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SUMMARY:Buffalo Art: Let Us Gather in a Flourishing Way
DESCRIPTION:Image above: Rogelio Báez Vega (Lives and works in Santurce\, Puerto Rico). New York Department Store\, Bayamón Branch\, 2024–25. Oil\, beeswax\, and gold powder pigment on canvas / Óleo\, cera de abeja y polvo de oro sobre lienzo. 48 × 72 in. (121.9 × 182.9 cm). Courtesy of the artist. Photo: Courtesy of the artist  \n  \nLet Us Gather in a Flourishing Way explores contemporary Latinx artists’ innovations and interventions within established traditions of painting\, inviting discussion on a variety of themes and revealing the diversity and expansiveness present within the field. The fifty-eight artists in the exhibition—and those in the Latinx field more broadly—encourage us to interrogate the continued relevance of boundaries\, from political borders to disciplinary confines. This exhibition therefore celebrates artists whose expressions are first and foremost personal and subjective\, but whose heterogeneous and culturally specific interventions enrich one another and the history of American and contemporary art\, two fields from which such artists have been historically excluded. Inspired by former U.S. Poet Laureate Juan Felipe Herrera’s poem “[Let Us Gather in a Flourishing Way]\,” the show celebrates abundance and presents a vision of Latinx art that is\, like the diaspora itself\, infinitely complex. \n\n\n\n\n  \nDavid Antonio Cruz (Lives and works in New York). iknowyou’vebeenwonderingwherei’vebeen:adrift\,adraft\,astare\,atilt\,asigh\,exhale.but\,icamebacktoletyouknow\,gotathingforyou\,andican’tletitgo_the raft.\, 2024. Oil\, acrylic\, and ink on wood panel / Óleo\, acrílico y tinta sobre panel de madera. Two panels\, each 72 × 48 in. (188 × 121.9 cm). Overall 72 × 98 1/2 in. (188 × 250.2 cm). Collection of Igor DaCosta. Photo: Robert Chase Heishman\, courtesy of the artist and Monique Meloche Gallery\, Chicago \nThe show’s intergenerational and regionally broad dialogue is reflected in seven thematic groupings: (New) Histories\, offering new perspectives on personal\, cultural\, and global histories; Bodies & Figures\, representations of and by marginalized people\, considering the importance of the body\, and who is or isn’t seen in an image; Identity/Place\, a consideration of how identity and place shape each other with a diasporic lens; Land/tierra\, varied approaches to land and the built environment\, from the material to the imaginary; Community\, highlighting various communities—artistic\, blood\, and chosen—and their importance to populations within the diaspora; Pinturx\, contemporary Latinx approaches to traditional painting genres like still life and portraiture; and Abstractions\, exploring centuries-long Indigenous and European abstract traditions still in use by artists today. \nAllowing for cacophony and heterogeneity in its narratives\, the exhibition takes its cues from the artists themselves\, who are actively cultivating the landscape of contemporary painting as visitors will experience it in the museum. Rather than telling a finished story\, as survey exhibitions often do\, this exhibition gives audiences a peek into this vibrant and lively active network. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nYvette Mayorga (Lives and works in Chicago). The Brunette Latinx Self Portrait After François Boucher’s “The Brunette Odalisque\,” c.1745\, 2022. Acrylic nails\, acrylic marker\, false eyelashes\, collage\, plastic rings\, plastic nail charms\, rhinestones\, car wrap vinyl\, and acrylic piping on panel / Uñas acrílicas\, marcador acrílico\, cejas postizas\, collage\, anillos de plástico\, decoraciones de plástico para uñas\, diamantes de imitación\, vinil de auto y acrílico aplicado con manga pastelera sobre panel. Overall 60 × 120 × 2 in. (152.4 × 304.8 × 5.1 cm). Courtesy of the artist. Photo: Robert Chase Heishman\n\n\n\n\n\nVincent Valdez (Lives and works in Houston). The Sea\, 2020. Oil on canvas / Óleo sobre lienzo. 50 × 70 in. (127 × 177.8 cm). Courtesy Matthew Brown. Photo: Paul Salveson\, courtesy of Matthew Brown  \n  \n\n\n\n\n\n\nManuela Gonzalez (Lives and works in Lake Worth Beach\, Florida). Inanna\, 2024. Acrylic on mixed fabrics / Acrílico sobre tejidos mixtos. Overall 66 × 58 × 2 in. (167.6 × 147.3 × 5.1 cm). Collection of the artist.\n\n\n\n\n\nLilian Martinez (Lives and works in Los Angeles). Garden Club\, 2024. Acrylic on canvas  / Acrílico sobre lienzo. 50 × 65 in. (127 × 165.1 cm). Collection Buffalo AKG Art Museum\, Gift of Pamela and David Hornik\, 2025 (2025:9). Photo: Deen Babakhyi\, courtesy of the artist and OCHI\n\n\n\n\n\nEamon Ore-Giron (Lives and works in Los Angeles). Talking Shit with Illapa (variation I)\, 2023. Mineral paint and Flashe on canvas / Pintura mineral y Flashe sobre lienzo. 72 × 96 1/8 in. (182.9 × 244.2 cm). Collection Buffalo AKG Art Museum\, George B. and Jenny R. Mathews Fund\, 2024 (2024:6). Photo: Brenda Bieger\, Buffalo AKG Art Museum\n\n\n\n\n\nPatrick Martinez (Lives and works in Los Angeles). Promised Land\, 2022. Acrylic\, stucco\, neon\, Mean Streak\, ceramic\, spray paint\, latex house paint\, banner tarp\, ceramic tile\, tile adhesive\, and family archive photo collage on panel / Acrílico\, estuco\, neón\, Mean Streak\, cerámica\, pintura en aerosol\, pintura de látex para interior\, cartel publicitario\, azulejos de cerámica\, adhesivo para azulejos y collage de archivo fotográfico familiar sobre panel.  84 × 192 × 7 in. (213.4 × 487.7 × 17.8 cm). Collection Buffalo AKG Art Museum\, George B. and Jenny R. Mathews Fund\, 2022 (2022:78). Photo: Yubo Dong\, ofstudio photography\, courtesy of Charlie James Gallery\n\n\n\n\n\nCandida Alvarez (Lives and works in Baroda\, Michigan\, and Chicago). Flor de Caballo 3\, 2022. Acrylic on linen  / Acrílico sobre lino. 48 × 48 in. (121.9 × 121.9 cm). Courtesy of the artist. Photo: Robert Chase Heishman\, courtesy of the artist and Monique Meloche Gallery\, Chicago\n\n\n\n\n\nCarlos Rosales-Silva (Lives and works in New York). Peep Hole 3\, 2023. Crushed stone and glass bead in acrylic paint on panel / Piedra molida y cuentas de vidrio en pintura acrílica sobre panel. Overall 50 × 40 × 1 1/2 in. (127 × 101.6 × 3.8 cm). Courtesy of the artist and Sargent’s Daughters. Photo: Nicholas Knight\n\n\n\n\n\nPrevious slideNext slide\n\n\n\n\n\n\n\n\n\n\n\n\nLet Us Gather in a Flourishing Way is organized by the Buffalo AKG Art Museum and curated by Curator Andrea Alvarez. It will be followed by a national tour including presentations at the Des Moines Art Center\, the Museum of Contemporary Art Denver\, the Phoenix Art Museum\, and the Frye Art Museum\, Seattle. \n\n\n\n\n\n 
URL:https://thebuffalohive.com/event/buffalo-art-let-us-gather-in-a-flourishing-way/2026-09-05/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art
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DTSTART;TZID=America/New_York:20260904T100000
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CREATED:20260819T003820Z
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UID:10042636-1788516000-1788555600@thebuffalohive.com
SUMMARY:Buffalo Art: Let Us Gather in a Flourishing Way
DESCRIPTION:Image above: Rogelio Báez Vega (Lives and works in Santurce\, Puerto Rico). New York Department Store\, Bayamón Branch\, 2024–25. Oil\, beeswax\, and gold powder pigment on canvas / Óleo\, cera de abeja y polvo de oro sobre lienzo. 48 × 72 in. (121.9 × 182.9 cm). Courtesy of the artist. Photo: Courtesy of the artist  \n  \nLet Us Gather in a Flourishing Way explores contemporary Latinx artists’ innovations and interventions within established traditions of painting\, inviting discussion on a variety of themes and revealing the diversity and expansiveness present within the field. The fifty-eight artists in the exhibition—and those in the Latinx field more broadly—encourage us to interrogate the continued relevance of boundaries\, from political borders to disciplinary confines. This exhibition therefore celebrates artists whose expressions are first and foremost personal and subjective\, but whose heterogeneous and culturally specific interventions enrich one another and the history of American and contemporary art\, two fields from which such artists have been historically excluded. Inspired by former U.S. Poet Laureate Juan Felipe Herrera’s poem “[Let Us Gather in a Flourishing Way]\,” the show celebrates abundance and presents a vision of Latinx art that is\, like the diaspora itself\, infinitely complex. \n\n\n\n\n  \nDavid Antonio Cruz (Lives and works in New York). iknowyou’vebeenwonderingwherei’vebeen:adrift\,adraft\,astare\,atilt\,asigh\,exhale.but\,icamebacktoletyouknow\,gotathingforyou\,andican’tletitgo_the raft.\, 2024. Oil\, acrylic\, and ink on wood panel / Óleo\, acrílico y tinta sobre panel de madera. Two panels\, each 72 × 48 in. (188 × 121.9 cm). Overall 72 × 98 1/2 in. (188 × 250.2 cm). Collection of Igor DaCosta. Photo: Robert Chase Heishman\, courtesy of the artist and Monique Meloche Gallery\, Chicago \nThe show’s intergenerational and regionally broad dialogue is reflected in seven thematic groupings: (New) Histories\, offering new perspectives on personal\, cultural\, and global histories; Bodies & Figures\, representations of and by marginalized people\, considering the importance of the body\, and who is or isn’t seen in an image; Identity/Place\, a consideration of how identity and place shape each other with a diasporic lens; Land/tierra\, varied approaches to land and the built environment\, from the material to the imaginary; Community\, highlighting various communities—artistic\, blood\, and chosen—and their importance to populations within the diaspora; Pinturx\, contemporary Latinx approaches to traditional painting genres like still life and portraiture; and Abstractions\, exploring centuries-long Indigenous and European abstract traditions still in use by artists today. \nAllowing for cacophony and heterogeneity in its narratives\, the exhibition takes its cues from the artists themselves\, who are actively cultivating the landscape of contemporary painting as visitors will experience it in the museum. Rather than telling a finished story\, as survey exhibitions often do\, this exhibition gives audiences a peek into this vibrant and lively active network. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nYvette Mayorga (Lives and works in Chicago). The Brunette Latinx Self Portrait After François Boucher’s “The Brunette Odalisque\,” c.1745\, 2022. Acrylic nails\, acrylic marker\, false eyelashes\, collage\, plastic rings\, plastic nail charms\, rhinestones\, car wrap vinyl\, and acrylic piping on panel / Uñas acrílicas\, marcador acrílico\, cejas postizas\, collage\, anillos de plástico\, decoraciones de plástico para uñas\, diamantes de imitación\, vinil de auto y acrílico aplicado con manga pastelera sobre panel. Overall 60 × 120 × 2 in. (152.4 × 304.8 × 5.1 cm). Courtesy of the artist. Photo: Robert Chase Heishman\n\n\n\n\n\nVincent Valdez (Lives and works in Houston). The Sea\, 2020. Oil on canvas / Óleo sobre lienzo. 50 × 70 in. (127 × 177.8 cm). Courtesy Matthew Brown. Photo: Paul Salveson\, courtesy of Matthew Brown  \n  \n\n\n\n\n\n\nManuela Gonzalez (Lives and works in Lake Worth Beach\, Florida). Inanna\, 2024. Acrylic on mixed fabrics / Acrílico sobre tejidos mixtos. Overall 66 × 58 × 2 in. (167.6 × 147.3 × 5.1 cm). Collection of the artist.\n\n\n\n\n\nLilian Martinez (Lives and works in Los Angeles). Garden Club\, 2024. Acrylic on canvas  / Acrílico sobre lienzo. 50 × 65 in. (127 × 165.1 cm). Collection Buffalo AKG Art Museum\, Gift of Pamela and David Hornik\, 2025 (2025:9). Photo: Deen Babakhyi\, courtesy of the artist and OCHI\n\n\n\n\n\nEamon Ore-Giron (Lives and works in Los Angeles). Talking Shit with Illapa (variation I)\, 2023. Mineral paint and Flashe on canvas / Pintura mineral y Flashe sobre lienzo. 72 × 96 1/8 in. (182.9 × 244.2 cm). Collection Buffalo AKG Art Museum\, George B. and Jenny R. Mathews Fund\, 2024 (2024:6). Photo: Brenda Bieger\, Buffalo AKG Art Museum\n\n\n\n\n\nPatrick Martinez (Lives and works in Los Angeles). Promised Land\, 2022. Acrylic\, stucco\, neon\, Mean Streak\, ceramic\, spray paint\, latex house paint\, banner tarp\, ceramic tile\, tile adhesive\, and family archive photo collage on panel / Acrílico\, estuco\, neón\, Mean Streak\, cerámica\, pintura en aerosol\, pintura de látex para interior\, cartel publicitario\, azulejos de cerámica\, adhesivo para azulejos y collage de archivo fotográfico familiar sobre panel.  84 × 192 × 7 in. (213.4 × 487.7 × 17.8 cm). Collection Buffalo AKG Art Museum\, George B. and Jenny R. Mathews Fund\, 2022 (2022:78). Photo: Yubo Dong\, ofstudio photography\, courtesy of Charlie James Gallery\n\n\n\n\n\nCandida Alvarez (Lives and works in Baroda\, Michigan\, and Chicago). Flor de Caballo 3\, 2022. Acrylic on linen  / Acrílico sobre lino. 48 × 48 in. (121.9 × 121.9 cm). Courtesy of the artist. Photo: Robert Chase Heishman\, courtesy of the artist and Monique Meloche Gallery\, Chicago\n\n\n\n\n\nCarlos Rosales-Silva (Lives and works in New York). Peep Hole 3\, 2023. Crushed stone and glass bead in acrylic paint on panel / Piedra molida y cuentas de vidrio en pintura acrílica sobre panel. Overall 50 × 40 × 1 1/2 in. (127 × 101.6 × 3.8 cm). Courtesy of the artist and Sargent’s Daughters. Photo: Nicholas Knight\n\n\n\n\n\nPrevious slideNext slide\n\n\n\n\n\n\n\n\n\n\n\n\nLet Us Gather in a Flourishing Way is organized by the Buffalo AKG Art Museum and curated by Curator Andrea Alvarez. It will be followed by a national tour including presentations at the Des Moines Art Center\, the Museum of Contemporary Art Denver\, the Phoenix Art Museum\, and the Frye Art Museum\, Seattle. \n\n\n\n\n\n 
URL:https://thebuffalohive.com/event/buffalo-art-let-us-gather-in-a-flourishing-way/2026-09-04/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art
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DTSTART;TZID=America/New_York:20260904T100000
DTEND;TZID=America/New_York:20260904T200000
DTSTAMP:20260819T015228Z
CREATED:20260819T015228Z
LAST-MODIFIED:20260819T015228Z
UID:10045585-1788516000-1788552000@thebuffalohive.com
SUMMARY:Buffalo Art: Natvar Bhavsar: 'Free Yourself'
DESCRIPTION:Image above: Natvar Bhavsar (American\, born India\, 1934). REETVA\, 1968. Painting on paper\, dry pigment\, acrylic medium on rag paper. 35 x 46 inches (89 x 117 cm). © 2026 Natvar Bhavsar / Artists Rights Society (ARS)\, New York. Image courtesy of the artist.  \n  \nOn view August 21\, 2026 through April 4\, 2027. Surveys fifty years of Natvar Bhavsar’s expressive color-field abstractions made from pure dry pigment\, presented simultaneously with the University at Buffalo Art Galleries. Debuts the museum’s two new acquisitions\, RITI-YAA (1969) and KE-RAA (1971). \n\n\n\n\n\nM&T Bank Gallery\n\n\n\n\n\n\n\n\nSeymour H. Knox Building\n“I have tried to convey how to free oneself\, using color as a force to reach towards the beauty and generosity of the material that allows you unlimited expression.”  \nNatvar Bhavsar (American\, born India\, 1934). KE-RAA\, 1971. Pure pigment on canvas. 87 x 71 inches (221 x 180 cm). Collection Buffalo AKG Art Museum. Gift of Natvar Bhavsar and Janet Bhavsar\, 2025. © 2026 Natvar Bhavsar / Artists Rights Society (ARS)\, New York. Photo: Thomas Müller \nNatvar Bhavsar: Free Yourself surveys fifty years of the artist’s expressive abstractions\, inviting viewers to meditate on the power of pure color. Simultaneously presented at the Buffalo AKG Art Museum and the University at Buffalo Art Galleries\, the exhibitions respectively feature works on paper and monumental paintings spanning each decade of his career. This exhibition also celebrates the debut of the AKG’s two acquisitions by the artist RITI-YAA (1969) and KE-RAA (1971). \nBhavsar’s unique physical process centers on tiny particles of pure\, dry pigment. He begins by soaking the entire canvas in a clear acrylic binder\, then sifts or brushes pigment through handmade tools and fine mesh screens\, building up to eighty sealed layers. Air currents\, breath\, and the rhythm of his body as he maneuvers around the surface help shape the final image—a carefully controlled dance that produces textured\, smoky surfaces with subtle shifts in color and tone. As Bhavsar describes: \n\n“When I enter my studio\, everything disappears. It’s like I’ve entered another world. I experience Nirvana. It’s an incredible gift in which I disappear\, the studio itself disappears\, New York disappears.”\n\n  \nNatvar Bhavsar (American\, born India\, 1934). VAROONA II\, 1988. Painting on paper\, dry pigment\, and acrylic medium on rag paper. 49 x 39 inches (125 x 99 cm). © 2026 Natvar Bhavsar / Artists Rights Society (ARS)\, New York. Image courtesy of the artist. \nExamined up close\, his dappled surfaces are palpable; from a distance\, the color fields float and become atmospheric. Some paintings burst with energy\, while others suggest a boundless continuum of color. Unlike other Abstract Expressionists\, who approached the sublime through solemnity\, Bhavsar’s path is ecstatic and celebratory and rooted in his Indian heritage. His work invokes Holi\, the Hindu Spring festival in which revelers douse one another in powdered colors to celebrate the divine love of Radha and Krishna. Later works introducing curlicues draw on rangoli—decorative floor patterns of colored powder made during Diwali\, the festival of light. \nBhavsar’s meditative practice results in an intensely personal experience that invites endless free association—whether you find yourself peering through a microscope\, wandering a Holi celebration\, or gazing from the Hubble telescope is left entirely to you. \n  \n  \n  \n\nNatvar Bhavsar: Free Yourself is organized by the Buffalo AKG Art Museum and the University at Buffalo Art Galleries. Its presentation in Buffalo is organized by Katie O’Hara\, Assistant Curator\, Buffalo AKG Art Museum\, and its presentation at the University at Buffalo Art Galleries is organized by Robert Scalise\, Director\, University at Buffalo Art Galleries.
