Neshat

Self Portrait at 17 years old from the series Album, 2003

Gillian Wearing

Self Portrait as my Uncle Bryan Gregory from the series Album, 2003

Gillian Wearing

Self Portrait as my Mother Jean Gregory from the series Album, 2003

Gillian Wearing

Self Portrait as my Sister Jane Wearing from the series Album, 2003

Gillian Wearing

Self Portrait as my Father Brian Wearing from the series Album, 2003

Gillian Wearing

Self Portrait as my Brother Richard Wearing from the series Album, 2003

Gillian Wearing

Verso (Nighthawks), 2008

Vik Muniz

The Marina Piccola, Capri, 1859

Albert Bierstadt

The Coming Storm, 1878

George Inness, Sr.

No image available,
but we’re working on it

Chemin de halage à Argenteuil (Towpath at Argenteuil, Winter), 1875-1876

Claude Monet

This wintery landscape features a path that follows a still gray river as it curves from the bottom right corner of the canvas and recede into the distance under an overcast sky. On the right side of the painting, smokestacks on a distant are reflected in the water. Four small figures summarily rendered in dark tones walk on the path, with one appearing to move toward the viewer. To the left is a patch of trees and grass that peeks out beneath melting snow.

Mademoiselle Pogany II, 1920

Constantin Brancusi

Notre-Dame, une fin d'après-midi (A Glimpse of Notre Dame in the Late Afternoon), 1902

Henri Matisse

Street in Meknes, 1832

Eugène Delacroix

Painting No. 46, 1914-1915

Marsden Hartley

Diverse abstract patterns layer atop one another and a black background to fill much of this painting. Slightly below the center of the painting is a circle with a red center with white and black rings. Above this curves a red arc with two parallel, irregular white lines that spans nearly the entire width of the painting. Behind these elements are smaller sections of checked and ribbon-like patterns.

Der Rächer (The Avenger), 1914 (cast executed after World War II)

Ernst Barlach

The Cry, 1962

Isamu Noguchi

Camouflage Series #5, 1971-1974

Nancy Graves

Cycladic Heads, 1976

Jiří Kolář

New York, NY, 1957

Ellsworth Kelly

Baby Girl, 1963

Marisol

Nomad, 1963

James Rosenquist

What appears to be a collage of unrelated images from advertisements and everyday photographs fills the surface of this large-scale horizontally oriented painting. A massive bowl of spaghetti and meatballs in the bottom right, a gray picnic table slightly above center, and three ballerina legs paired with the words NEW and Oxy at bottom left. A paint-splatted plastic bag tied at the bottom is suspended from the top-left corner of the canvas; a pile of paint-splattered wood scraps lies on the floor below.

Electric, 1963

Edward Ruscha

The word “electric” in all capital, italicized letters spans across the center of this almost square canvas. The letters are painted in a gradient from bright yellow at the top to rich orange at the bottom, standing out in stark contrast against the solid deep blue background.

Étude pour "Le Chahut" (Study for "Le Chahut"), 1889

Georges Seurat

Cigarette, 1961 (fabricated 1967)

Tony Smith

Women of Tehuantepec, 1939

Rufino Tamayo

Two solemn-looking women, one carrying a basket of fruit on her head, stand in center of this colorful, horizontally oriented canvas. Behind them and to the left are three large containers filled with tropical fruit, some of which is also scattered on the ground. Behind them and to the right are two more women walking toward a long, low building in the background. A young boy in the right corner extends with his left hand a bunch of flowers toward the two central women.

Portrait of John Joseph Albright, 1914

Edmund Charles Tarbell

L'Ambitieuse (Political Woman), 1883-1885

James Tissot

A woman in an elaborately ruffled pink dress with a large feathered fan enters an ornately decorated ballroom filled with party-goers on the arm of a much older gentleman. She looks left and outward beyond the viewer, while the attention of nearly all other male figures in the scene is directed at her. The textures of various surfaces and fabrics are painted with rich detail and texture, especially the pink dress ruffles gathered on a plush red ottoman at the bottom of the frame.

