Paint Schoodic

Join Carol L. Douglas at beautiful Acadia National Park, August 6-11, 2017. More details here!

Monday, October 6, 2014

Growing pain

The Yellow Christ, Paul Gauguin, 1889, is no longer the “art of the present” but it’s one of my favorites at the Albright-Knox. 
The Albright-Knox Art Gallery has announced that it plans an addition to its venerable space on Elmwood Avenue in the city of Buffalo. While it’s true that the current 19,000 square feet of floor space is crammed, one wonders—of course—who is going to pay for the addition.

The museum’s collection contains about 6,740 works, of which it can only exhibit about 200 at a time, according to Thomas R. Hyde, president of the museum’s board. “Campus development is no longer an option; it is a necessity,” he added. “We are, in many ways, a middleweight museum with a heavyweight collection.” And then he mentioned the cracks in the marble floors of the gallery’s original building.

(Veterans of capital campaigns will recognize that last gambit: throw in some deferred maintenance and people are supposed to stop kvetching about major changes.)

Side of Beef, Chaim Soutine, c. 1925, is another of my favorite Albright-Knox pieces.
Meanwhile, gallery director Janne Siren insists that plans are still in the ‘conversation’ phase. Having said that, the board has been rattling the can for expansion since publication of their 2001 strategic plan.  “Siren took over the directorship of the Buffalo gallery shortly after city fathers in Helsinki, Finland rejected a plan he had spearheaded to build a large Guggenheim museum there using public funding,” reported WGRZ radio.

In 2007 the Albright-Knox Art Gallery deaccessioned a Roman bronze sculpture that subsequently netted $28.6 million at Sotheby's. It was part of a larger deaccessioning of works that fell outside the ‘core mission’ of the gallery, which then-director Louis Grachos defined as “acquiring and exhibiting art of the present.” Alert Buffalonians immediately wondered what that meant for their own favorite works.

The deaccession vote was approved only on the contingency that the funds raised would be used to buy additional artwork. That meant that the money from the sale would be added to the paltry $22 million acquisitions endowment. (The overall endowment of the museum was then about $58 million.)

Being from Buffalo, I first visited the Albright-Knox while in diapers. Deaccessioning the Roman sculpture and clearing that exhibition space for other work was the right thing to do. But I share the Buffalo cynical mind, and I have my doubts about the viability of this project.

Buffalo is now half the size it was the year I was born, and there’s no sign that the population drain will abate any time soon. Clearly the board is counting on tourists to make up their numbers, and with the elegant expansion of the Burchfield-Penney Art Center across the street, an argument can be made that an arts corridor is possible on Elmwood Avenue.

La Maison de la Crau (The Old Mill), Vincent van Gogh, 1888, is another Albright-Knox piece that can no longer be termed ‘of the present.’ 

But that doesn’t address the question of how it will be paid for, or where the expansion will go. The Albright-Knox is landlocked, with Delaware Park at its front and Elmwood Avenue by its back door. Any kind of significant expansion would infringe on its parking lot, its neighbors, or the park.

1957-D No. 1, Clyfford Still, 1957. The Albright-Knox has a large collection of Still’s paintings. Last time I was there, I noticed how many 20th century paintings needed conservation. It’s not as sexy as expansion but still necessary. 
I await future developments with great interest.


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