URL:https://thebuffalohive.com/event/buffalo-art-natvar-bhavsar-free-yourself-2/2026-09-04/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art
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ORGANIZER;CN="Buffalo AKG Art Museum":MAILTO:noreply@facebookmail.com
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DTSTART;TZID=America/New_York:20260904T100000
DTEND;TZID=America/New_York:20260904T200000
DTSTAMP:20260819T013227Z
CREATED:20260819T013227Z
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UID:10045302-1788516000-1788552000@thebuffalohive.com
SUMMARY:Buffalo Art: Ragnar Kjartansson: Politics of the Obvious
DESCRIPTION:Image above: Ragnar Kjartansson (Icelandic\, born 1976). No Tomorrow\, 2022. Six-channel digital video; color\, sound\, 4/6 plus 2 artist’s proofs. Running time: 29 minutes\, 18 seconds. Commissioned by Sigurður Gísli Pálmason; based on a commission by the Iceland Dance Company. Courtesy of the artists\, Luhring Augustine\, New York and i8 Gallery\, Reykjavik. Collection Buffalo AKG Art Museum. Bequest of Arthur B. Michael\, 2024 (2024:64). \n \nOn view September 3\, 2026 through January 31\, 2027. One of Icelandic artist Ragnar Kjartansson’s most ambitious U.S. exhibitions\, with six immersive performance\, video\, and installation works exploring clichés and familiar gestures made strange. Half the works make their American museum debut. Curated by Cathleen Chaffee with Helga Christoffersen. \n\n\nMonday\, 10 am–5 pm\nTuesday\, Closed\nWednesday\, Closed\nThursday\, 10 am–5 pm\nFriday\, 10 am–8 pm  (until 9 pm on M&T FIRST FRIDAYS)\nSaturday\, 10 am–6 pm\nSunday\, 10 am–5 pm \n\n\n\n\n\n\n\n\n\n\nThursday\, September 3\, 2026–Sunday\, January 31\, 2027 \n\n\n\n\n\nRagnar Kjartansson (Icelandic\, born 1976). Bangemand/Scaredman\, 2023. Live durational performance; variable. Courtesy of the artist\, Luhring Augustine\, New York and i8 Gallery\, Reykjavik. Originally presented at the Louisiana Museum of Modern Art. Photo: Louisiana Museum of Modern Art/Poul Buchard\n\n\n\n\n\n\n\n\nJeffrey E. Gundlach Building\nFloor 1\nRagnar Kjartansson works across performance\, music\, and image to create shared emotional experiences from otherwise commonplace or familiar scenes. Politics of the Obvious is one of the celebrated Icelandic artist’s most ambitious ever exhibitions in the United States and half of the works are making their American museum debut at the Buffalo AKG. The exhibition centers on a series of deceptively simple refrains\, clichés\, and truisms. In six immersive installations made over more than two decades\, Kjartansson transforms such familiar phrases or gestures into experiences that become altogether strange\, provocative\, and powerfully moving. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n\nRagnar Kjartansson (Icelandic\, born 1976). The Visitors\, 2012. Nine-channel HD video projection; color\, sound. Running time: 64 minutes. Courtesy of the artist\, Luhring Augustine\, New York\, and i8 Gallery\, Reykjavik. Photo: Elisabet Davids\n\n\n\n\n\nRagnar Kjartansson (Icelandic\, born 1976). Bangemand/Scaredman\, 2023. Live durational performance; variable. Courtesy of the artist\, Luhring Augustine\, New York and i8 Gallery\, Reykjavik. Originally presented at the Louisiana Museum of Modern Art. Photo: Louisiana Museum of Modern Art/Poul Buchard\n\n\n\n\n\nPrevious slideNext slide\n\n\n\n\n\n\n\n\n\n\n\nIn the video Scenes from Western Culture (The Boat) (2015)\, for example\, an elegantly dressed couple repeatedly and languidly sets off into a tranquil sea; the man stays the same while the woman seems to keep changing. Their evident wealth and ease\, coupled with the impossible beauty of their setting\, constitute the stuff of glossy travel brochures\, the carefully constructed advertising tropes that wallpaper an office worker’s imaginary. Such an unachievably perfect two weeks’ vacation was\, of course\, a reward designed to help keep that same worker productive during the other fifty weeks of the year. Devoid of drama or incident\, Kjartansson’s The Boatembodies the deep-rooted fantasy that leisure (enjoyed through the brief reprieve of a vacation or more durably attained through wealth) will cure what ails us. It illustrates a fiction that is as inherent to modernity as our increasingly digital and monitored working lives. \nThe nearby live performance Bangemand / Scaredman (2023) offers a stark counterpoint to the holidaymakers in The Boat. Every day during the museum’s open hours\, a man in a tuxedo inches along a narrow ledge high in a gallery\, his body pressed anxiously against the wall. The scenario recalls cinematic tropes—from silent-era physical comedy to midcentury thrillers such as Vertigo (1958)—yet Kjartansson strips the scene of narrative resolution. A clean-cut\, suited figure is typically a sign of masculine authority\, composure\, and control; in Scaredman\, he instead appears beset by unseen and undefined forces. The performance evokes a familiar cultural script in which masculinity is cast as under siege\, transforming a familiar archetype into a meditation on fear\, spectacle\, and the troubling logic that power sustains itself by staging its own vulnerability. \n\n\n\n\n\n\n\n\n\n\n\n\n\nRagnar Kjartansson (Icelandic\, born 1976). Scenes from Western Culture\, The Boat (Stephan Stephensen\, Kristín Anna Valtýsdóttir and Gyða Valtýsdóttir)\, 2015. Single-channel video. Running time: 2 hours\, 36 minutes. Courtesy of the artist\, Luhring Augustine\, New York\, and i8 Gallery\, Reykjavik\n\n\n\n\n\n\n\n\n\n\n\n\nIn an interview\, Kjartansson has reflected on the importance of holding opposing emotional registers in place: “There is always this balance between irony and sincerity. I think that’s where things become interesting.” This sensibility runs throughout the works in Politics of the Obvious. In Me and My Mother (2000–25)\, for example\, a repeated\, confrontational act between mother and son becomes a tender record of time passing. In No Tomorrow (2017)\, a group of performers with guitars take up historic entertainment repertoires while eventually exposing their artifice\, seeming to dance around the fleeting nature of desire itself. The Visitors (2012) is one of the most beloved artworks of the twenty-first century. In the virtuosic installation\, musicians each play alone in separate rooms of a decaying mansion in upstate New York. Their voices carry through walls\, gradually enfolding a shared refrain and transforming the individual into a temporary collective. Sunday Without Love is a tableau vivant rooted in traditions ranging from romantic balladry to landscape painting that builds into a sustained meditation on loss. \nKjartansson stands in wonder at the world’s contradictions. “I am just totally in awe of the world and all its mystical beauty and mystical violence\,” he has affirmed. Seen together\, the works in Politics of the Obvious describe a world in which aspiration and anxiety are tightly bound\, with the quest for stability\, beauty\, and rest shadowed by a persistent sense of precarity. By confronting familiar images throughout the exhibition—of love\, masculinity\, leisure\, and power—Kjartansson reveals their underlying instability and invites us to dwell in what often remains hidden in plain sight. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n[Above: Ragnar Kjartansson (Icelandic\, born 1976). Me and My Mother\, 2000–25. Six single-channel videos; color\, sound. Running time: variable. Courtesy of the artist\, Luhring Augustine\, New York\, and i8 Gallery\, Reykjavik] \n\nRagnar Kjartansson: Politics of the Obvious is curated by Cathleen Chaffee\, Charles Balbach Chief Curator with Helga Christoffersen\, Curator\, AKG Nordic Art and Culture Initiative. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n 
URL:https://thebuffalohive.com/event/buffalo-art-ragnar-kjartansson-politics-of-the-obvious-2/2026-09-04/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260904T100000
DTEND;TZID=America/New_York:20260904T200000
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CREATED:20260819T011101Z
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SUMMARY:Buffalo Art: All I ever wanted was a place - A Centennial Celebration of Robert Creeley
DESCRIPTION:On view May 21 through December 7\, 2026. A special installation marking the centennial of poet Robert Creeley’s birth\, celebrating his more than forty-year connection to the museum and thirty years living and teaching in Buffalo\, in partnership with UB’s Poetics Program\, UB Art Galleries\, Just Buffalo Literary Center\, and Black Rock Arts. \nMonday\, 10 am–5 pm\nTuesday\, Closed\nWednesday\, Closed\nThursday\, 10 am–5 pm\nFriday\, 10 am–8 pm  (until 9 pm on M&T FIRST FRIDAYS)\nSaturday\, 10 am–6 pm\nSunday\, 10 am–5 pm \n\n  \n\n\n\n\n\n\n\n\n\nPoetry Today symposium for The Buffalo Festival of the Arts Today\, March 5\, 1965\, in the Albright-Knox Art Gallery Auditorium. From left: David Posner (moderator)\, Robert Graves\, William D. Snodgrass\, and Robert Creeley. Image courtesy of the Buffalo AKG Art Museum Archives.\n\n\n\n\n\n\n\n\nWest Corridor\, Knox Building\nCelebrated American poet Robert Creeley (1926–2005) had a connection to the Albright-Knox Art Gallery (now the Buffalo AKG Art Museum) that spanned more than forty years\, from speaking to artist collaborations. His first engagement with the museum was in March 1965\, when he took part in the Poetry Today symposium for The Buffalo Festival of the Arts Today. The sixteen-day event attracted more than 300\,000 guests and received nationwide acclaim. During the symposium\, Creeley stated\, “Whatever provokes in me this response to the innate rhythm of a poem\, whatever it is\, one singly follows one’s own answer\,” expressing his deeply felt and responsive style. \nThe poet collaborated with some of the most celebrated contemporary artists\, forming lasting relationships with them before the actual “work” took place. Artist Alex Katz\, a collaborator on Edges\, stated\, “Working with Bob makes me feel bright.” In May 1972\, Marisol wrote a letter to Creeley after receiving the text for Presences: A Text for Marisol (1976)\, “It is really amazing how you could do something so close to me from seeing me so few times.” Creeley mirrored Marisol’s sculptural process in his prose\, creating what he called an “active complement.” \n“All I ever wanted was a place\,” Creeley writes\, in a 1988 collaboration with artists Robert Therrien and Michel Butor. The poet arrived in Buffalo in 1966\, teaching at the University at Buffalo for more than thirty years. He was the inspiration behind Just Buffalo Literary Center and went on to co-found UB’s Poetics Program. In his later years\, he was often called “the man in Black Rock.” On this centennial of his birth\, we celebrate the indelible mark Creeley made on the literary and artistic life of this place. \n\n\n\n\n\n\n\nRobert Creeley Centenary (2026)\n\nThis year marks a century since Robert Creeley’s birth. On May 21 and 22\, join us in commemorating his life and work in Buffalo\, where he lived for more than thirty years\, in partnership with the University at Buffalo Poetics Program\, the University at Buffalo Art Galleries\, Just Buffalo Literary Center\, and Black Rock Arts. \n\n\n\n\n\n\n\n\n\n  \n\n\n\n\n\nHome\n\n\n\n\n\n\nBuffalo AKG Art Museum\n1285 Elmwood Avenue\nBuffalo\, New York 14222\nNow Open
URL:https://thebuffalohive.com/event/buffalo-art-all-i-ever-wanted-was-a-place-a-centennial-celebration-of-robert-creeley-2/2026-09-04/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art,Literature
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260904T100000
DTEND;TZID=America/New_York:20260904T200000
DTSTAMP:20260819T154423Z
CREATED:20260819T005324Z
LAST-MODIFIED:20260819T154423Z
UID:10044207-1788516000-1788552000@thebuffalohive.com
SUMMARY:Buffalo Art: Ali Banisadr: Temple of the Mind
DESCRIPTION:Image above:Ali Banisadr (American\, born Iran\, born 1976). Weighing of the heart\, 2023. Oil on linen. 48 x 60 inches (121.92 x 152.4 cm). © Ali Banisadr. \n  \nFriday\, June 26\, 2026–Sunday\, November 8\, 2026 \n\n\n\n\n\n\n\n\nFriday\, 10 am–8 pm  (until 9 pm on M&T FIRST FRIDAYS)\n\nAli Banisadr (American\, born Iran\, born 1976). Weighing of the heart\, 2023. Oil on linen. 48 x 60 inches (121.92 x 152.4 cm). © Ali Banisadr.\n\n\n\n\n\n\n\n\nRobert and Elisabeth Wilmers Building\n\nImitation is not inspiration\, and inspiration only can give birth to a work of art.\n—Albert Pinkham Ryder\n\nAli Banisadr merges the compositional elements of landscape painting with abstract mark-making to create an altogether new form of figuration. The resulting compositions are a carefully composed bedlam of forms that suggest but ultimately deny any specific narrative. Variously reminiscent of gardens of Eden\, the seasonal genre pictures of Flemish Renaissance painter Pieter Bruegel the Elder\, and Boschian depictions of Hell\, Banisadr’s contemporary abstractions call upon the history of painting. The title of the exhibition\, borrowed from Albert Pinkham Ryder’s enigmatic painting\, The Temple of the Mind\, serves as a conceptual framework for the project\, suggesting a space where perception\, memory\, and imagination converge. While the Romantic painter was admired for his pioneering\, semi-abstract style\, for Banisadr\, Ryder holds a space for contemplation amid rising uncertainties. \nAli Banisadr (American\, born Iran\, 1976). Return to Mother\, 2022. Oil on linen. 82 x 180 inches (208.28 x 457.2 cm). © Ali Banisadr.\nGiven his deep interest in art history\, the Buffalo AKG has invited Banisadr to participate in the first-ever artist collection intervention. In addition to the installation in the Hemicycle Gallery\, a focused selection of Banisadr’s work will be installed throughout the Robert and Elisabeth Wilmers Building\, among the dreamlike imaginings of the Surrealists and the unbridled energy of the Abstract Expressionists. \nBanisadr reaches across time to draw on a wide range of influences. From art\, history\, literature\, and mythology to music\, film\, and technology\, he thinks of such sources as guiding his hand rather than driving his imagery\, and the powerful microcosms he creates are uniquely his own. Within these layered compositions\, subtle references to current events and the human condition—conflict\, migration\, and collective uncertainty—emerge and dissolve within the flux of his painterly language. Originating from one spontaneous moment to the next\, hidden figures and beguiling narratives reveal themselves to those who slow down in the present moment. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nAli Banisadr (American\, born Iran\, 1976). The Witness\, 2025. Oil on linen. 28 x 36 inches (71.12 x 91.44 cm). © Ali Banisadr.\n\n\n\n\n\n\n\n\n\n\n\n\nBanisadr’s works often evoke the natural world\, its shifting terrains and elemental forces\, while also suggesting cosmological dimensions that extend beyond the visible. Furthermore\, the artist’s unusual experience as a synesthete—a blending of the senses—also informs his practice. Over the years\, he has learned to allow his unique perceptions to guide his process\, leaning into the ways that color evokes specific sounds of harmony or discord. \nFrancisco de Goya (Spanish\, 1746–1828). Mucho hay que chupar (There is Plenty to Suck) from\, “Los Caprichos\,” 1799. Etching with aquatint. image area: 8 1/8 x 5 inches (20.64 x 12.7 cm); sheet: 11 1/2 x 8 1/8 inches (29.21 x 20.64 cm). Collection Buffalo AKG Art Museum. Gift of Frederic P. Norton\, 1999 (P1999:6.209).\nThe presentation in the Hemicycle Gallery will also feature an installation that delves deeply into the artist’s influences and process through materials from his studio and an artist-curated selection of works from the museum’s collection. From Andō Hiroshige’s evocative woodcuts and Francisco de Goya’s intense\, sometimes nightmarish\, depictions of violence and superstition to the artist’s sketchbooks and other visual cues\, visitors are invited to immerse themselves in Banisadr’s curious\, fantastical world. \nThe exhibition will be accompanied by an audio journey voiced by Banisadr and will debut a new etching created with the team at Mirabo Press in Buffalo\, New York. A short-documentary film on the artist is also in development. \n\n\n\n\n\n\n\n\n\nAli Banisadr: Temple of the Mind is organized by the Buffalo AKG Art Museum and co-curated by the artist and Godin-Spaulding Senior Curator for the Collection\, Holly E. Hughes.