The Marvelous Sauce, ca. 1890

Jehan Georges Vibert

A corpulent older man wearing a long white apron over his scarlet cardinal’s robes stands with a copper sauce pan in his left hand and a spoon held aloft in triumph in his right while, to the left, a younger man in chef’s hat and coat with an apron partially covering his bright blue, knee-length trousers looks at the spoon held in his right hand with skepticism. A large stove with a massive stone hood appears behind the cardinal, and a table laden with produce and meat appears behind the chef.

Portrait of Seymour H. Knox, 1985

Andy Warhol

Die Milchstrasse (The Milky Way), 1985-1987

Anselm Kiefer

A field of scrubby grass fills nearly the whole of this painting, except for a line of trees in the distance and a narrow strip of sky. The densely textured surface is made up of thick brushstrokes in shades of black and brown with a thin white horizontal swathe cutting across the center of the work. A triangular-shaped piece of lead dangles to the left of the painting’s center, supported by copper wires attached to the painting’s top corners. A second piece of lead is mounted near the lower-right corner.

Janet, 1992

Chuck Close

This large-scale portrait is painted in grayscale with a nearly all black background. A grid pattern covers the entire surface, and diamonds, ovals, circles, and other geometric shapes fill each square. From a distance, these patterned coalesce into a woman’s face and upper shoulders; the effect is similar to a pixelated photograph. The woman has short hair, cat-eyed glasses, dangly earrings, and she wears a shirt with a rounded collar.

Saw and Sawed, 1969

Neil Jenney

A chainsaw with a long, gray rounded blade and yellow motor marked with the letter M just above its handle rests in a field of dark green brushstrokes evocative of thick grass between a section of newly cut tree trunk is lying on its side on the left and a short, brown tree stump on the right. A black border runs around the image, and the words SAW AND SAWED appear in white capital letters at bottom center.

The Tablada Suite VI, 1992

Guillermo Kuitca

Counting, 1991

Lorna Simpson

English Channel, Weston Cliff, 1994

Hiroshi Sugimoto

Santa Cruz Circle, 1997

Richard Long

A number of rectangular bricks of natural slate of varying dimensions are packed together to form a nearly perfect circle. In this image, you are looking down at the work as installed on a light colored parquet floor from a shallow angle.

Atlanta, 1996, 1996

Andreas Gursky

Head #6, 2001

Philip-Lorca DiCorcia

Ameland Pier X, Netherlands, 2000

Elger Esser

Junk, 2003

Tony Oursler

Untitled, 2003

Arturo Herrera

The Inverted Sink, 1985

Robert Gober

A large white plaster sculpture that takes the form of a thick, inverted V hangs from a blue-gray wall. The apex of the V comes to a sharp point whereas the left and right corners are curved.

Dervish 1, 2004

Jennifer Steinkamp

Untitled #1-#14 from Surfers, 2002-2003

Catherine Opie

Boys cutting through a hedge, 2003

Jeff Wall

Just left of this image’s center, the small figures of two young men emerge from a gap in the largely dead hedge with patches of ivy growing around a chain-link fence that spans across the center of this image beneath an ominously clouded sky. The neatly trimmed grass, sunken headstones, and flower arrangements in the foreground suggest that these men are entering a cemetery.

Light Matrix, 2005

Leo Villareal

Small white dots of varying brightness speckle a wall of ten panels of dark-colored glass as seen from the outside. These dots seem to fit into a matrix of horizontal and vertical rows but without a discernable pattern. This wall of windows only fills the bottom half of the image, and a sky filled with ominously dark clouds is visible above.

Gap from the series Tiny Town, 2001

James Turrell

Connected World (Photopainting II), 2002

Mariko Mori

Connected World (Photopainting III), 2002

Mariko Mori

Connected World (Photopainting IV), 2002

Mariko Mori

Untitled (Domestic), 2002

Rachel Whiteread

look and see, 2005

Jim Hodges

+ and -, 1994-2004

Mona Hatoum

Bareroot, 2007

Alison Saar

D.C. Pavilion, 2007

Gary Simmons

Blue Black Boy, 1997

Carrie Mae Weems

Red Bone Boy, 1997

Carrie Mae Weems

Kill Yourself, 1989

Nancy Dwyer

Trojan, 2008

Tom Sachs

Twilight Avenger, 2008

Kelly Richardson

WESTERN UNION: Small Boats, 2007

Isaac Julien

Untitled (set of 7 hanging lamps), 2008

Jorge Pardo

No image available,
but we’re working on it

Mittal Steel No. 1 Shipping 192-208, 2009

Ingrid Calame

Inhabit, 2009

Janine Antoni

Heaven and Hell, 2009

Siebren Versteeg

Urban Landscape Buffalo, 2005-2010

Zhan Wang

Flood, 2007

Barnaby Furnas

Long, thick, horizontal strokes of paint ranging in hue from black to bright magenta span the pale blue background of this abstract painting. In the upper right corner, the background emerges behind a light spray and thin drips of red paint. A faint white vertical line, like a narrow beam of light, stretches from the center of the canvas’s top toward the bottom but is quickly subsumed under the horizontal strokes.