URL:https://thebuffalohive.com/event/buffalo-art-ali-banisadr-temple-of-the-mind-2/2026-09-04/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260903T190000
DTEND;TZID=America/New_York:20260903T190000
DTSTAMP:20260811T160452Z
CREATED:20260811T160002Z
LAST-MODIFIED:20260811T160452Z
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SUMMARY:Buffalo Art: Voices in Contemporary Art —  Ragnar Kjartansson: Politics of the Obvious
DESCRIPTION:A conversation with artist Ragnar Kjartansson\, whom The Guardian called ‘one of the most brilliant artists at work today\,’ discussing the absurd and the profound in his works of video\, installation\, and performance with Chief Curator Cathleen Chaffee.
URL:https://thebuffalohive.com/event/buffalo-art-voices-in-contemporary-arta-ragnar-kjartansson-politics-of-the-obvious/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art
ORGANIZER;CN="Buffalo AKG Art Museum":MAILTO:noreply@facebookmail.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260903T100000
DTEND;TZID=America/New_York:20260903T180000
DTSTAMP:20260819T015932Z
CREATED:20260819T015932Z
LAST-MODIFIED:20260819T015932Z
UID:10045621-1788429600-1788458400@thebuffalohive.com
SUMMARY:Buffalo Art: Natvar Bhavsar: 'Free Yourself'
DESCRIPTION:Image above: Natvar Bhavsar (American\, born India\, 1934). REETVA\, 1968. Painting on paper\, dry pigment\, acrylic medium on rag paper. 35 x 46 inches (89 x 117 cm). © 2026 Natvar Bhavsar / Artists Rights Society (ARS)\, New York. Image courtesy of the artist.  \n  \nOn view August 21\, 2026 through April 4\, 2027. Surveys fifty years of Natvar Bhavsar’s expressive color-field abstractions made from pure dry pigment\, presented simultaneously with the University at Buffalo Art Galleries. Debuts the museum’s two new acquisitions\, RITI-YAA (1969) and KE-RAA (1971). \n\n\n\n\n\nM&T Bank Gallery\n\n\n\n\n\n\n\n\nSeymour H. Knox Building\n“I have tried to convey how to free oneself\, using color as a force to reach towards the beauty and generosity of the material that allows you unlimited expression.”  \nNatvar Bhavsar (American\, born India\, 1934). KE-RAA\, 1971. Pure pigment on canvas. 87 x 71 inches (221 x 180 cm). Collection Buffalo AKG Art Museum. Gift of Natvar Bhavsar and Janet Bhavsar\, 2025. © 2026 Natvar Bhavsar / Artists Rights Society (ARS)\, New York. Photo: Thomas Müller \nNatvar Bhavsar: Free Yourself surveys fifty years of the artist’s expressive abstractions\, inviting viewers to meditate on the power of pure color. Simultaneously presented at the Buffalo AKG Art Museum and the University at Buffalo Art Galleries\, the exhibitions respectively feature works on paper and monumental paintings spanning each decade of his career. This exhibition also celebrates the debut of the AKG’s two acquisitions by the artist RITI-YAA (1969) and KE-RAA (1971). \nBhavsar’s unique physical process centers on tiny particles of pure\, dry pigment. He begins by soaking the entire canvas in a clear acrylic binder\, then sifts or brushes pigment through handmade tools and fine mesh screens\, building up to eighty sealed layers. Air currents\, breath\, and the rhythm of his body as he maneuvers around the surface help shape the final image—a carefully controlled dance that produces textured\, smoky surfaces with subtle shifts in color and tone. As Bhavsar describes: \n\n“When I enter my studio\, everything disappears. It’s like I’ve entered another world. I experience Nirvana. It’s an incredible gift in which I disappear\, the studio itself disappears\, New York disappears.”\n\n  \nNatvar Bhavsar (American\, born India\, 1934). VAROONA II\, 1988. Painting on paper\, dry pigment\, and acrylic medium on rag paper. 49 x 39 inches (125 x 99 cm). © 2026 Natvar Bhavsar / Artists Rights Society (ARS)\, New York. Image courtesy of the artist. \nExamined up close\, his dappled surfaces are palpable; from a distance\, the color fields float and become atmospheric. Some paintings burst with energy\, while others suggest a boundless continuum of color. Unlike other Abstract Expressionists\, who approached the sublime through solemnity\, Bhavsar’s path is ecstatic and celebratory and rooted in his Indian heritage. His work invokes Holi\, the Hindu Spring festival in which revelers douse one another in powdered colors to celebrate the divine love of Radha and Krishna. Later works introducing curlicues draw on rangoli—decorative floor patterns of colored powder made during Diwali\, the festival of light. \nBhavsar’s meditative practice results in an intensely personal experience that invites endless free association—whether you find yourself peering through a microscope\, wandering a Holi celebration\, or gazing from the Hubble telescope is left entirely to you. \n  \n  \n  \n\nNatvar Bhavsar: Free Yourself is organized by the Buffalo AKG Art Museum and the University at Buffalo Art Galleries. Its presentation in Buffalo is organized by Katie O’Hara\, Assistant Curator\, Buffalo AKG Art Museum\, and its presentation at the University at Buffalo Art Galleries is organized by Robert Scalise\, Director\, University at Buffalo Art Galleries.
URL:https://thebuffalohive.com/event/buffalo-art-natvar-bhavsar-free-yourself-3/2026-09-03/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260903T100000
DTEND;TZID=America/New_York:20260903T170000
DTSTAMP:20260819T135107Z
CREATED:20260819T135107Z
LAST-MODIFIED:20260819T135107Z
UID:10045324-1788429600-1788454800@thebuffalohive.com
SUMMARY:Buffalo Art: Ragnar Kjartansson: Politics of the Obvious
DESCRIPTION:Image above: Ragnar Kjartansson (Icelandic\, born 1976). No Tomorrow\, 2022. Six-channel digital video; color\, sound\, 4/6 plus 2 artist’s proofs. Running time: 29 minutes\, 18 seconds. Commissioned by Sigurður Gísli Pálmason; based on a commission by the Iceland Dance Company. Courtesy of the artists\, Luhring Augustine\, New York and i8 Gallery\, Reykjavik. Collection Buffalo AKG Art Museum. Bequest of Arthur B. Michael\, 2024 (2024:64).  \nOn view September 3\, 2026 through January 31\, 2027. One of Icelandic artist Ragnar Kjartansson’s most ambitious U.S. exhibitions\, with six immersive performance\, video\, and installation works exploring clichés and familiar gestures made strange. Half the works make their American museum debut. Curated by Cathleen Chaffee with Helga Christoffersen. \n\n\n  \n\n\n\n\n\n\n\n\n\n\nThursday\, September 3\, 2026–Sunday\, January 31\, 2027 \n\n\n\n\n\nRagnar Kjartansson (Icelandic\, born 1976). Bangemand/Scaredman\, 2023. Live durational performance; variable. Courtesy of the artist\, Luhring Augustine\, New York and i8 Gallery\, Reykjavik. Originally presented at the Louisiana Museum of Modern Art. Photo: Louisiana Museum of Modern Art/Poul Buchard\n\n\n\n\n\n\n\n\nJeffrey E. Gundlach Building\nFloor 1\nRagnar Kjartansson works across performance\, music\, and image to create shared emotional experiences from otherwise commonplace or familiar scenes. Politics of the Obvious is one of the celebrated Icelandic artist’s most ambitious ever exhibitions in the United States and half of the works are making their American museum debut at the Buffalo AKG. The exhibition centers on a series of deceptively simple refrains\, clichés\, and truisms. In six immersive installations made over more than two decades\, Kjartansson transforms such familiar phrases or gestures into experiences that become altogether strange\, provocative\, and powerfully moving. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n\nRagnar Kjartansson (Icelandic\, born 1976). The Visitors\, 2012. Nine-channel HD video projection; color\, sound. Running time: 64 minutes. Courtesy of the artist\, Luhring Augustine\, New York\, and i8 Gallery\, Reykjavik. Photo: Elisabet Davids\n\n\n\n\n\nRagnar Kjartansson (Icelandic\, born 1976). Bangemand/Scaredman\, 2023. Live durational performance; variable. Courtesy of the artist\, Luhring Augustine\, New York and i8 Gallery\, Reykjavik. Originally presented at the Louisiana Museum of Modern Art. Photo: Louisiana Museum of Modern Art/Poul Buchard\n\n\n\n\n\nPrevious slideNext slide\n\n\n\n\n\n\n\n\n\n\n\nIn the video Scenes from Western Culture (The Boat) (2015)\, for example\, an elegantly dressed couple repeatedly and languidly sets off into a tranquil sea; the man stays the same while the woman seems to keep changing. Their evident wealth and ease\, coupled with the impossible beauty of their setting\, constitute the stuff of glossy travel brochures\, the carefully constructed advertising tropes that wallpaper an office worker’s imaginary. Such an unachievably perfect two weeks’ vacation was\, of course\, a reward designed to help keep that same worker productive during the other fifty weeks of the year. Devoid of drama or incident\, Kjartansson’s The Boatembodies the deep-rooted fantasy that leisure (enjoyed through the brief reprieve of a vacation or more durably attained through wealth) will cure what ails us. It illustrates a fiction that is as inherent to modernity as our increasingly digital and monitored working lives. \nThe nearby live performance Bangemand / Scaredman (2023) offers a stark counterpoint to the holidaymakers in The Boat. Every day during the museum’s open hours\, a man in a tuxedo inches along a narrow ledge high in a gallery\, his body pressed anxiously against the wall. The scenario recalls cinematic tropes—from silent-era physical comedy to midcentury thrillers such as Vertigo (1958)—yet Kjartansson strips the scene of narrative resolution. A clean-cut\, suited figure is typically a sign of masculine authority\, composure\, and control; in Scaredman\, he instead appears beset by unseen and undefined forces. The performance evokes a familiar cultural script in which masculinity is cast as under siege\, transforming a familiar archetype into a meditation on fear\, spectacle\, and the troubling logic that power sustains itself by staging its own vulnerability. \n\n\n\n\n\n\n\n\n\n\n\n\n\nRagnar Kjartansson (Icelandic\, born 1976). Scenes from Western Culture\, The Boat (Stephan Stephensen\, Kristín Anna Valtýsdóttir and Gyða Valtýsdóttir)\, 2015. Single-channel video. Running time: 2 hours\, 36 minutes. Courtesy of the artist\, Luhring Augustine\, New York\, and i8 Gallery\, Reykjavik\n\n\n\n\n\n\n\n\n\n\n\n\nIn an interview\, Kjartansson has reflected on the importance of holding opposing emotional registers in place: “There is always this balance between irony and sincerity. I think that’s where things become interesting.” This sensibility runs throughout the works in Politics of the Obvious. In Me and My Mother (2000–25)\, for example\, a repeated\, confrontational act between mother and son becomes a tender record of time passing. In No Tomorrow (2017)\, a group of performers with guitars take up historic entertainment repertoires while eventually exposing their artifice\, seeming to dance around the fleeting nature of desire itself. The Visitors (2012) is one of the most beloved artworks of the twenty-first century. In the virtuosic installation\, musicians each play alone in separate rooms of a decaying mansion in upstate New York. Their voices carry through walls\, gradually enfolding a shared refrain and transforming the individual into a temporary collective. Sunday Without Love is a tableau vivant rooted in traditions ranging from romantic balladry to landscape painting that builds into a sustained meditation on loss. \nKjartansson stands in wonder at the world’s contradictions. “I am just totally in awe of the world and all its mystical beauty and mystical violence\,” he has affirmed. Seen together\, the works in Politics of the Obvious describe a world in which aspiration and anxiety are tightly bound\, with the quest for stability\, beauty\, and rest shadowed by a persistent sense of precarity. By confronting familiar images throughout the exhibition—of love\, masculinity\, leisure\, and power—Kjartansson reveals their underlying instability and invites us to dwell in what often remains hidden in plain sight. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n[Above: Ragnar Kjartansson (Icelandic\, born 1976). Me and My Mother\, 2000–25. Six single-channel videos; color\, sound. Running time: variable. Courtesy of the artist\, Luhring Augustine\, New York\, and i8 Gallery\, Reykjavik] \n\nRagnar Kjartansson: Politics of the Obvious is curated by Cathleen Chaffee\, Charles Balbach Chief Curator with Helga Christoffersen\, Curator\, AKG Nordic Art and Culture Initiative. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n 
URL:https://thebuffalohive.com/event/buffalo-art-ragnar-kjartansson-politics-of-the-obvious-3/2026-09-03/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260903T100000
DTEND;TZID=America/New_York:20260903T170000
DTSTAMP:20260819T014754Z
CREATED:20260819T014754Z
LAST-MODIFIED:20260819T014754Z
UID:10045394-1788429600-1788454800@thebuffalohive.com
SUMMARY:Buffalo Art: Natvar Bhavsar: 'Free Yourself'
DESCRIPTION:Image above: Natvar Bhavsar (American\, born India\, 1934). REETVA\, 1968. Painting on paper\, dry pigment\, acrylic medium on rag paper. 35 x 46 inches (89 x 117 cm). © 2026 Natvar Bhavsar / Artists Rights Society (ARS)\, New York. Image courtesy of the artist.  \n  \nOn view August 21\, 2026 through April 4\, 2027. Surveys fifty years of Natvar Bhavsar’s expressive color-field abstractions made from pure dry pigment\, presented simultaneously with the University at Buffalo Art Galleries. Debuts the museum’s two new acquisitions\, RITI-YAA (1969) and KE-RAA (1971). \n\n\n\n\n\nM&T Bank Gallery \n\n\n\n\n\n\n\n\n\nSeymour H. Knox Building\n“I have tried to convey how to free oneself\, using color as a force to reach towards the beauty and generosity of the material that allows you unlimited expression.”  \nNatvar Bhavsar (American\, born India\, 1934). KE-RAA\, 1971. Pure pigment on canvas. 87 x 71 inches (221 x 180 cm). Collection Buffalo AKG Art Museum. Gift of Natvar Bhavsar and Janet Bhavsar\, 2025. © 2026 Natvar Bhavsar / Artists Rights Society (ARS)\, New York. Photo: Thomas Müller \nNatvar Bhavsar: Free Yourself surveys fifty years of the artist’s expressive abstractions\, inviting viewers to meditate on the power of pure color. Simultaneously presented at the Buffalo AKG Art Museum and the University at Buffalo Art Galleries\, the exhibitions respectively feature works on paper and monumental paintings spanning each decade of his career. This exhibition also celebrates the debut of the AKG’s two acquisitions by the artist RITI-YAA (1969) and KE-RAA (1971). \nBhavsar’s unique physical process centers on tiny particles of pure\, dry pigment. He begins by soaking the entire canvas in a clear acrylic binder\, then sifts or brushes pigment through handmade tools and fine mesh screens\, building up to eighty sealed layers. Air currents\, breath\, and the rhythm of his body as he maneuvers around the surface help shape the final image—a carefully controlled dance that produces textured\, smoky surfaces with subtle shifts in color and tone. As Bhavsar describes: \n\n“When I enter my studio\, everything disappears. It’s like I’ve entered another world. I experience Nirvana. It’s an incredible gift in which I disappear\, the studio itself disappears\, New York disappears.”\n\n  \nNatvar Bhavsar (American\, born India\, 1934). VAROONA II\, 1988. Painting on paper\, dry pigment\, and acrylic medium on rag paper. 49 x 39 inches (125 x 99 cm). © 2026 Natvar Bhavsar / Artists Rights Society (ARS)\, New York. Image courtesy of the artist. \nExamined up close\, his dappled surfaces are palpable; from a distance\, the color fields float and become atmospheric. Some paintings burst with energy\, while others suggest a boundless continuum of color. Unlike other Abstract Expressionists\, who approached the sublime through solemnity\, Bhavsar’s path is ecstatic and celebratory and rooted in his Indian heritage. His work invokes Holi\, the Hindu Spring festival in which revelers douse one another in powdered colors to celebrate the divine love of Radha and Krishna. Later works introducing curlicues draw on rangoli—decorative floor patterns of colored powder made during Diwali\, the festival of light. \nBhavsar’s meditative practice results in an intensely personal experience that invites endless free association—whether you find yourself peering through a microscope\, wandering a Holi celebration\, or gazing from the Hubble telescope is left entirely to you. \n  \n  \n  \n\nNatvar Bhavsar: Free Yourself is organized by the Buffalo AKG Art Museum and the University at Buffalo Art Galleries. Its presentation in Buffalo is organized by Katie O’Hara\, Assistant Curator\, Buffalo AKG Art Museum\, and its presentation at the University at Buffalo Art Galleries is organized by Robert Scalise\, Director\, University at Buffalo Art Galleries.
URL:https://thebuffalohive.com/event/buffalo-art-natvar-bhavsar-free-yourself/2026-09-03/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/08/exh5081_natvarbhavsar.jpeg
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260903T100000
DTEND;TZID=America/New_York:20260903T170000
DTSTAMP:20260819T012959Z
CREATED:20260819T012959Z
LAST-MODIFIED:20260819T012959Z
UID:10045172-1788429600-1788454800@thebuffalohive.com
SUMMARY:Buffalo Art: Ragnar Kjartansson: Politics of the Obvious
DESCRIPTION:Image above: Ragnar Kjartansson (Icelandic\, born 1976). No Tomorrow\, 2022. Six-channel digital video; color\, sound\, 4/6 plus 2 artist’s proofs. Running time: 29 minutes\, 18 seconds. Commissioned by Sigurður Gísli Pálmason; based on a commission by the Iceland Dance Company. Courtesy of the artists\, Luhring Augustine\, New York and i8 Gallery\, Reykjavik. Collection Buffalo AKG Art Museum. Bequest of Arthur B. Michael\, 2024 (2024:64).  \nOn view September 3\, 2026 through January 31\, 2027. One of Icelandic artist Ragnar Kjartansson’s most ambitious U.S. exhibitions\, with six immersive performance\, video\, and installation works exploring clichés and familiar gestures made strange. Half the works make their American museum debut. Curated by Cathleen Chaffee with Helga Christoffersen. \n\n \n\n\n\n\n\n\n\n\n\n\nThursday\, September 3\, 2026–Sunday\, January 31\, 2027 \n\n\n\n\n\nRagnar Kjartansson (Icelandic\, born 1976). Bangemand/Scaredman\, 2023. Live durational performance; variable. Courtesy of the artist\, Luhring Augustine\, New York and i8 Gallery\, Reykjavik. Originally presented at the Louisiana Museum of Modern Art. Photo: Louisiana Museum of Modern Art/Poul Buchard \n\n\n\n\n\n\n\n\n\nJeffrey E. Gundlach Building\nFloor 1\nRagnar Kjartansson works across performance\, music\, and image to create shared emotional experiences from otherwise commonplace or familiar scenes. Politics of the Obvious is one of the celebrated Icelandic artist’s most ambitious ever exhibitions in the United States and half of the works are making their American museum debut at the Buffalo AKG. The exhibition centers on a series of deceptively simple refrains\, clichés\, and truisms. In six immersive installations made over more than two decades\, Kjartansson transforms such familiar phrases or gestures into experiences that become altogether strange\, provocative\, and powerfully moving. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n  \n\n\n\n\n\n\nRagnar Kjartansson (Icelandic\, born 1976). The Visitors\, 2012. Nine-channel HD video projection; color\, sound. Running time: 64 minutes. Courtesy of the artist\, Luhring Augustine\, New York\, and i8 Gallery\, Reykjavik. Photo: Elisabet Davids \n\n\n\n\n\n\nRagnar Kjartansson (Icelandic\, born 1976). Bangemand/Scaredman\, 2023. Live durational performance; variable. Courtesy of the artist\, Luhring Augustine\, New York and i8 Gallery\, Reykjavik. Originally presented at the Louisiana Museum of Modern Art. Photo: Louisiana Museum of Modern Art/Poul Buchard \n\n\n\n\n\n\nPrevious slideNext slide\n\n\n\n\n\n\n\n\n\n\n\nIn the video Scenes from Western Culture (The Boat) (2015)\, for example\, an elegantly dressed couple repeatedly and languidly sets off into a tranquil sea; the man stays the same while the woman seems to keep changing. Their evident wealth and ease\, coupled with the impossible beauty of their setting\, constitute the stuff of glossy travel brochures\, the carefully constructed advertising tropes that wallpaper an office worker’s imaginary. Such an unachievably perfect two weeks’ vacation was\, of course\, a reward designed to help keep that same worker productive during the other fifty weeks of the year. Devoid of drama or incident\, Kjartansson’s The Boatembodies the deep-rooted fantasy that leisure (enjoyed through the brief reprieve of a vacation or more durably attained through wealth) will cure what ails us. It illustrates a fiction that is as inherent to modernity as our increasingly digital and monitored working lives. \nThe nearby live performance Bangemand / Scaredman (2023) offers a stark counterpoint to the holidaymakers in The Boat. Every day during the museum’s open hours\, a man in a tuxedo inches along a narrow ledge high in a gallery\, his body pressed anxiously against the wall. The scenario recalls cinematic tropes—from silent-era physical comedy to midcentury thrillers such as Vertigo (1958)—yet Kjartansson strips the scene of narrative resolution. A clean-cut\, suited figure is typically a sign of masculine authority\, composure\, and control; in Scaredman\, he instead appears beset by unseen and undefined forces. The performance evokes a familiar cultural script in which masculinity is cast as under siege\, transforming a familiar archetype into a meditation on fear\, spectacle\, and the troubling logic that power sustains itself by staging its own vulnerability. \n\n\n\n\n\n\n\n\n\n\n\n\n\nRagnar Kjartansson (Icelandic\, born 1976). Scenes from Western Culture\, The Boat (Stephan Stephensen\, Kristín Anna Valtýsdóttir and Gyða Valtýsdóttir)\, 2015. Single-channel video. Running time: 2 hours\, 36 minutes. Courtesy of the artist\, Luhring Augustine\, New York\, and i8 Gallery\, Reykjavik \n\n\n\n\n\n\n\n\n\n\n\n\n\nIn an interview\, Kjartansson has reflected on the importance of holding opposing emotional registers in place: “There is always this balance between irony and sincerity. I think that’s where things become interesting.” This sensibility runs throughout the works in Politics of the Obvious. In Me and My Mother (2000–25)\, for example\, a repeated\, confrontational act between mother and son becomes a tender record of time passing. In No Tomorrow (2017)\, a group of performers with guitars take up historic entertainment repertoires while eventually exposing their artifice\, seeming to dance around the fleeting nature of desire itself. The Visitors (2012) is one of the most beloved artworks of the twenty-first century. In the virtuosic installation\, musicians each play alone in separate rooms of a decaying mansion in upstate New York. Their voices carry through walls\, gradually enfolding a shared refrain and transforming the individual into a temporary collective. Sunday Without Love is a tableau vivant rooted in traditions ranging from romantic balladry to landscape painting that builds into a sustained meditation on loss. \nKjartansson stands in wonder at the world’s contradictions. “I am just totally in awe of the world and all its mystical beauty and mystical violence\,” he has affirmed. Seen together\, the works in Politics of the Obvious describe a world in which aspiration and anxiety are tightly bound\, with the quest for stability\, beauty\, and rest shadowed by a persistent sense of precarity. By confronting familiar images throughout the exhibition—of love\, masculinity\, leisure\, and power—Kjartansson reveals their underlying instability and invites us to dwell in what often remains hidden in plain sight. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n[Above: Ragnar Kjartansson (Icelandic\, born 1976). Me and My Mother\, 2000–25. Six single-channel videos; color\, sound. Running time: variable. Courtesy of the artist\, Luhring Augustine\, New York\, and i8 Gallery\, Reykjavik] \n\nRagnar Kjartansson: Politics of the Obvious is curated by Cathleen Chaffee\, Charles Balbach Chief Curator with Helga Christoffersen\, Curator\, AKG Nordic Art and Culture Initiative.
URL:https://thebuffalohive.com/event/buffalo-art-ragnar-kjartansson-politics-of-the-obvious/2026-09-03/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art
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SUMMARY:Buffalo Art: All I ever wanted was a place - A Centennial Celebration of Robert Creeley
DESCRIPTION:On view May 21 through December 7\, 2026. A special installation marking the centennial of poet Robert Creeley’s birth\, celebrating his more than forty-year connection to the museum and thirty years living and teaching in Buffalo\, in partnership with UB’s Poetics Program\, UB Art Galleries\, Just Buffalo Literary Center\, and Black Rock Arts. \n  \n \n\n\n\n\n\n\n\n\n\nPoetry Today symposium for The Buffalo Festival of the Arts Today\, March 5\, 1965\, in the Albright-Knox Art Gallery Auditorium. From left: David Posner (moderator)\, Robert Graves\, William D. Snodgrass\, and Robert Creeley. Image courtesy of the Buffalo AKG Art Museum Archives. \n\n\n\n\n\n\n\n\n\nWest Corridor\, Knox Building\nCelebrated American poet Robert Creeley (1926–2005) had a connection to the Albright-Knox Art Gallery (now the Buffalo AKG Art Museum) that spanned more than forty years\, from speaking to artist collaborations. His first engagement with the museum was in March 1965\, when he took part in the Poetry Today symposium for The Buffalo Festival of the Arts Today. The sixteen-day event attracted more than 300\,000 guests and received nationwide acclaim. During the symposium\, Creeley stated\, “Whatever provokes in me this response to the innate rhythm of a poem\, whatever it is\, one singly follows one’s own answer\,” expressing his deeply felt and responsive style. \nThe poet collaborated with some of the most celebrated contemporary artists\, forming lasting relationships with them before the actual “work” took place. Artist Alex Katz\, a collaborator on Edges\, stated\, “Working with Bob makes me feel bright.” In May 1972\, Marisol wrote a letter to Creeley after receiving the text for Presences: A Text for Marisol (1976)\, “It is really amazing how you could do something so close to me from seeing me so few times.” Creeley mirrored Marisol’s sculptural process in his prose\, creating what he called an “active complement.” \n“All I ever wanted was a place\,” Creeley writes\, in a 1988 collaboration with artists Robert Therrien and Michel Butor. The poet arrived in Buffalo in 1966\, teaching at the University at Buffalo for more than thirty years. He was the inspiration behind Just Buffalo Literary Center and went on to co-found UB’s Poetics Program. In his later years\, he was often called “the man in Black Rock.” On this centennial of his birth\, we celebrate the indelible mark Creeley made on the literary and artistic life of this place.\n \n\n\n\n\n\n\nRobert Creeley Centenary (2026)\n\nThis year marks a century since Robert Creeley’s birth. On May 21 and 22\, join us in commemorating his life and work in Buffalo\, where he lived for more than thirty years\, in partnership with the University at Buffalo Poetics Program\, the University at Buffalo Art Galleries\, Just Buffalo Literary Center\, and Black Rock Arts. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nHome\n\n\n\n\n\n\nBuffalo AKG Art Museum\n1285 Elmwood Avenue\nBuffalo\, New York 14222\nNow Open
URL:https://thebuffalohive.com/event/buffalo-art-all-i-ever-wanted-was-a-place-a-centennial-celebration-of-robert-creeley/2026-09-03/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art,Literature
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DTSTART;TZID=America/New_York:20260903T100000
DTEND;TZID=America/New_York:20260903T170000
DTSTAMP:20260819T154435Z
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SUMMARY:Buffalo Art: Ali Banisadr: Temple of the Mind
DESCRIPTION:Image above:Ali Banisadr (American\, born Iran\, born 1976). Weighing of the heart\, 2023. Oil on linen. 48 x 60 inches (121.92 x 152.4 cm). © Ali Banisadr. \nFriday\, June 26\, 2026–Sunday\, November 8\, 2026 \n\n\n\n\n\n\n\n\n\n\n\nRobert and Elisabeth Wilmers Building\n\nImitation is not inspiration\, and inspiration only can give birth to a work of art.\n—Albert Pinkham Ryder\n\nAli Banisadr merges the compositional elements of landscape painting with abstract mark-making to create an altogether new form of figuration. The resulting compositions are a carefully composed bedlam of forms that suggest but ultimately deny any specific narrative. Variously reminiscent of gardens of Eden\, the seasonal genre pictures of Flemish Renaissance painter Pieter Bruegel the Elder\, and Boschian depictions of Hell\, Banisadr’s contemporary abstractions call upon the history of painting. The title of the exhibition\, borrowed from Albert Pinkham Ryder’s enigmatic painting\, The Temple of the Mind\, serves as a conceptual framework for the project\, suggesting a space where perception\, memory\, and imagination converge. While the Romantic painter was admired for his pioneering\, semi-abstract style\, for Banisadr\, Ryder holds a space for contemplation amid rising uncertainties. \nAli Banisadr (American\, born Iran\, 1976). Return to Mother\, 2022. Oil on linen. 82 x 180 inches (208.28 x 457.2 cm). © Ali Banisadr.\nGiven his deep interest in art history\, the Buffalo AKG has invited Banisadr to participate in the first-ever artist collection intervention. In addition to the installation in the Hemicycle Gallery\, a focused selection of Banisadr’s work will be installed throughout the Robert and Elisabeth Wilmers Building\, among the dreamlike imaginings of the Surrealists and the unbridled energy of the Abstract Expressionists. \nBanisadr reaches across time to draw on a wide range of influences. From art\, history\, literature\, and mythology to music\, film\, and technology\, he thinks of such sources as guiding his hand rather than driving his imagery\, and the powerful microcosms he creates are uniquely his own. Within these layered compositions\, subtle references to current events and the human condition—conflict\, migration\, and collective uncertainty—emerge and dissolve within the flux of his painterly language. Originating from one spontaneous moment to the next\, hidden figures and beguiling narratives reveal themselves to those who slow down in the present moment. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nAli Banisadr (American\, born Iran\, 1976). The Witness\, 2025. Oil on linen. 28 x 36 inches (71.12 x 91.44 cm). © Ali Banisadr.\n\n\n\n\n\n\n\n\n\n\n\n\nBanisadr’s works often evoke the natural world\, its shifting terrains and elemental forces\, while also suggesting cosmological dimensions that extend beyond the visible. Furthermore\, the artist’s unusual experience as a synesthete—a blending of the senses—also informs his practice. Over the years\, he has learned to allow his unique perceptions to guide his process\, leaning into the ways that color evokes specific sounds of harmony or discord. \nFrancisco de Goya (Spanish\, 1746–1828). Mucho hay que chupar (There is Plenty to Suck) from\, “Los Caprichos\,” 1799. Etching with aquatint. image area: 8 1/8 x 5 inches (20.64 x 12.7 cm); sheet: 11 1/2 x 8 1/8 inches (29.21 x 20.64 cm). Collection Buffalo AKG Art Museum. Gift of Frederic P. Norton\, 1999 (P1999:6.209).\nThe presentation in the Hemicycle Gallery will also feature an installation that delves deeply into the artist’s influences and process through materials from his studio and an artist-curated selection of works from the museum’s collection. From Andō Hiroshige’s evocative woodcuts and Francisco de Goya’s intense\, sometimes nightmarish\, depictions of violence and superstition to the artist’s sketchbooks and other visual cues\, visitors are invited to immerse themselves in Banisadr’s curious\, fantastical world. \nThe exhibition will be accompanied by an audio journey voiced by Banisadr and will debut a new etching created with the team at Mirabo Press in Buffalo\, New York. A short-documentary film on the artist is also in development. \n\n\n\n\n\n\n\n\n\nAli Banisadr: Temple of the Mind is organized by the Buffalo AKG Art Museum and co-curated by the artist and Godin-Spaulding Senior Curator for the Collection\, Holly E. Hughes.