Zobop (Stairs), 2003

Jim Lambie

Caryatid, 2003

Paul Pfeiffer

Mirror House, 2010

Kelly Barrie

Morning War, 2008

Matthew Ritchie

alles oder nichts (All or Nothing), 2010

Pipilotti Rist

Of the Beasts, 2007

Erika Wanenmacher

Detail from the portfolio Emancipation Approximation, 2000

Kara Elizabeth Walker

Detail from the portfolio Emancipation Approximation, 2000

Kara Elizabeth Walker

Detail from the portfolio Emancipation Approximation, 2000

Kara Elizabeth Walker

Build a Rewarding Career from the series Challenger Fragments Wall, 2010

McCallum & Tarry

Detail from the portfolio Emancipation Approximation, 2000

Kara Elizabeth Walker

Nature Study (Pink Eyes), 1984

Louise Bourgeois

Untitled (Rage) #2, 2002

Glenn Ligon

Divide Light #2, 2002

Lesley Dill

Untitled, 1998-2002

Gregory Crewdson

This large-scale color photograph captures a mysterious scene staged in a domestic bathroom, which is presented in cross-section. In the center of the frame, a white man, wearing only briefs, is bent over on the floor of a shower stall. His right arm reaches through the drain and is visible in the dark crawlspace below floor level where a pipe would normally be connected. The dim light filtering through a small window on the left evokes a sense of twilight.

Locus Auratus, 2005

Philip Taaffe

Detail from the portfolio Emancipation Approximation, 2000

Kara Elizabeth Walker

Untitled, 1986

Olivier Mosset

This large, horizontally oriented abstract painting is visually divided into two square portions. On the left, alternating red and purple stripes of the same width span the height of the canvas. On the right, stripes of the same color and size run horizontally from the right edge to the painting’s overall center. The lines formed by the stripes are very straight and even.

Detail from the portfolio Emancipation Approximation, 2000

Kara Elizabeth Walker

Detail from the portfolio Emancipation Approximation, 2000

Kara Elizabeth Walker

Detail from the portfolio Emancipation Approximation, 2000

Kara Elizabeth Walker

Detail from the portfolio Emancipation Approximation, 2000

Kara Elizabeth Walker

Detail from the portfolio Emancipation Approximation, 2000

Kara Elizabeth Walker

Detail from the portfolio Emancipation Approximation, 2000

Kara Elizabeth Walker

Detail from the portfolio Emancipation Approximation, 2000

Kara Elizabeth Walker

Detail from the portfolio Emancipation Approximation, 2000

Kara Elizabeth Walker

Detail from the portfolio Emancipation Approximation, 2000

Kara Elizabeth Walker

Detail from the portfolio Emancipation Approximation, 2000

Kara Elizabeth Walker

Detail from the portfolio Emancipation Approximation, 2000

Kara Elizabeth Walker

Detail from the portfolio Emancipation Approximation, 2000

Kara Elizabeth Walker

Detail from the portfolio Emancipation Approximation, 2000

Kara Elizabeth Walker

Detail from the portfolio Emancipation Approximation, 2000

Kara Elizabeth Walker

Detail from the portfolio Emancipation Approximation, 2000

Kara Elizabeth Walker

Triptych with Footprints, 1970

Antoni Tàpies

Three vertical cream-colored panels are joined to form a long thin horizontal work. A series of footprints stretches across all three panels, slightly above their centers. On the left panel, gray cloudlike forms float at top and bottom, and a grouping of letters and lines stretch diagonally from the upper left-hand toward the center. A series of lines and waves fill the bottom half of the right panel.

Buckminster Fuller's Proposal to Isamu Noguchi for the New Abstraction of Total Reflection, 2003

Josiah McElheny

MIG 29 Soviet Fighter Plane and Clouds, 2005

Cory Arcangel

Expanded production horizon, 2008

Liam Gillick

Malerei, 2002-2004

Adrian Schiess

Mirrored Room, 1966

Lucas Samaras

#0488, 1988

Jim Isermann

A and C missile, 2008

David Thorpe

Tear, 2002

Jaye Rhee

Synecdoche, 2008

Byron Kim

Thirty-six, portrait-oriented rectangles in monochromatic shades ranging from cool peach to warm caramel to dark brown are arranged randomly in a in a six-by-six grid.

A Friend of the Family from the series Challenger Fragments Wall, 2010

McCallum & Tarry

Red Sea, Safaga, 1992

Hiroshi Sugimoto

North Pacific Ocean, Mt. Tamalpais, 1994

Hiroshi Sugimoto

Born in Alabama...Served in the U.S. Army from the series Challenger Fragments Wall, 2010

McCallum & Tarry

Le Christ jaune (The Yellow Christ), 1889

Paul Gauguin

Two Dancing Figures, 1954

Lynn Russell Chadwick

"Untitled" (Double Portrait), 1991

Felix Gonzalez-Torres

La Nuit (Night), 1902-1909 (cast executed 1939)

Aristide Maillol

Monochrome I, Built to Live Anywhere, at Home Here, 2010-2011

Nancy Rubins

Challenger Fragments Wall from the series Genesee and Mosell, 2010

McCallum & Tarry

Fashion Classes...Let's Get It Together! from the series Challenger Fragments Wall, 2010

McCallum & Tarry

His Very Attractive Wife from the series Challenger Fragments Wall, 2010

McCallum & Tarry

Isaiah 48:10 from the series Challenger Fragments Wall, 2010

McCallum & Tarry

Just another Uppity N----R from the series Challenger Fragments Wall, 2010

McCallum & Tarry

Miss Challenger from the series Challenger Fragments Wall, 2010

McCallum & Tarry

On Stage from the series Challenger Fragments Wall, 2010

McCallum & Tarry

Show Me Where You Brought Me From, Clairborne, Alabama, 1945 (after Mrs. Sarah L. Tarry) from the series Genesee and Moselle, 2010

McCallum & Tarry

To Buy a Home from the series Challenger Fragments Wall, 2010

McCallum & Tarry

Young Women from the series Challenger Fragments Wall, 2010

McCallum & Tarry

Venetian Bead Stringers, 1880 or 1882

John Singer Sargent

A standing woman approaches two seated women stringing beads over a shallow wooden bowl in the center right of this painting, which is set in a large, mostly empty room. An open doorway and windows at the back of the room provide limited light. At right, a bench is positioned against a wall. The two seated women wear dark dresses while their standing companion wears a white dress mostly covered with a dark shawl.

City Construction, 1932

John Marin

September 3, 1980 Building, 1980

Donald K. Sultan

Spectrum of Hackney Road I, 2002-2003

David Batchelor

Untitled (Sculptural Study, Four-part Vertical Construction), ca. 1982/2004

Fred Sandback

Over the Edge, 1992

Peter Halley

A light gray-green square sits slightly above center and fills much of this square canvas. L shapes of varying widths in cream, burnt orange, black, and mustard yellow extend from the square into the taupe-colored margins above and to the left and right of the square. Two additional brighter yellow L shapes, one dramatically thicker than the other, extend from the square into the burgundy-colored margin below the square.

Untitled, 2001

Roland Flexner

Connected World (Photopainting V), 2002

Mariko Mori

Connected World (Photopainting VI), 2002

Mariko Mori

Connected World (Photopainting I), 2002

Mariko Mori

Born, 2002

Kiki Smith

A life-sized nude female figure emerges head-first from the rear of a standing deer. Only her feet remain inside the animal, and the rest of her body is angled toward the floor, with her left shoulder making contact. She cranes her neck slightly to gaze back toward the deer, who has large ears and small antler nubs. The bronze surface of the sculpture is smooth and has a dark uniform patina, making it appear black.