URL:https://thebuffalohive.com/event/buffalo-art-ali-banisadr-temple-of-the-mind/2026-09-03/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art
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DTSTART;TZID=America/New_York:20260903T100000
DTEND;TZID=America/New_York:20260903T170000
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SUMMARY:Buffalo Art: Let Us Gather in a Flourishing Way
DESCRIPTION:Image above: Rogelio Báez Vega (Lives and works in Santurce\, Puerto Rico). New York Department Store\, Bayamón Branch\, 2024–25. Oil\, beeswax\, and gold powder pigment on canvas / Óleo\, cera de abeja y polvo de oro sobre lienzo. 48 × 72 in. (121.9 × 182.9 cm). Courtesy of the artist. Photo: Courtesy of the artist  \n  \nLet Us Gather in a Flourishing Way explores contemporary Latinx artists’ innovations and interventions within established traditions of painting\, inviting discussion on a variety of themes and revealing the diversity and expansiveness present within the field. The fifty-eight artists in the exhibition—and those in the Latinx field more broadly—encourage us to interrogate the continued relevance of boundaries\, from political borders to disciplinary confines. This exhibition therefore celebrates artists whose expressions are first and foremost personal and subjective\, but whose heterogeneous and culturally specific interventions enrich one another and the history of American and contemporary art\, two fields from which such artists have been historically excluded. Inspired by former U.S. Poet Laureate Juan Felipe Herrera’s poem “[Let Us Gather in a Flourishing Way]\,” the show celebrates abundance and presents a vision of Latinx art that is\, like the diaspora itself\, infinitely complex. \n\n\n\n\n  \nDavid Antonio Cruz (Lives and works in New York). iknowyou’vebeenwonderingwherei’vebeen:adrift\,adraft\,astare\,atilt\,asigh\,exhale.but\,icamebacktoletyouknow\,gotathingforyou\,andican’tletitgo_the raft.\, 2024. Oil\, acrylic\, and ink on wood panel / Óleo\, acrílico y tinta sobre panel de madera. Two panels\, each 72 × 48 in. (188 × 121.9 cm). Overall 72 × 98 1/2 in. (188 × 250.2 cm). Collection of Igor DaCosta. Photo: Robert Chase Heishman\, courtesy of the artist and Monique Meloche Gallery\, Chicago \nThe show’s intergenerational and regionally broad dialogue is reflected in seven thematic groupings: (New) Histories\, offering new perspectives on personal\, cultural\, and global histories; Bodies & Figures\, representations of and by marginalized people\, considering the importance of the body\, and who is or isn’t seen in an image; Identity/Place\, a consideration of how identity and place shape each other with a diasporic lens; Land/tierra\, varied approaches to land and the built environment\, from the material to the imaginary; Community\, highlighting various communities—artistic\, blood\, and chosen—and their importance to populations within the diaspora; Pinturx\, contemporary Latinx approaches to traditional painting genres like still life and portraiture; and Abstractions\, exploring centuries-long Indigenous and European abstract traditions still in use by artists today. \nAllowing for cacophony and heterogeneity in its narratives\, the exhibition takes its cues from the artists themselves\, who are actively cultivating the landscape of contemporary painting as visitors will experience it in the museum. Rather than telling a finished story\, as survey exhibitions often do\, this exhibition gives audiences a peek into this vibrant and lively active network. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nYvette Mayorga (Lives and works in Chicago). The Brunette Latinx Self Portrait After François Boucher’s “The Brunette Odalisque\,” c.1745\, 2022. Acrylic nails\, acrylic marker\, false eyelashes\, collage\, plastic rings\, plastic nail charms\, rhinestones\, car wrap vinyl\, and acrylic piping on panel / Uñas acrílicas\, marcador acrílico\, cejas postizas\, collage\, anillos de plástico\, decoraciones de plástico para uñas\, diamantes de imitación\, vinil de auto y acrílico aplicado con manga pastelera sobre panel. Overall 60 × 120 × 2 in. (152.4 × 304.8 × 5.1 cm). Courtesy of the artist. Photo: Robert Chase Heishman\n\n\n\n\n\nVincent Valdez (Lives and works in Houston). The Sea\, 2020. Oil on canvas / Óleo sobre lienzo. 50 × 70 in. (127 × 177.8 cm). Courtesy Matthew Brown. Photo: Paul Salveson\, courtesy of Matthew Brown  \n  \n\n\n\n\n\n\nManuela Gonzalez (Lives and works in Lake Worth Beach\, Florida). Inanna\, 2024. Acrylic on mixed fabrics / Acrílico sobre tejidos mixtos. Overall 66 × 58 × 2 in. (167.6 × 147.3 × 5.1 cm). Collection of the artist.\n\n\n\n\n\nLilian Martinez (Lives and works in Los Angeles). Garden Club\, 2024. Acrylic on canvas  / Acrílico sobre lienzo. 50 × 65 in. (127 × 165.1 cm). Collection Buffalo AKG Art Museum\, Gift of Pamela and David Hornik\, 2025 (2025:9). Photo: Deen Babakhyi\, courtesy of the artist and OCHI\n\n\n\n\n\nEamon Ore-Giron (Lives and works in Los Angeles). Talking Shit with Illapa (variation I)\, 2023. Mineral paint and Flashe on canvas / Pintura mineral y Flashe sobre lienzo. 72 × 96 1/8 in. (182.9 × 244.2 cm). Collection Buffalo AKG Art Museum\, George B. and Jenny R. Mathews Fund\, 2024 (2024:6). Photo: Brenda Bieger\, Buffalo AKG Art Museum\n\n\n\n\n\nPatrick Martinez (Lives and works in Los Angeles). Promised Land\, 2022. Acrylic\, stucco\, neon\, Mean Streak\, ceramic\, spray paint\, latex house paint\, banner tarp\, ceramic tile\, tile adhesive\, and family archive photo collage on panel / Acrílico\, estuco\, neón\, Mean Streak\, cerámica\, pintura en aerosol\, pintura de látex para interior\, cartel publicitario\, azulejos de cerámica\, adhesivo para azulejos y collage de archivo fotográfico familiar sobre panel.  84 × 192 × 7 in. (213.4 × 487.7 × 17.8 cm). Collection Buffalo AKG Art Museum\, George B. and Jenny R. Mathews Fund\, 2022 (2022:78). Photo: Yubo Dong\, ofstudio photography\, courtesy of Charlie James Gallery\n\n\n\n\n\nCandida Alvarez (Lives and works in Baroda\, Michigan\, and Chicago). Flor de Caballo 3\, 2022. Acrylic on linen  / Acrílico sobre lino. 48 × 48 in. (121.9 × 121.9 cm). Courtesy of the artist. Photo: Robert Chase Heishman\, courtesy of the artist and Monique Meloche Gallery\, Chicago\n\n\n\n\n\nCarlos Rosales-Silva (Lives and works in New York). Peep Hole 3\, 2023. Crushed stone and glass bead in acrylic paint on panel / Piedra molida y cuentas de vidrio en pintura acrílica sobre panel. Overall 50 × 40 × 1 1/2 in. (127 × 101.6 × 3.8 cm). Courtesy of the artist and Sargent’s Daughters. Photo: Nicholas Knight\n\n\n\n\n\nPrevious slideNext slide\n\n\n\n\n\n\n\n\n\n\n\n\nLet Us Gather in a Flourishing Way is organized by the Buffalo AKG Art Museum and curated by Curator Andrea Alvarez. It will be followed by a national tour including presentations at the Des Moines Art Center\, the Museum of Contemporary Art Denver\, the Phoenix Art Museum\, and the Frye Art Museum\, Seattle. \n\n\n\n\n\n 
URL:https://thebuffalohive.com/event/buffalo-art-let-us-gather-in-a-flourishing-way/2026-09-03/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art
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DTSTART;TZID=America/New_York:20260831T100000
DTEND;TZID=America/New_York:20260831T180000
DTSTAMP:20260819T015932Z
CREATED:20260819T015932Z
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SUMMARY:Buffalo Art: Natvar Bhavsar: 'Free Yourself'
DESCRIPTION:Image above: Natvar Bhavsar (American\, born India\, 1934). REETVA\, 1968. Painting on paper\, dry pigment\, acrylic medium on rag paper. 35 x 46 inches (89 x 117 cm). © 2026 Natvar Bhavsar / Artists Rights Society (ARS)\, New York. Image courtesy of the artist.  \n  \nOn view August 21\, 2026 through April 4\, 2027. Surveys fifty years of Natvar Bhavsar’s expressive color-field abstractions made from pure dry pigment\, presented simultaneously with the University at Buffalo Art Galleries. Debuts the museum’s two new acquisitions\, RITI-YAA (1969) and KE-RAA (1971). \n\n\n\n\n\nM&T Bank Gallery\n\n\n\n\n\n\n\n\nSeymour H. Knox Building\n“I have tried to convey how to free oneself\, using color as a force to reach towards the beauty and generosity of the material that allows you unlimited expression.”  \nNatvar Bhavsar (American\, born India\, 1934). KE-RAA\, 1971. Pure pigment on canvas. 87 x 71 inches (221 x 180 cm). Collection Buffalo AKG Art Museum. Gift of Natvar Bhavsar and Janet Bhavsar\, 2025. © 2026 Natvar Bhavsar / Artists Rights Society (ARS)\, New York. Photo: Thomas Müller \nNatvar Bhavsar: Free Yourself surveys fifty years of the artist’s expressive abstractions\, inviting viewers to meditate on the power of pure color. Simultaneously presented at the Buffalo AKG Art Museum and the University at Buffalo Art Galleries\, the exhibitions respectively feature works on paper and monumental paintings spanning each decade of his career. This exhibition also celebrates the debut of the AKG’s two acquisitions by the artist RITI-YAA (1969) and KE-RAA (1971). \nBhavsar’s unique physical process centers on tiny particles of pure\, dry pigment. He begins by soaking the entire canvas in a clear acrylic binder\, then sifts or brushes pigment through handmade tools and fine mesh screens\, building up to eighty sealed layers. Air currents\, breath\, and the rhythm of his body as he maneuvers around the surface help shape the final image—a carefully controlled dance that produces textured\, smoky surfaces with subtle shifts in color and tone. As Bhavsar describes: \n\n“When I enter my studio\, everything disappears. It’s like I’ve entered another world. I experience Nirvana. It’s an incredible gift in which I disappear\, the studio itself disappears\, New York disappears.”\n\n  \nNatvar Bhavsar (American\, born India\, 1934). VAROONA II\, 1988. Painting on paper\, dry pigment\, and acrylic medium on rag paper. 49 x 39 inches (125 x 99 cm). © 2026 Natvar Bhavsar / Artists Rights Society (ARS)\, New York. Image courtesy of the artist. \nExamined up close\, his dappled surfaces are palpable; from a distance\, the color fields float and become atmospheric. Some paintings burst with energy\, while others suggest a boundless continuum of color. Unlike other Abstract Expressionists\, who approached the sublime through solemnity\, Bhavsar’s path is ecstatic and celebratory and rooted in his Indian heritage. His work invokes Holi\, the Hindu Spring festival in which revelers douse one another in powdered colors to celebrate the divine love of Radha and Krishna. Later works introducing curlicues draw on rangoli—decorative floor patterns of colored powder made during Diwali\, the festival of light. \nBhavsar’s meditative practice results in an intensely personal experience that invites endless free association—whether you find yourself peering through a microscope\, wandering a Holi celebration\, or gazing from the Hubble telescope is left entirely to you. \n  \n  \n  \n\nNatvar Bhavsar: Free Yourself is organized by the Buffalo AKG Art Museum and the University at Buffalo Art Galleries. Its presentation in Buffalo is organized by Katie O’Hara\, Assistant Curator\, Buffalo AKG Art Museum\, and its presentation at the University at Buffalo Art Galleries is organized by Robert Scalise\, Director\, University at Buffalo Art Galleries.
URL:https://thebuffalohive.com/event/buffalo-art-natvar-bhavsar-free-yourself-3/2026-08-31/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art
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DTSTART;TZID=America/New_York:20260831T100000
DTEND;TZID=America/New_York:20260831T170000
DTSTAMP:20260819T014754Z
CREATED:20260819T014754Z
LAST-MODIFIED:20260819T014754Z
UID:10045393-1788170400-1788195600@thebuffalohive.com
SUMMARY:Buffalo Art: Natvar Bhavsar: 'Free Yourself'
DESCRIPTION:Image above: Natvar Bhavsar (American\, born India\, 1934). REETVA\, 1968. Painting on paper\, dry pigment\, acrylic medium on rag paper. 35 x 46 inches (89 x 117 cm). © 2026 Natvar Bhavsar / Artists Rights Society (ARS)\, New York. Image courtesy of the artist.  \n  \nOn view August 21\, 2026 through April 4\, 2027. Surveys fifty years of Natvar Bhavsar’s expressive color-field abstractions made from pure dry pigment\, presented simultaneously with the University at Buffalo Art Galleries. Debuts the museum’s two new acquisitions\, RITI-YAA (1969) and KE-RAA (1971). \n\n\n\n\n\nM&T Bank Gallery \n\n\n\n\n\n\n\n\n\nSeymour H. Knox Building\n“I have tried to convey how to free oneself\, using color as a force to reach towards the beauty and generosity of the material that allows you unlimited expression.”  \nNatvar Bhavsar (American\, born India\, 1934). KE-RAA\, 1971. Pure pigment on canvas. 87 x 71 inches (221 x 180 cm). Collection Buffalo AKG Art Museum. Gift of Natvar Bhavsar and Janet Bhavsar\, 2025. © 2026 Natvar Bhavsar / Artists Rights Society (ARS)\, New York. Photo: Thomas Müller \nNatvar Bhavsar: Free Yourself surveys fifty years of the artist’s expressive abstractions\, inviting viewers to meditate on the power of pure color. Simultaneously presented at the Buffalo AKG Art Museum and the University at Buffalo Art Galleries\, the exhibitions respectively feature works on paper and monumental paintings spanning each decade of his career. This exhibition also celebrates the debut of the AKG’s two acquisitions by the artist RITI-YAA (1969) and KE-RAA (1971). \nBhavsar’s unique physical process centers on tiny particles of pure\, dry pigment. He begins by soaking the entire canvas in a clear acrylic binder\, then sifts or brushes pigment through handmade tools and fine mesh screens\, building up to eighty sealed layers. Air currents\, breath\, and the rhythm of his body as he maneuvers around the surface help shape the final image—a carefully controlled dance that produces textured\, smoky surfaces with subtle shifts in color and tone. As Bhavsar describes: \n\n“When I enter my studio\, everything disappears. It’s like I’ve entered another world. I experience Nirvana. It’s an incredible gift in which I disappear\, the studio itself disappears\, New York disappears.”\n\n  \nNatvar Bhavsar (American\, born India\, 1934). VAROONA II\, 1988. Painting on paper\, dry pigment\, and acrylic medium on rag paper. 49 x 39 inches (125 x 99 cm). © 2026 Natvar Bhavsar / Artists Rights Society (ARS)\, New York. Image courtesy of the artist. \nExamined up close\, his dappled surfaces are palpable; from a distance\, the color fields float and become atmospheric. Some paintings burst with energy\, while others suggest a boundless continuum of color. Unlike other Abstract Expressionists\, who approached the sublime through solemnity\, Bhavsar’s path is ecstatic and celebratory and rooted in his Indian heritage. His work invokes Holi\, the Hindu Spring festival in which revelers douse one another in powdered colors to celebrate the divine love of Radha and Krishna. Later works introducing curlicues draw on rangoli—decorative floor patterns of colored powder made during Diwali\, the festival of light. \nBhavsar’s meditative practice results in an intensely personal experience that invites endless free association—whether you find yourself peering through a microscope\, wandering a Holi celebration\, or gazing from the Hubble telescope is left entirely to you. \n  \n  \n  \n\nNatvar Bhavsar: Free Yourself is organized by the Buffalo AKG Art Museum and the University at Buffalo Art Galleries. Its presentation in Buffalo is organized by Katie O’Hara\, Assistant Curator\, Buffalo AKG Art Museum\, and its presentation at the University at Buffalo Art Galleries is organized by Robert Scalise\, Director\, University at Buffalo Art Galleries.
URL:https://thebuffalohive.com/event/buffalo-art-natvar-bhavsar-free-yourself/2026-08-31/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260831T100000
DTEND;TZID=America/New_York:20260831T170000
DTSTAMP:20260819T010848Z
CREATED:20260819T010848Z
LAST-MODIFIED:20260819T010848Z
UID:10045017-1788170400-1788195600@thebuffalohive.com
SUMMARY:Buffalo Art: All I ever wanted was a place - A Centennial Celebration of Robert Creeley
DESCRIPTION:On view May 21 through December 7\, 2026. A special installation marking the centennial of poet Robert Creeley’s birth\, celebrating his more than forty-year connection to the museum and thirty years living and teaching in Buffalo\, in partnership with UB’s Poetics Program\, UB Art Galleries\, Just Buffalo Literary Center\, and Black Rock Arts. \n  \n \n\n\n\n\n\n\n\n\n\nPoetry Today symposium for The Buffalo Festival of the Arts Today\, March 5\, 1965\, in the Albright-Knox Art Gallery Auditorium. From left: David Posner (moderator)\, Robert Graves\, William D. Snodgrass\, and Robert Creeley. Image courtesy of the Buffalo AKG Art Museum Archives. \n\n\n\n\n\n\n\n\n\nWest Corridor\, Knox Building\nCelebrated American poet Robert Creeley (1926–2005) had a connection to the Albright-Knox Art Gallery (now the Buffalo AKG Art Museum) that spanned more than forty years\, from speaking to artist collaborations. His first engagement with the museum was in March 1965\, when he took part in the Poetry Today symposium for The Buffalo Festival of the Arts Today. The sixteen-day event attracted more than 300\,000 guests and received nationwide acclaim. During the symposium\, Creeley stated\, “Whatever provokes in me this response to the innate rhythm of a poem\, whatever it is\, one singly follows one’s own answer\,” expressing his deeply felt and responsive style. \nThe poet collaborated with some of the most celebrated contemporary artists\, forming lasting relationships with them before the actual “work” took place. Artist Alex Katz\, a collaborator on Edges\, stated\, “Working with Bob makes me feel bright.” In May 1972\, Marisol wrote a letter to Creeley after receiving the text for Presences: A Text for Marisol (1976)\, “It is really amazing how you could do something so close to me from seeing me so few times.” Creeley mirrored Marisol’s sculptural process in his prose\, creating what he called an “active complement.” \n“All I ever wanted was a place\,” Creeley writes\, in a 1988 collaboration with artists Robert Therrien and Michel Butor. The poet arrived in Buffalo in 1966\, teaching at the University at Buffalo for more than thirty years. He was the inspiration behind Just Buffalo Literary Center and went on to co-found UB’s Poetics Program. In his later years\, he was often called “the man in Black Rock.” On this centennial of his birth\, we celebrate the indelible mark Creeley made on the literary and artistic life of this place.\n \n\n\n\n\n\n\nRobert Creeley Centenary (2026)\n\nThis year marks a century since Robert Creeley’s birth. On May 21 and 22\, join us in commemorating his life and work in Buffalo\, where he lived for more than thirty years\, in partnership with the University at Buffalo Poetics Program\, the University at Buffalo Art Galleries\, Just Buffalo Literary Center\, and Black Rock Arts. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nHome\n\n\n\n\n\n\nBuffalo AKG Art Museum\n1285 Elmwood Avenue\nBuffalo\, New York 14222\nNow Open
URL:https://thebuffalohive.com/event/buffalo-art-all-i-ever-wanted-was-a-place-a-centennial-celebration-of-robert-creeley/2026-08-31/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art,Literature
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260831T100000
DTEND;TZID=America/New_York:20260831T170000
DTSTAMP:20260819T154435Z
CREATED:20260819T004950Z
LAST-MODIFIED:20260819T154435Z
UID:10045717-1788170400-1788195600@thebuffalohive.com
SUMMARY:Buffalo Art: Ali Banisadr: Temple of the Mind
DESCRIPTION:Image above:Ali Banisadr (American\, born Iran\, born 1976). Weighing of the heart\, 2023. Oil on linen. 48 x 60 inches (121.92 x 152.4 cm). © Ali Banisadr. \nFriday\, June 26\, 2026–Sunday\, November 8\, 2026 \n\n\n\n\n\n\n\n\n\n\n\nRobert and Elisabeth Wilmers Building\n\nImitation is not inspiration\, and inspiration only can give birth to a work of art.\n—Albert Pinkham Ryder\n\nAli Banisadr merges the compositional elements of landscape painting with abstract mark-making to create an altogether new form of figuration. The resulting compositions are a carefully composed bedlam of forms that suggest but ultimately deny any specific narrative. Variously reminiscent of gardens of Eden\, the seasonal genre pictures of Flemish Renaissance painter Pieter Bruegel the Elder\, and Boschian depictions of Hell\, Banisadr’s contemporary abstractions call upon the history of painting. The title of the exhibition\, borrowed from Albert Pinkham Ryder’s enigmatic painting\, The Temple of the Mind\, serves as a conceptual framework for the project\, suggesting a space where perception\, memory\, and imagination converge. While the Romantic painter was admired for his pioneering\, semi-abstract style\, for Banisadr\, Ryder holds a space for contemplation amid rising uncertainties. \nAli Banisadr (American\, born Iran\, 1976). Return to Mother\, 2022. Oil on linen. 82 x 180 inches (208.28 x 457.2 cm). © Ali Banisadr.\nGiven his deep interest in art history\, the Buffalo AKG has invited Banisadr to participate in the first-ever artist collection intervention. In addition to the installation in the Hemicycle Gallery\, a focused selection of Banisadr’s work will be installed throughout the Robert and Elisabeth Wilmers Building\, among the dreamlike imaginings of the Surrealists and the unbridled energy of the Abstract Expressionists. \nBanisadr reaches across time to draw on a wide range of influences. From art\, history\, literature\, and mythology to music\, film\, and technology\, he thinks of such sources as guiding his hand rather than driving his imagery\, and the powerful microcosms he creates are uniquely his own. Within these layered compositions\, subtle references to current events and the human condition—conflict\, migration\, and collective uncertainty—emerge and dissolve within the flux of his painterly language. Originating from one spontaneous moment to the next\, hidden figures and beguiling narratives reveal themselves to those who slow down in the present moment. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nAli Banisadr (American\, born Iran\, 1976). The Witness\, 2025. Oil on linen. 28 x 36 inches (71.12 x 91.44 cm). © Ali Banisadr.\n\n\n\n\n\n\n\n\n\n\n\n\nBanisadr’s works often evoke the natural world\, its shifting terrains and elemental forces\, while also suggesting cosmological dimensions that extend beyond the visible. Furthermore\, the artist’s unusual experience as a synesthete—a blending of the senses—also informs his practice. Over the years\, he has learned to allow his unique perceptions to guide his process\, leaning into the ways that color evokes specific sounds of harmony or discord. \nFrancisco de Goya (Spanish\, 1746–1828). Mucho hay que chupar (There is Plenty to Suck) from\, “Los Caprichos\,” 1799. Etching with aquatint. image area: 8 1/8 x 5 inches (20.64 x 12.7 cm); sheet: 11 1/2 x 8 1/8 inches (29.21 x 20.64 cm). Collection Buffalo AKG Art Museum. Gift of Frederic P. Norton\, 1999 (P1999:6.209).\nThe presentation in the Hemicycle Gallery will also feature an installation that delves deeply into the artist’s influences and process through materials from his studio and an artist-curated selection of works from the museum’s collection. From Andō Hiroshige’s evocative woodcuts and Francisco de Goya’s intense\, sometimes nightmarish\, depictions of violence and superstition to the artist’s sketchbooks and other visual cues\, visitors are invited to immerse themselves in Banisadr’s curious\, fantastical world. \nThe exhibition will be accompanied by an audio journey voiced by Banisadr and will debut a new etching created with the team at Mirabo Press in Buffalo\, New York. A short-documentary film on the artist is also in development. \n\n\n\n\n\n\n\n\n\nAli Banisadr: Temple of the Mind is organized by the Buffalo AKG Art Museum and co-curated by the artist and Godin-Spaulding Senior Curator for the Collection\, Holly E. Hughes.
URL:https://thebuffalohive.com/event/buffalo-art-ali-banisadr-temple-of-the-mind/2026-08-31/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260831T100000
DTEND;TZID=America/New_York:20260831T170000
DTSTAMP:20260819T153325Z
CREATED:20260819T003820Z
LAST-MODIFIED:20260819T153325Z
UID:10042634-1788170400-1788195600@thebuffalohive.com
SUMMARY:Buffalo Art: Let Us Gather in a Flourishing Way
DESCRIPTION:Image above: Rogelio Báez Vega (Lives and works in Santurce\, Puerto Rico). New York Department Store\, Bayamón Branch\, 2024–25. Oil\, beeswax\, and gold powder pigment on canvas / Óleo\, cera de abeja y polvo de oro sobre lienzo. 48 × 72 in. (121.9 × 182.9 cm). Courtesy of the artist. Photo: Courtesy of the artist  \n  \nLet Us Gather in a Flourishing Way explores contemporary Latinx artists’ innovations and interventions within established traditions of painting\, inviting discussion on a variety of themes and revealing the diversity and expansiveness present within the field. The fifty-eight artists in the exhibition—and those in the Latinx field more broadly—encourage us to interrogate the continued relevance of boundaries\, from political borders to disciplinary confines. This exhibition therefore celebrates artists whose expressions are first and foremost personal and subjective\, but whose heterogeneous and culturally specific interventions enrich one another and the history of American and contemporary art\, two fields from which such artists have been historically excluded. Inspired by former U.S. Poet Laureate Juan Felipe Herrera’s poem “[Let Us Gather in a Flourishing Way]\,” the show celebrates abundance and presents a vision of Latinx art that is\, like the diaspora itself\, infinitely complex. \n\n\n\n\n  \nDavid Antonio Cruz (Lives and works in New York). iknowyou’vebeenwonderingwherei’vebeen:adrift\,adraft\,astare\,atilt\,asigh\,exhale.but\,icamebacktoletyouknow\,gotathingforyou\,andican’tletitgo_the raft.\, 2024. Oil\, acrylic\, and ink on wood panel / Óleo\, acrílico y tinta sobre panel de madera. Two panels\, each 72 × 48 in. (188 × 121.9 cm). Overall 72 × 98 1/2 in. (188 × 250.2 cm). Collection of Igor DaCosta. Photo: Robert Chase Heishman\, courtesy of the artist and Monique Meloche Gallery\, Chicago \nThe show’s intergenerational and regionally broad dialogue is reflected in seven thematic groupings: (New) Histories\, offering new perspectives on personal\, cultural\, and global histories; Bodies & Figures\, representations of and by marginalized people\, considering the importance of the body\, and who is or isn’t seen in an image; Identity/Place\, a consideration of how identity and place shape each other with a diasporic lens; Land/tierra\, varied approaches to land and the built environment\, from the material to the imaginary; Community\, highlighting various communities—artistic\, blood\, and chosen—and their importance to populations within the diaspora; Pinturx\, contemporary Latinx approaches to traditional painting genres like still life and portraiture; and Abstractions\, exploring centuries-long Indigenous and European abstract traditions still in use by artists today. \nAllowing for cacophony and heterogeneity in its narratives\, the exhibition takes its cues from the artists themselves\, who are actively cultivating the landscape of contemporary painting as visitors will experience it in the museum. Rather than telling a finished story\, as survey exhibitions often do\, this exhibition gives audiences a peek into this vibrant and lively active network. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nYvette Mayorga (Lives and works in Chicago). The Brunette Latinx Self Portrait After François Boucher’s “The Brunette Odalisque\,” c.1745\, 2022. Acrylic nails\, acrylic marker\, false eyelashes\, collage\, plastic rings\, plastic nail charms\, rhinestones\, car wrap vinyl\, and acrylic piping on panel / Uñas acrílicas\, marcador acrílico\, cejas postizas\, collage\, anillos de plástico\, decoraciones de plástico para uñas\, diamantes de imitación\, vinil de auto y acrílico aplicado con manga pastelera sobre panel. Overall 60 × 120 × 2 in. (152.4 × 304.8 × 5.1 cm). Courtesy of the artist. Photo: Robert Chase Heishman\n\n\n\n\n\nVincent Valdez (Lives and works in Houston). The Sea\, 2020. Oil on canvas / Óleo sobre lienzo. 50 × 70 in. (127 × 177.8 cm). Courtesy Matthew Brown. Photo: Paul Salveson\, courtesy of Matthew Brown  \n  \n\n\n\n\n\n\nManuela Gonzalez (Lives and works in Lake Worth Beach\, Florida). Inanna\, 2024. Acrylic on mixed fabrics / Acrílico sobre tejidos mixtos. Overall 66 × 58 × 2 in. (167.6 × 147.3 × 5.1 cm). Collection of the artist.\n\n\n\n\n\nLilian Martinez (Lives and works in Los Angeles). Garden Club\, 2024. Acrylic on canvas  / Acrílico sobre lienzo. 50 × 65 in. (127 × 165.1 cm). Collection Buffalo AKG Art Museum\, Gift of Pamela and David Hornik\, 2025 (2025:9). Photo: Deen Babakhyi\, courtesy of the artist and OCHI\n\n\n\n\n\nEamon Ore-Giron (Lives and works in Los Angeles). Talking Shit with Illapa (variation I)\, 2023. Mineral paint and Flashe on canvas / Pintura mineral y Flashe sobre lienzo. 72 × 96 1/8 in. (182.9 × 244.2 cm). Collection Buffalo AKG Art Museum\, George B. and Jenny R. Mathews Fund\, 2024 (2024:6). Photo: Brenda Bieger\, Buffalo AKG Art Museum\n\n\n\n\n\nPatrick Martinez (Lives and works in Los Angeles). Promised Land\, 2022. Acrylic\, stucco\, neon\, Mean Streak\, ceramic\, spray paint\, latex house paint\, banner tarp\, ceramic tile\, tile adhesive\, and family archive photo collage on panel / Acrílico\, estuco\, neón\, Mean Streak\, cerámica\, pintura en aerosol\, pintura de látex para interior\, cartel publicitario\, azulejos de cerámica\, adhesivo para azulejos y collage de archivo fotográfico familiar sobre panel.  84 × 192 × 7 in. (213.4 × 487.7 × 17.8 cm). Collection Buffalo AKG Art Museum\, George B. and Jenny R. Mathews Fund\, 2022 (2022:78). Photo: Yubo Dong\, ofstudio photography\, courtesy of Charlie James Gallery\n\n\n\n\n\nCandida Alvarez (Lives and works in Baroda\, Michigan\, and Chicago). Flor de Caballo 3\, 2022. Acrylic on linen  / Acrílico sobre lino. 48 × 48 in. (121.9 × 121.9 cm). Courtesy of the artist. Photo: Robert Chase Heishman\, courtesy of the artist and Monique Meloche Gallery\, Chicago\n\n\n\n\n\nCarlos Rosales-Silva (Lives and works in New York). Peep Hole 3\, 2023. Crushed stone and glass bead in acrylic paint on panel / Piedra molida y cuentas de vidrio en pintura acrílica sobre panel. Overall 50 × 40 × 1 1/2 in. (127 × 101.6 × 3.8 cm). Courtesy of the artist and Sargent’s Daughters. Photo: Nicholas Knight\n\n\n\n\n\nPrevious slideNext slide\n\n\n\n\n\n\n\n\n\n\n\n\nLet Us Gather in a Flourishing Way is organized by the Buffalo AKG Art Museum and curated by Curator Andrea Alvarez. It will be followed by a national tour including presentations at the Des Moines Art Center\, the Museum of Contemporary Art Denver\, the Phoenix Art Museum\, and the Frye Art Museum\, Seattle. \n\n\n\n\n\n 
URL:https://thebuffalohive.com/event/buffalo-art-let-us-gather-in-a-flourishing-way/2026-08-31/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/08/baez_vega.jpeg
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260830T100000
DTEND;TZID=America/New_York:20260830T180000
DTSTAMP:20260819T015932Z
CREATED:20260819T015932Z
LAST-MODIFIED:20260819T015932Z
UID:10045619-1788084000-1788112800@thebuffalohive.com
SUMMARY:Buffalo Art: Natvar Bhavsar: 'Free Yourself'
DESCRIPTION:Image above: Natvar Bhavsar (American\, born India\, 1934). REETVA\, 1968. Painting on paper\, dry pigment\, acrylic medium on rag paper. 35 x 46 inches (89 x 117 cm). © 2026 Natvar Bhavsar / Artists Rights Society (ARS)\, New York. Image courtesy of the artist.  \n  \nOn view August 21\, 2026 through April 4\, 2027. Surveys fifty years of Natvar Bhavsar’s expressive color-field abstractions made from pure dry pigment\, presented simultaneously with the University at Buffalo Art Galleries. Debuts the museum’s two new acquisitions\, RITI-YAA (1969) and KE-RAA (1971). \n\n\n\n\n\nM&T Bank Gallery\n\n\n\n\n\n\n\n\nSeymour H. Knox Building\n“I have tried to convey how to free oneself\, using color as a force to reach towards the beauty and generosity of the material that allows you unlimited expression.”  \nNatvar Bhavsar (American\, born India\, 1934). KE-RAA\, 1971. Pure pigment on canvas. 87 x 71 inches (221 x 180 cm). Collection Buffalo AKG Art Museum. Gift of Natvar Bhavsar and Janet Bhavsar\, 2025. © 2026 Natvar Bhavsar / Artists Rights Society (ARS)\, New York. Photo: Thomas Müller \nNatvar Bhavsar: Free Yourself surveys fifty years of the artist’s expressive abstractions\, inviting viewers to meditate on the power of pure color. Simultaneously presented at the Buffalo AKG Art Museum and the University at Buffalo Art Galleries\, the exhibitions respectively feature works on paper and monumental paintings spanning each decade of his career. This exhibition also celebrates the debut of the AKG’s two acquisitions by the artist RITI-YAA (1969) and KE-RAA (1971). \nBhavsar’s unique physical process centers on tiny particles of pure\, dry pigment. He begins by soaking the entire canvas in a clear acrylic binder\, then sifts or brushes pigment through handmade tools and fine mesh screens\, building up to eighty sealed layers. Air currents\, breath\, and the rhythm of his body as he maneuvers around the surface help shape the final image—a carefully controlled dance that produces textured\, smoky surfaces with subtle shifts in color and tone. As Bhavsar describes: \n\n“When I enter my studio\, everything disappears. It’s like I’ve entered another world. I experience Nirvana. It’s an incredible gift in which I disappear\, the studio itself disappears\, New York disappears.”\n\n  \nNatvar Bhavsar (American\, born India\, 1934). VAROONA II\, 1988. Painting on paper\, dry pigment\, and acrylic medium on rag paper. 49 x 39 inches (125 x 99 cm). © 2026 Natvar Bhavsar / Artists Rights Society (ARS)\, New York. Image courtesy of the artist. \nExamined up close\, his dappled surfaces are palpable; from a distance\, the color fields float and become atmospheric. Some paintings burst with energy\, while others suggest a boundless continuum of color. Unlike other Abstract Expressionists\, who approached the sublime through solemnity\, Bhavsar’s path is ecstatic and celebratory and rooted in his Indian heritage. His work invokes Holi\, the Hindu Spring festival in which revelers douse one another in powdered colors to celebrate the divine love of Radha and Krishna. Later works introducing curlicues draw on rangoli—decorative floor patterns of colored powder made during Diwali\, the festival of light. \nBhavsar’s meditative practice results in an intensely personal experience that invites endless free association—whether you find yourself peering through a microscope\, wandering a Holi celebration\, or gazing from the Hubble telescope is left entirely to you. \n  \n  \n  \n\nNatvar Bhavsar: Free Yourself is organized by the Buffalo AKG Art Museum and the University at Buffalo Art Galleries. Its presentation in Buffalo is organized by Katie O’Hara\, Assistant Curator\, Buffalo AKG Art Museum\, and its presentation at the University at Buffalo Art Galleries is organized by Robert Scalise\, Director\, University at Buffalo Art Galleries.