Green Horses, 1988

Bruce Nauman

Provisory Object 02, 2000

Edith Dekyndt

Provisory Object 03, 2004

Edith Dekyndt

The Messenger, 1996

Bill Viola

The first of three stills shows a nude man floating on his back in dark blue water, visible from the waist up. Light shines on his body from above, highlighting his face and part of his torso.

Reclining Figure, 1935-1936

Henry Moore

This wooden sculpture could abstractly resemble a reclining female body. The dark brown wood is polished to reveal the wood grain and knots throughout the form. The figure’s legs seem to be gently bent, and she appears to be resting on her elbows, with her head propped upright. The artist left the torso as an empty space, allowing viewers to see through the sculpture.

Karma, 2010

Do Ho Suh

Against the white marbled columned exterior of the museum, a life-size muscular male nude, his arms hanging down on either side of his body, stands upright on a metal base. Sitting on his shoulders are a series of identical male nudes squatting one on top of the another, each one smaller than the one below. Each figure holds his hands over the eyes of the figure beneath him.

Magenta Colored Girl, 1997

Carrie Mae Weems

Golden Yella Girl, 1997

Carrie Mae Weems

Return of the Prodigal Son, 1967

Romare Howard Bearden

the world won't listen, 2004-2007

Phil Collins

Julian and Suzanne Walking, 2007

Julian Opie

Portrait of Jacques-François Desmaisons, 1782

Jacques-Louis David

Portrait (R. Eisch), 1999

Thomas Ruff

The head and shoulders of a white adult male with short brunette hair, blue eyes, and a reddish-brown goatee beard and moustache fill the majority of this large-scale color photograph. He wears a pale blue button-up shirt with a collar; the top-most button is left open. Minute details in the figure’s skin and shadows on the fabric are captured by the camera lens.

Doug, Joe and Genevieve from The Garden of Delights, 1998

Iñigo Manglano-Ovalle

Cremaster Suite, 1994-2002

Matthew Barney

Buses on the Farm, 2003

Justine Kurland

Le Vociférant (The Loud One), 1973

Jean Dubuffet

A number of small, irregularly shaped metal fragments are adhered together at various angles to form the contours of a vaguely humanoid figure. Each of these white fragments is heavily edged in black, and most of their interiors are filled with thin blue or red stripes; a small number of fragments are solid white, red, or blue. shape like a hand with three fingers and a thumb sticks out to the left side, midway down.

Highway to Heaven, 2003

Jason Rhoades

Touching By Hand One Hundred Rocks, 1989

Hamish Fulton

(NO CONTENT), 2004

Stefan Brüggemann

A Man Asleep (Perec), 2010

Francine Savard

untitled (to the citizens of the Swiss cantons) 1, 1987

Dan Flavin

Untitled, 1998

Doris Salcedo

Basketball Drawing, 2001

David Hammons

Somalian Prey, 2010

José Bedia Valdés

Die Wölfe (Balkankrieg) [The Wolves (Balkan War)], 1913

Franz Marc

Fracture from the series Internal Energies, 2011

Anne Spalter

Bilingual, 1965

Frederick Hammersley

Detail from the portfolio Emancipation Approximation, 2000

Kara Elizabeth Walker

Detail from the portfolio Emancipation Approximation, 2000

Kara Elizabeth Walker

Detail from the portfolio Emancipation Approximation, 2000

Kara Elizabeth Walker

Detail from the portfolio Emancipation Approximation, 2000

Kara Elizabeth Walker

Detail from the portfolio Emancipation Approximation, 2000

Kara Elizabeth Walker

Detail from the portfolio Emancipation Approximation, 2000

Kara Elizabeth Walker

Detail from the portfolio Emancipation Approximation, 2000

Kara Elizabeth Walker

Untitled #1 from Surfers, 2002-2003

Catherine Opie

No image available,
but we’re working on it

Untitled #2 from Surfers, 2002-2003

Catherine Opie

No image available,
but we’re working on it

Untitled #3 from Surfers, 2002-2003

Catherine Opie

No image available,
but we’re working on it

Untitled #4 from Surfers, 2002-2003

Catherine Opie

No image available,
but we’re working on it

Untitled #5 from Surfers, 2002-2003

Catherine Opie

No image available,
but we’re working on it

Untitled #6 from Surfers, 2002-2003

Catherine Opie

No image available,
but we’re working on it

Untitled #7 from Surfers, 2002-2003

Catherine Opie

No image available,
but we’re working on it

Untitled #8 from Surfers, 2002-2003

Catherine Opie

No image available,
but we’re working on it

Untitled #9 from Surfers, 2002-2003

Catherine Opie

No image available,
but we’re working on it

An Open Letter from the series Challenger Fragments Wall, 2010

McCallum & Tarry

And All of the Shallow Things Will Not Matter from the series Challenger Fragments Wall, 2010