URL:https://thebuffalohive.com/event/buffalo-art-natvar-bhavsar-free-yourself-3/2026-08-30/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/08/exh5081_natvarbhavsar.jpeg
ORGANIZER;CN="Buffalo AKG Art Museum":MAILTO:noreply@facebookmail.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260830T100000
DTEND;TZID=America/New_York:20260830T180000
DTSTAMP:20260819T011458Z
CREATED:20260819T011458Z
LAST-MODIFIED:20260819T011458Z
UID:10045128-1788084000-1788112800@thebuffalohive.com
SUMMARY:Buffalo Art: All I ever wanted was a place - A Centennial Celebration of Robert Creeley
DESCRIPTION:On view May 21 through December 7\, 2026. A special installation marking the centennial of poet Robert Creeley’s birth\, celebrating his more than forty-year connection to the museum and thirty years living and teaching in Buffalo\, in partnership with UB’s Poetics Program\, UB Art Galleries\, Just Buffalo Literary Center\, and Black Rock Arts. \n  \n\n  \n\n\n\n\n\n\n\n\n\nPoetry Today symposium for The Buffalo Festival of the Arts Today\, March 5\, 1965\, in the Albright-Knox Art Gallery Auditorium. From left: David Posner (moderator)\, Robert Graves\, William D. Snodgrass\, and Robert Creeley. Image courtesy of the Buffalo AKG Art Museum Archives.\n\n\n\n\n\n\n\n\nWest Corridor\, Knox Building\nCelebrated American poet Robert Creeley (1926–2005) had a connection to the Albright-Knox Art Gallery (now the Buffalo AKG Art Museum) that spanned more than forty years\, from speaking to artist collaborations. His first engagement with the museum was in March 1965\, when he took part in the Poetry Today symposium for The Buffalo Festival of the Arts Today. The sixteen-day event attracted more than 300\,000 guests and received nationwide acclaim. During the symposium\, Creeley stated\, “Whatever provokes in me this response to the innate rhythm of a poem\, whatever it is\, one singly follows one’s own answer\,” expressing his deeply felt and responsive style. \nThe poet collaborated with some of the most celebrated contemporary artists\, forming lasting relationships with them before the actual “work” took place. Artist Alex Katz\, a collaborator on Edges\, stated\, “Working with Bob makes me feel bright.” In May 1972\, Marisol wrote a letter to Creeley after receiving the text for Presences: A Text for Marisol (1976)\, “It is really amazing how you could do something so close to me from seeing me so few times.” Creeley mirrored Marisol’s sculptural process in his prose\, creating what he called an “active complement.” \n“All I ever wanted was a place\,” Creeley writes\, in a 1988 collaboration with artists Robert Therrien and Michel Butor. The poet arrived in Buffalo in 1966\, teaching at the University at Buffalo for more than thirty years. He was the inspiration behind Just Buffalo Literary Center and went on to co-found UB’s Poetics Program. In his later years\, he was often called “the man in Black Rock.” On this centennial of his birth\, we celebrate the indelible mark Creeley made on the literary and artistic life of this place. \n\n\n\n\n\n\n\nRobert Creeley Centenary (2026)\n\nThis year marks a century since Robert Creeley’s birth. On May 21 and 22\, join us in commemorating his life and work in Buffalo\, where he lived for more than thirty years\, in partnership with the University at Buffalo Poetics Program\, the University at Buffalo Art Galleries\, Just Buffalo Literary Center\, and Black Rock Arts. \n\n\n\n\n\n\n\n\n\n  \n\n\n\n\n\nHome\n\n\n\n\n\n\nBuffalo AKG Art Museum\n1285 Elmwood Avenue\nBuffalo\, New York 14222\nNow Open
URL:https://thebuffalohive.com/event/buffalo-art-all-i-ever-wanted-was-a-place-a-centennial-celebration-of-robert-creeley-3/2026-08-30/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art,Literature
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260830T100000
DTEND;TZID=America/New_York:20260830T170000
DTSTAMP:20260819T014754Z
CREATED:20260819T014754Z
LAST-MODIFIED:20260819T014754Z
UID:10045392-1788084000-1788109200@thebuffalohive.com
SUMMARY:Buffalo Art: Natvar Bhavsar: 'Free Yourself'
DESCRIPTION:Image above: Natvar Bhavsar (American\, born India\, 1934). REETVA\, 1968. Painting on paper\, dry pigment\, acrylic medium on rag paper. 35 x 46 inches (89 x 117 cm). © 2026 Natvar Bhavsar / Artists Rights Society (ARS)\, New York. Image courtesy of the artist.  \n  \nOn view August 21\, 2026 through April 4\, 2027. Surveys fifty years of Natvar Bhavsar’s expressive color-field abstractions made from pure dry pigment\, presented simultaneously with the University at Buffalo Art Galleries. Debuts the museum’s two new acquisitions\, RITI-YAA (1969) and KE-RAA (1971). \n\n\n\n\n\nM&T Bank Gallery \n\n\n\n\n\n\n\n\n\nSeymour H. Knox Building\n“I have tried to convey how to free oneself\, using color as a force to reach towards the beauty and generosity of the material that allows you unlimited expression.”  \nNatvar Bhavsar (American\, born India\, 1934). KE-RAA\, 1971. Pure pigment on canvas. 87 x 71 inches (221 x 180 cm). Collection Buffalo AKG Art Museum. Gift of Natvar Bhavsar and Janet Bhavsar\, 2025. © 2026 Natvar Bhavsar / Artists Rights Society (ARS)\, New York. Photo: Thomas Müller \nNatvar Bhavsar: Free Yourself surveys fifty years of the artist’s expressive abstractions\, inviting viewers to meditate on the power of pure color. Simultaneously presented at the Buffalo AKG Art Museum and the University at Buffalo Art Galleries\, the exhibitions respectively feature works on paper and monumental paintings spanning each decade of his career. This exhibition also celebrates the debut of the AKG’s two acquisitions by the artist RITI-YAA (1969) and KE-RAA (1971). \nBhavsar’s unique physical process centers on tiny particles of pure\, dry pigment. He begins by soaking the entire canvas in a clear acrylic binder\, then sifts or brushes pigment through handmade tools and fine mesh screens\, building up to eighty sealed layers. Air currents\, breath\, and the rhythm of his body as he maneuvers around the surface help shape the final image—a carefully controlled dance that produces textured\, smoky surfaces with subtle shifts in color and tone. As Bhavsar describes: \n\n“When I enter my studio\, everything disappears. It’s like I’ve entered another world. I experience Nirvana. It’s an incredible gift in which I disappear\, the studio itself disappears\, New York disappears.”\n\n  \nNatvar Bhavsar (American\, born India\, 1934). VAROONA II\, 1988. Painting on paper\, dry pigment\, and acrylic medium on rag paper. 49 x 39 inches (125 x 99 cm). © 2026 Natvar Bhavsar / Artists Rights Society (ARS)\, New York. Image courtesy of the artist. \nExamined up close\, his dappled surfaces are palpable; from a distance\, the color fields float and become atmospheric. Some paintings burst with energy\, while others suggest a boundless continuum of color. Unlike other Abstract Expressionists\, who approached the sublime through solemnity\, Bhavsar’s path is ecstatic and celebratory and rooted in his Indian heritage. His work invokes Holi\, the Hindu Spring festival in which revelers douse one another in powdered colors to celebrate the divine love of Radha and Krishna. Later works introducing curlicues draw on rangoli—decorative floor patterns of colored powder made during Diwali\, the festival of light. \nBhavsar’s meditative practice results in an intensely personal experience that invites endless free association—whether you find yourself peering through a microscope\, wandering a Holi celebration\, or gazing from the Hubble telescope is left entirely to you. \n  \n  \n  \n\nNatvar Bhavsar: Free Yourself is organized by the Buffalo AKG Art Museum and the University at Buffalo Art Galleries. Its presentation in Buffalo is organized by Katie O’Hara\, Assistant Curator\, Buffalo AKG Art Museum\, and its presentation at the University at Buffalo Art Galleries is organized by Robert Scalise\, Director\, University at Buffalo Art Galleries.
URL:https://thebuffalohive.com/event/buffalo-art-natvar-bhavsar-free-yourself/2026-08-30/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260830T100000
DTEND;TZID=America/New_York:20260830T170000
DTSTAMP:20260819T010848Z
CREATED:20260819T010848Z
LAST-MODIFIED:20260819T010848Z
UID:10045016-1788084000-1788109200@thebuffalohive.com
SUMMARY:Buffalo Art: All I ever wanted was a place - A Centennial Celebration of Robert Creeley
DESCRIPTION:On view May 21 through December 7\, 2026. A special installation marking the centennial of poet Robert Creeley’s birth\, celebrating his more than forty-year connection to the museum and thirty years living and teaching in Buffalo\, in partnership with UB’s Poetics Program\, UB Art Galleries\, Just Buffalo Literary Center\, and Black Rock Arts. \n  \n \n\n\n\n\n\n\n\n\n\nPoetry Today symposium for The Buffalo Festival of the Arts Today\, March 5\, 1965\, in the Albright-Knox Art Gallery Auditorium. From left: David Posner (moderator)\, Robert Graves\, William D. Snodgrass\, and Robert Creeley. Image courtesy of the Buffalo AKG Art Museum Archives. \n\n\n\n\n\n\n\n\n\nWest Corridor\, Knox Building\nCelebrated American poet Robert Creeley (1926–2005) had a connection to the Albright-Knox Art Gallery (now the Buffalo AKG Art Museum) that spanned more than forty years\, from speaking to artist collaborations. His first engagement with the museum was in March 1965\, when he took part in the Poetry Today symposium for The Buffalo Festival of the Arts Today. The sixteen-day event attracted more than 300\,000 guests and received nationwide acclaim. During the symposium\, Creeley stated\, “Whatever provokes in me this response to the innate rhythm of a poem\, whatever it is\, one singly follows one’s own answer\,” expressing his deeply felt and responsive style. \nThe poet collaborated with some of the most celebrated contemporary artists\, forming lasting relationships with them before the actual “work” took place. Artist Alex Katz\, a collaborator on Edges\, stated\, “Working with Bob makes me feel bright.” In May 1972\, Marisol wrote a letter to Creeley after receiving the text for Presences: A Text for Marisol (1976)\, “It is really amazing how you could do something so close to me from seeing me so few times.” Creeley mirrored Marisol’s sculptural process in his prose\, creating what he called an “active complement.” \n“All I ever wanted was a place\,” Creeley writes\, in a 1988 collaboration with artists Robert Therrien and Michel Butor. The poet arrived in Buffalo in 1966\, teaching at the University at Buffalo for more than thirty years. He was the inspiration behind Just Buffalo Literary Center and went on to co-found UB’s Poetics Program. In his later years\, he was often called “the man in Black Rock.” On this centennial of his birth\, we celebrate the indelible mark Creeley made on the literary and artistic life of this place.\n \n\n\n\n\n\n\nRobert Creeley Centenary (2026)\n\nThis year marks a century since Robert Creeley’s birth. On May 21 and 22\, join us in commemorating his life and work in Buffalo\, where he lived for more than thirty years\, in partnership with the University at Buffalo Poetics Program\, the University at Buffalo Art Galleries\, Just Buffalo Literary Center\, and Black Rock Arts. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nHome\n\n\n\n\n\n\nBuffalo AKG Art Museum\n1285 Elmwood Avenue\nBuffalo\, New York 14222\nNow Open
URL:https://thebuffalohive.com/event/buffalo-art-all-i-ever-wanted-was-a-place-a-centennial-celebration-of-robert-creeley/2026-08-30/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art,Literature
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260830T100000
DTEND;TZID=America/New_York:20260830T170000
DTSTAMP:20260819T154435Z
CREATED:20260819T004950Z
LAST-MODIFIED:20260819T154435Z
UID:10045716-1788084000-1788109200@thebuffalohive.com
SUMMARY:Buffalo Art: Ali Banisadr: Temple of the Mind
DESCRIPTION:Image above:Ali Banisadr (American\, born Iran\, born 1976). Weighing of the heart\, 2023. Oil on linen. 48 x 60 inches (121.92 x 152.4 cm). © Ali Banisadr. \nFriday\, June 26\, 2026–Sunday\, November 8\, 2026 \n\n\n\n\n\n\n\n\n\n\n\nRobert and Elisabeth Wilmers Building\n\nImitation is not inspiration\, and inspiration only can give birth to a work of art.\n—Albert Pinkham Ryder\n\nAli Banisadr merges the compositional elements of landscape painting with abstract mark-making to create an altogether new form of figuration. The resulting compositions are a carefully composed bedlam of forms that suggest but ultimately deny any specific narrative. Variously reminiscent of gardens of Eden\, the seasonal genre pictures of Flemish Renaissance painter Pieter Bruegel the Elder\, and Boschian depictions of Hell\, Banisadr’s contemporary abstractions call upon the history of painting. The title of the exhibition\, borrowed from Albert Pinkham Ryder’s enigmatic painting\, The Temple of the Mind\, serves as a conceptual framework for the project\, suggesting a space where perception\, memory\, and imagination converge. While the Romantic painter was admired for his pioneering\, semi-abstract style\, for Banisadr\, Ryder holds a space for contemplation amid rising uncertainties. \nAli Banisadr (American\, born Iran\, 1976). Return to Mother\, 2022. Oil on linen. 82 x 180 inches (208.28 x 457.2 cm). © Ali Banisadr.\nGiven his deep interest in art history\, the Buffalo AKG has invited Banisadr to participate in the first-ever artist collection intervention. In addition to the installation in the Hemicycle Gallery\, a focused selection of Banisadr’s work will be installed throughout the Robert and Elisabeth Wilmers Building\, among the dreamlike imaginings of the Surrealists and the unbridled energy of the Abstract Expressionists. \nBanisadr reaches across time to draw on a wide range of influences. From art\, history\, literature\, and mythology to music\, film\, and technology\, he thinks of such sources as guiding his hand rather than driving his imagery\, and the powerful microcosms he creates are uniquely his own. Within these layered compositions\, subtle references to current events and the human condition—conflict\, migration\, and collective uncertainty—emerge and dissolve within the flux of his painterly language. Originating from one spontaneous moment to the next\, hidden figures and beguiling narratives reveal themselves to those who slow down in the present moment. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nAli Banisadr (American\, born Iran\, 1976). The Witness\, 2025. Oil on linen. 28 x 36 inches (71.12 x 91.44 cm). © Ali Banisadr.\n\n\n\n\n\n\n\n\n\n\n\n\nBanisadr’s works often evoke the natural world\, its shifting terrains and elemental forces\, while also suggesting cosmological dimensions that extend beyond the visible. Furthermore\, the artist’s unusual experience as a synesthete—a blending of the senses—also informs his practice. Over the years\, he has learned to allow his unique perceptions to guide his process\, leaning into the ways that color evokes specific sounds of harmony or discord. \nFrancisco de Goya (Spanish\, 1746–1828). Mucho hay que chupar (There is Plenty to Suck) from\, “Los Caprichos\,” 1799. Etching with aquatint. image area: 8 1/8 x 5 inches (20.64 x 12.7 cm); sheet: 11 1/2 x 8 1/8 inches (29.21 x 20.64 cm). Collection Buffalo AKG Art Museum. Gift of Frederic P. Norton\, 1999 (P1999:6.209).\nThe presentation in the Hemicycle Gallery will also feature an installation that delves deeply into the artist’s influences and process through materials from his studio and an artist-curated selection of works from the museum’s collection. From Andō Hiroshige’s evocative woodcuts and Francisco de Goya’s intense\, sometimes nightmarish\, depictions of violence and superstition to the artist’s sketchbooks and other visual cues\, visitors are invited to immerse themselves in Banisadr’s curious\, fantastical world. \nThe exhibition will be accompanied by an audio journey voiced by Banisadr and will debut a new etching created with the team at Mirabo Press in Buffalo\, New York. A short-documentary film on the artist is also in development. \n\n\n\n\n\n\n\n\n\nAli Banisadr: Temple of the Mind is organized by the Buffalo AKG Art Museum and co-curated by the artist and Godin-Spaulding Senior Curator for the Collection\, Holly E. Hughes.