McCallum & Tarry

Beauty Pageant from the series Challenger Fragments Wall, 2010

McCallum & Tarry

Untitled #10 from Surfers, 2002-2003

Catherine Opie

No image available,
but we’re working on it

Untitled #11 from Surfers, 2002-2003

Catherine Opie

No image available,
but we’re working on it

Untitled #12 from Surfers, 2002-2003

Catherine Opie

No image available,
but we’re working on it

Untitled #13 from Surfers, 2002-2003

Catherine Opie

No image available,
but we’re working on it

Untitled #14 from Surfers, 2002-2003

Catherine Opie

No image available,
but we’re working on it

Albright-Knox Art Gallery: Highlights of the Collection

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Related Artworks

La voix des airs (The Voice of Space), 1928

Black Star Press (rotated 90 degrees counterclockwise); Press, Black Star, 2006

The Holstein Manifesto, 2008

Reckless from the series "Fallen Paintings", 1998

1957-D-No. 1, 1957

Orange and Yellow, 1956

Convergence, 1952

Elegy to the Spanish Republic XXXIV, 1953-1954

Ace, 1962

Son, 1984

Untitled (Mylar), 2007

Buffalo Harbor from the Foot of Porter Avenue, 1871

Second Means of Egress (Orange), 2004

Stacked Revision Structure, 2005

The Quiet of Dissolution, Firestorm, 2008

Only God Knows I'm Good, 2009 (produced 2011)

Failed Back, 2004

Citoanima Demopylea, 2003

Untitled #2, 2010

Vampire Wannabes, 2010

Black is Beautiful from the series Challenger Fragments Wall, 2010

Mashing up the Clouds, 2010

Tempest in Red, 2009

Provisory Object 01, 1997

Untitled, 2007

Jakob/Big Psycho VII, 2010

Bitch's Brew from the series After Le Mépris, 2010

(A long pause), 2010

Points on a Line, 2010

Starfield, 2010

Coney Island, N.Y., USA, June 20, 1993, 1993 (printed 1998)

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

Emancipation Approximation, 2000

2001, 2001

Mississippi Gottdam, 2007

Untitled (Fault), 2008

Fervor (Couple at Intersection), 2000

Self Portrait at 17 years old from the series Album, 2003

Self Portrait as my Uncle Bryan Gregory from the series Album, 2003

Self Portrait as my Mother Jean Gregory from the series Album, 2003

Self Portrait as my Sister Jane Wearing from the series Album, 2003

Self Portrait as my Father Brian Wearing from the series Album, 2003

Self Portrait as my Brother Richard Wearing from the series Album, 2003

Verso (Nighthawks), 2008

The Marina Piccola, Capri, 1859

The Coming Storm, 1878

Chemin de halage à Argenteuil (Towpath at Argenteuil, Winter), 1875-1876

Mademoiselle Pogany II, 1920

Notre-Dame, une fin d'après-midi (A Glimpse of Notre Dame in the Late Afternoon), 1902

Street in Meknes, 1832

Painting No. 46, 1914-1915

Der Rächer (The Avenger), 1914 (cast executed after World War II)

The Cry, 1962

Camouflage Series #5, 1971-1974

Cycladic Heads, 1976

New York, NY, 1957

Baby Girl, 1963

Nomad, 1963

Electric, 1963

Étude pour "Le Chahut" (Study for "Le Chahut"), 1889

Cigarette, 1961 (fabricated 1967)

Women of Tehuantepec, 1939

Portrait of John Joseph Albright, 1914

L'Ambitieuse (Political Woman), 1883-1885

The Marvelous Sauce, ca. 1890

Portrait of Seymour H. Knox, 1985

Die Milchstrasse (The Milky Way), 1985-1987

Janet, 1992

Saw and Sawed, 1969

The Tablada Suite VI, 1992

Counting, 1991

English Channel, Weston Cliff, 1994