URL:https://thebuffalohive.com/event/buffalo-art-ali-banisadr-temple-of-the-mind/2026-08-30/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260830T100000
DTEND;TZID=America/New_York:20260830T170000
DTSTAMP:20260819T153325Z
CREATED:20260819T003820Z
LAST-MODIFIED:20260819T153325Z
UID:10042633-1788084000-1788109200@thebuffalohive.com
SUMMARY:Buffalo Art: Let Us Gather in a Flourishing Way
DESCRIPTION:Image above: Rogelio Báez Vega (Lives and works in Santurce\, Puerto Rico). New York Department Store\, Bayamón Branch\, 2024–25. Oil\, beeswax\, and gold powder pigment on canvas / Óleo\, cera de abeja y polvo de oro sobre lienzo. 48 × 72 in. (121.9 × 182.9 cm). Courtesy of the artist. Photo: Courtesy of the artist  \n  \nLet Us Gather in a Flourishing Way explores contemporary Latinx artists’ innovations and interventions within established traditions of painting\, inviting discussion on a variety of themes and revealing the diversity and expansiveness present within the field. The fifty-eight artists in the exhibition—and those in the Latinx field more broadly—encourage us to interrogate the continued relevance of boundaries\, from political borders to disciplinary confines. This exhibition therefore celebrates artists whose expressions are first and foremost personal and subjective\, but whose heterogeneous and culturally specific interventions enrich one another and the history of American and contemporary art\, two fields from which such artists have been historically excluded. Inspired by former U.S. Poet Laureate Juan Felipe Herrera’s poem “[Let Us Gather in a Flourishing Way]\,” the show celebrates abundance and presents a vision of Latinx art that is\, like the diaspora itself\, infinitely complex. \n\n\n\n\n  \nDavid Antonio Cruz (Lives and works in New York). iknowyou’vebeenwonderingwherei’vebeen:adrift\,adraft\,astare\,atilt\,asigh\,exhale.but\,icamebacktoletyouknow\,gotathingforyou\,andican’tletitgo_the raft.\, 2024. Oil\, acrylic\, and ink on wood panel / Óleo\, acrílico y tinta sobre panel de madera. Two panels\, each 72 × 48 in. (188 × 121.9 cm). Overall 72 × 98 1/2 in. (188 × 250.2 cm). Collection of Igor DaCosta. Photo: Robert Chase Heishman\, courtesy of the artist and Monique Meloche Gallery\, Chicago \nThe show’s intergenerational and regionally broad dialogue is reflected in seven thematic groupings: (New) Histories\, offering new perspectives on personal\, cultural\, and global histories; Bodies & Figures\, representations of and by marginalized people\, considering the importance of the body\, and who is or isn’t seen in an image; Identity/Place\, a consideration of how identity and place shape each other with a diasporic lens; Land/tierra\, varied approaches to land and the built environment\, from the material to the imaginary; Community\, highlighting various communities—artistic\, blood\, and chosen—and their importance to populations within the diaspora; Pinturx\, contemporary Latinx approaches to traditional painting genres like still life and portraiture; and Abstractions\, exploring centuries-long Indigenous and European abstract traditions still in use by artists today. \nAllowing for cacophony and heterogeneity in its narratives\, the exhibition takes its cues from the artists themselves\, who are actively cultivating the landscape of contemporary painting as visitors will experience it in the museum. Rather than telling a finished story\, as survey exhibitions often do\, this exhibition gives audiences a peek into this vibrant and lively active network. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nYvette Mayorga (Lives and works in Chicago). The Brunette Latinx Self Portrait After François Boucher’s “The Brunette Odalisque\,” c.1745\, 2022. Acrylic nails\, acrylic marker\, false eyelashes\, collage\, plastic rings\, plastic nail charms\, rhinestones\, car wrap vinyl\, and acrylic piping on panel / Uñas acrílicas\, marcador acrílico\, cejas postizas\, collage\, anillos de plástico\, decoraciones de plástico para uñas\, diamantes de imitación\, vinil de auto y acrílico aplicado con manga pastelera sobre panel. Overall 60 × 120 × 2 in. (152.4 × 304.8 × 5.1 cm). Courtesy of the artist. Photo: Robert Chase Heishman\n\n\n\n\n\nVincent Valdez (Lives and works in Houston). The Sea\, 2020. Oil on canvas / Óleo sobre lienzo. 50 × 70 in. (127 × 177.8 cm). Courtesy Matthew Brown. Photo: Paul Salveson\, courtesy of Matthew Brown  \n  \n\n\n\n\n\n\nManuela Gonzalez (Lives and works in Lake Worth Beach\, Florida). Inanna\, 2024. Acrylic on mixed fabrics / Acrílico sobre tejidos mixtos. Overall 66 × 58 × 2 in. (167.6 × 147.3 × 5.1 cm). Collection of the artist.\n\n\n\n\n\nLilian Martinez (Lives and works in Los Angeles). Garden Club\, 2024. Acrylic on canvas  / Acrílico sobre lienzo. 50 × 65 in. (127 × 165.1 cm). Collection Buffalo AKG Art Museum\, Gift of Pamela and David Hornik\, 2025 (2025:9). Photo: Deen Babakhyi\, courtesy of the artist and OCHI\n\n\n\n\n\nEamon Ore-Giron (Lives and works in Los Angeles). Talking Shit with Illapa (variation I)\, 2023. Mineral paint and Flashe on canvas / Pintura mineral y Flashe sobre lienzo. 72 × 96 1/8 in. (182.9 × 244.2 cm). Collection Buffalo AKG Art Museum\, George B. and Jenny R. Mathews Fund\, 2024 (2024:6). Photo: Brenda Bieger\, Buffalo AKG Art Museum\n\n\n\n\n\nPatrick Martinez (Lives and works in Los Angeles). Promised Land\, 2022. Acrylic\, stucco\, neon\, Mean Streak\, ceramic\, spray paint\, latex house paint\, banner tarp\, ceramic tile\, tile adhesive\, and family archive photo collage on panel / Acrílico\, estuco\, neón\, Mean Streak\, cerámica\, pintura en aerosol\, pintura de látex para interior\, cartel publicitario\, azulejos de cerámica\, adhesivo para azulejos y collage de archivo fotográfico familiar sobre panel.  84 × 192 × 7 in. (213.4 × 487.7 × 17.8 cm). Collection Buffalo AKG Art Museum\, George B. and Jenny R. Mathews Fund\, 2022 (2022:78). Photo: Yubo Dong\, ofstudio photography\, courtesy of Charlie James Gallery\n\n\n\n\n\nCandida Alvarez (Lives and works in Baroda\, Michigan\, and Chicago). Flor de Caballo 3\, 2022. Acrylic on linen  / Acrílico sobre lino. 48 × 48 in. (121.9 × 121.9 cm). Courtesy of the artist. Photo: Robert Chase Heishman\, courtesy of the artist and Monique Meloche Gallery\, Chicago\n\n\n\n\n\nCarlos Rosales-Silva (Lives and works in New York). Peep Hole 3\, 2023. Crushed stone and glass bead in acrylic paint on panel / Piedra molida y cuentas de vidrio en pintura acrílica sobre panel. Overall 50 × 40 × 1 1/2 in. (127 × 101.6 × 3.8 cm). Courtesy of the artist and Sargent’s Daughters. Photo: Nicholas Knight\n\n\n\n\n\nPrevious slideNext slide\n\n\n\n\n\n\n\n\n\n\n\n\nLet Us Gather in a Flourishing Way is organized by the Buffalo AKG Art Museum and curated by Curator Andrea Alvarez. It will be followed by a national tour including presentations at the Des Moines Art Center\, the Museum of Contemporary Art Denver\, the Phoenix Art Museum\, and the Frye Art Museum\, Seattle. \n\n\n\n\n\n 
URL:https://thebuffalohive.com/event/buffalo-art-let-us-gather-in-a-flourishing-way/2026-08-30/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/08/baez_vega.jpeg
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260829T100000
DTEND;TZID=America/New_York:20260829T180000
DTSTAMP:20260819T153325Z
CREATED:20260819T003820Z
LAST-MODIFIED:20260819T153325Z
UID:10042632-1787997600-1788026400@thebuffalohive.com
SUMMARY:Buffalo Art: Let Us Gather in a Flourishing Way
DESCRIPTION:Image above: Rogelio Báez Vega (Lives and works in Santurce\, Puerto Rico). New York Department Store\, Bayamón Branch\, 2024–25. Oil\, beeswax\, and gold powder pigment on canvas / Óleo\, cera de abeja y polvo de oro sobre lienzo. 48 × 72 in. (121.9 × 182.9 cm). Courtesy of the artist. Photo: Courtesy of the artist  \n  \nLet Us Gather in a Flourishing Way explores contemporary Latinx artists’ innovations and interventions within established traditions of painting\, inviting discussion on a variety of themes and revealing the diversity and expansiveness present within the field. The fifty-eight artists in the exhibition—and those in the Latinx field more broadly—encourage us to interrogate the continued relevance of boundaries\, from political borders to disciplinary confines. This exhibition therefore celebrates artists whose expressions are first and foremost personal and subjective\, but whose heterogeneous and culturally specific interventions enrich one another and the history of American and contemporary art\, two fields from which such artists have been historically excluded. Inspired by former U.S. Poet Laureate Juan Felipe Herrera’s poem “[Let Us Gather in a Flourishing Way]\,” the show celebrates abundance and presents a vision of Latinx art that is\, like the diaspora itself\, infinitely complex. \n\n\n\n\n  \nDavid Antonio Cruz (Lives and works in New York). iknowyou’vebeenwonderingwherei’vebeen:adrift\,adraft\,astare\,atilt\,asigh\,exhale.but\,icamebacktoletyouknow\,gotathingforyou\,andican’tletitgo_the raft.\, 2024. Oil\, acrylic\, and ink on wood panel / Óleo\, acrílico y tinta sobre panel de madera. Two panels\, each 72 × 48 in. (188 × 121.9 cm). Overall 72 × 98 1/2 in. (188 × 250.2 cm). Collection of Igor DaCosta. Photo: Robert Chase Heishman\, courtesy of the artist and Monique Meloche Gallery\, Chicago \nThe show’s intergenerational and regionally broad dialogue is reflected in seven thematic groupings: (New) Histories\, offering new perspectives on personal\, cultural\, and global histories; Bodies & Figures\, representations of and by marginalized people\, considering the importance of the body\, and who is or isn’t seen in an image; Identity/Place\, a consideration of how identity and place shape each other with a diasporic lens; Land/tierra\, varied approaches to land and the built environment\, from the material to the imaginary; Community\, highlighting various communities—artistic\, blood\, and chosen—and their importance to populations within the diaspora; Pinturx\, contemporary Latinx approaches to traditional painting genres like still life and portraiture; and Abstractions\, exploring centuries-long Indigenous and European abstract traditions still in use by artists today. \nAllowing for cacophony and heterogeneity in its narratives\, the exhibition takes its cues from the artists themselves\, who are actively cultivating the landscape of contemporary painting as visitors will experience it in the museum. Rather than telling a finished story\, as survey exhibitions often do\, this exhibition gives audiences a peek into this vibrant and lively active network. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nYvette Mayorga (Lives and works in Chicago). The Brunette Latinx Self Portrait After François Boucher’s “The Brunette Odalisque\,” c.1745\, 2022. Acrylic nails\, acrylic marker\, false eyelashes\, collage\, plastic rings\, plastic nail charms\, rhinestones\, car wrap vinyl\, and acrylic piping on panel / Uñas acrílicas\, marcador acrílico\, cejas postizas\, collage\, anillos de plástico\, decoraciones de plástico para uñas\, diamantes de imitación\, vinil de auto y acrílico aplicado con manga pastelera sobre panel. Overall 60 × 120 × 2 in. (152.4 × 304.8 × 5.1 cm). Courtesy of the artist. Photo: Robert Chase Heishman\n\n\n\n\n\nVincent Valdez (Lives and works in Houston). The Sea\, 2020. Oil on canvas / Óleo sobre lienzo. 50 × 70 in. (127 × 177.8 cm). Courtesy Matthew Brown. Photo: Paul Salveson\, courtesy of Matthew Brown  \n  \n\n\n\n\n\n\nManuela Gonzalez (Lives and works in Lake Worth Beach\, Florida). Inanna\, 2024. Acrylic on mixed fabrics / Acrílico sobre tejidos mixtos. Overall 66 × 58 × 2 in. (167.6 × 147.3 × 5.1 cm). Collection of the artist.\n\n\n\n\n\nLilian Martinez (Lives and works in Los Angeles). Garden Club\, 2024. Acrylic on canvas  / Acrílico sobre lienzo. 50 × 65 in. (127 × 165.1 cm). Collection Buffalo AKG Art Museum\, Gift of Pamela and David Hornik\, 2025 (2025:9). Photo: Deen Babakhyi\, courtesy of the artist and OCHI\n\n\n\n\n\nEamon Ore-Giron (Lives and works in Los Angeles). Talking Shit with Illapa (variation I)\, 2023. Mineral paint and Flashe on canvas / Pintura mineral y Flashe sobre lienzo. 72 × 96 1/8 in. (182.9 × 244.2 cm). Collection Buffalo AKG Art Museum\, George B. and Jenny R. Mathews Fund\, 2024 (2024:6). Photo: Brenda Bieger\, Buffalo AKG Art Museum\n\n\n\n\n\nPatrick Martinez (Lives and works in Los Angeles). Promised Land\, 2022. Acrylic\, stucco\, neon\, Mean Streak\, ceramic\, spray paint\, latex house paint\, banner tarp\, ceramic tile\, tile adhesive\, and family archive photo collage on panel / Acrílico\, estuco\, neón\, Mean Streak\, cerámica\, pintura en aerosol\, pintura de látex para interior\, cartel publicitario\, azulejos de cerámica\, adhesivo para azulejos y collage de archivo fotográfico familiar sobre panel.  84 × 192 × 7 in. (213.4 × 487.7 × 17.8 cm). Collection Buffalo AKG Art Museum\, George B. and Jenny R. Mathews Fund\, 2022 (2022:78). Photo: Yubo Dong\, ofstudio photography\, courtesy of Charlie James Gallery\n\n\n\n\n\nCandida Alvarez (Lives and works in Baroda\, Michigan\, and Chicago). Flor de Caballo 3\, 2022. Acrylic on linen  / Acrílico sobre lino. 48 × 48 in. (121.9 × 121.9 cm). Courtesy of the artist. Photo: Robert Chase Heishman\, courtesy of the artist and Monique Meloche Gallery\, Chicago\n\n\n\n\n\nCarlos Rosales-Silva (Lives and works in New York). Peep Hole 3\, 2023. Crushed stone and glass bead in acrylic paint on panel / Piedra molida y cuentas de vidrio en pintura acrílica sobre panel. Overall 50 × 40 × 1 1/2 in. (127 × 101.6 × 3.8 cm). Courtesy of the artist and Sargent’s Daughters. Photo: Nicholas Knight\n\n\n\n\n\nPrevious slideNext slide\n\n\n\n\n\n\n\n\n\n\n\n\nLet Us Gather in a Flourishing Way is organized by the Buffalo AKG Art Museum and curated by Curator Andrea Alvarez. It will be followed by a national tour including presentations at the Des Moines Art Center\, the Museum of Contemporary Art Denver\, the Phoenix Art Museum\, and the Frye Art Museum\, Seattle. \n\n\n\n\n\n 
URL:https://thebuffalohive.com/event/buffalo-art-let-us-gather-in-a-flourishing-way/2026-08-29/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260828T100000
DTEND;TZID=America/New_York:20260828T200000
DTSTAMP:20260819T015228Z
CREATED:20260819T015228Z
LAST-MODIFIED:20260819T015228Z
UID:10045584-1787911200-1787947200@thebuffalohive.com
SUMMARY:Buffalo Art: Natvar Bhavsar: 'Free Yourself'
DESCRIPTION:Image above: Natvar Bhavsar (American\, born India\, 1934). REETVA\, 1968. Painting on paper\, dry pigment\, acrylic medium on rag paper. 35 x 46 inches (89 x 117 cm). © 2026 Natvar Bhavsar / Artists Rights Society (ARS)\, New York. Image courtesy of the artist.  \n  \nOn view August 21\, 2026 through April 4\, 2027. Surveys fifty years of Natvar Bhavsar’s expressive color-field abstractions made from pure dry pigment\, presented simultaneously with the University at Buffalo Art Galleries. Debuts the museum’s two new acquisitions\, RITI-YAA (1969) and KE-RAA (1971). \n\n\n\n\n\nM&T Bank Gallery\n\n\n\n\n\n\n\n\nSeymour H. Knox Building\n“I have tried to convey how to free oneself\, using color as a force to reach towards the beauty and generosity of the material that allows you unlimited expression.”  \nNatvar Bhavsar (American\, born India\, 1934). KE-RAA\, 1971. Pure pigment on canvas. 87 x 71 inches (221 x 180 cm). Collection Buffalo AKG Art Museum. Gift of Natvar Bhavsar and Janet Bhavsar\, 2025. © 2026 Natvar Bhavsar / Artists Rights Society (ARS)\, New York. Photo: Thomas Müller \nNatvar Bhavsar: Free Yourself surveys fifty years of the artist’s expressive abstractions\, inviting viewers to meditate on the power of pure color. Simultaneously presented at the Buffalo AKG Art Museum and the University at Buffalo Art Galleries\, the exhibitions respectively feature works on paper and monumental paintings spanning each decade of his career. This exhibition also celebrates the debut of the AKG’s two acquisitions by the artist RITI-YAA (1969) and KE-RAA (1971). \nBhavsar’s unique physical process centers on tiny particles of pure\, dry pigment. He begins by soaking the entire canvas in a clear acrylic binder\, then sifts or brushes pigment through handmade tools and fine mesh screens\, building up to eighty sealed layers. Air currents\, breath\, and the rhythm of his body as he maneuvers around the surface help shape the final image—a carefully controlled dance that produces textured\, smoky surfaces with subtle shifts in color and tone. As Bhavsar describes: \n\n“When I enter my studio\, everything disappears. It’s like I’ve entered another world. I experience Nirvana. It’s an incredible gift in which I disappear\, the studio itself disappears\, New York disappears.”\n\n  \nNatvar Bhavsar (American\, born India\, 1934). VAROONA II\, 1988. Painting on paper\, dry pigment\, and acrylic medium on rag paper. 49 x 39 inches (125 x 99 cm). © 2026 Natvar Bhavsar / Artists Rights Society (ARS)\, New York. Image courtesy of the artist. \nExamined up close\, his dappled surfaces are palpable; from a distance\, the color fields float and become atmospheric. Some paintings burst with energy\, while others suggest a boundless continuum of color. Unlike other Abstract Expressionists\, who approached the sublime through solemnity\, Bhavsar’s path is ecstatic and celebratory and rooted in his Indian heritage. His work invokes Holi\, the Hindu Spring festival in which revelers douse one another in powdered colors to celebrate the divine love of Radha and Krishna. Later works introducing curlicues draw on rangoli—decorative floor patterns of colored powder made during Diwali\, the festival of light. \nBhavsar’s meditative practice results in an intensely personal experience that invites endless free association—whether you find yourself peering through a microscope\, wandering a Holi celebration\, or gazing from the Hubble telescope is left entirely to you. \n  \n  \n  \n\nNatvar Bhavsar: Free Yourself is organized by the Buffalo AKG Art Museum and the University at Buffalo Art Galleries. Its presentation in Buffalo is organized by Katie O’Hara\, Assistant Curator\, Buffalo AKG Art Museum\, and its presentation at the University at Buffalo Art Galleries is organized by Robert Scalise\, Director\, University at Buffalo Art Galleries.
URL:https://thebuffalohive.com/event/buffalo-art-natvar-bhavsar-free-yourself-2/2026-08-28/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art
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DTSTART;TZID=America/New_York:20260828T100000
DTEND;TZID=America/New_York:20260828T200000
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CREATED:20260819T011101Z
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UID:10045109-1787911200-1787947200@thebuffalohive.com
SUMMARY:Buffalo Art: All I ever wanted was a place - A Centennial Celebration of Robert Creeley
DESCRIPTION:On view May 21 through December 7\, 2026. A special installation marking the centennial of poet Robert Creeley’s birth\, celebrating his more than forty-year connection to the museum and thirty years living and teaching in Buffalo\, in partnership with UB’s Poetics Program\, UB Art Galleries\, Just Buffalo Literary Center\, and Black Rock Arts. \nMonday\, 10 am–5 pm\nTuesday\, Closed\nWednesday\, Closed\nThursday\, 10 am–5 pm\nFriday\, 10 am–8 pm  (until 9 pm on M&T FIRST FRIDAYS)\nSaturday\, 10 am–6 pm\nSunday\, 10 am–5 pm \n\n  \n\n\n\n\n\n\n\n\n\nPoetry Today symposium for The Buffalo Festival of the Arts Today\, March 5\, 1965\, in the Albright-Knox Art Gallery Auditorium. From left: David Posner (moderator)\, Robert Graves\, William D. Snodgrass\, and Robert Creeley. Image courtesy of the Buffalo AKG Art Museum Archives.\n\n\n\n\n\n\n\n\nWest Corridor\, Knox Building\nCelebrated American poet Robert Creeley (1926–2005) had a connection to the Albright-Knox Art Gallery (now the Buffalo AKG Art Museum) that spanned more than forty years\, from speaking to artist collaborations. His first engagement with the museum was in March 1965\, when he took part in the Poetry Today symposium for The Buffalo Festival of the Arts Today. The sixteen-day event attracted more than 300\,000 guests and received nationwide acclaim. During the symposium\, Creeley stated\, “Whatever provokes in me this response to the innate rhythm of a poem\, whatever it is\, one singly follows one’s own answer\,” expressing his deeply felt and responsive style. \nThe poet collaborated with some of the most celebrated contemporary artists\, forming lasting relationships with them before the actual “work” took place. Artist Alex Katz\, a collaborator on Edges\, stated\, “Working with Bob makes me feel bright.” In May 1972\, Marisol wrote a letter to Creeley after receiving the text for Presences: A Text for Marisol (1976)\, “It is really amazing how you could do something so close to me from seeing me so few times.” Creeley mirrored Marisol’s sculptural process in his prose\, creating what he called an “active complement.” \n“All I ever wanted was a place\,” Creeley writes\, in a 1988 collaboration with artists Robert Therrien and Michel Butor. The poet arrived in Buffalo in 1966\, teaching at the University at Buffalo for more than thirty years. He was the inspiration behind Just Buffalo Literary Center and went on to co-found UB’s Poetics Program. In his later years\, he was often called “the man in Black Rock.” On this centennial of his birth\, we celebrate the indelible mark Creeley made on the literary and artistic life of this place. \n\n\n\n\n\n\n\nRobert Creeley Centenary (2026)\n\nThis year marks a century since Robert Creeley’s birth. On May 21 and 22\, join us in commemorating his life and work in Buffalo\, where he lived for more than thirty years\, in partnership with the University at Buffalo Poetics Program\, the University at Buffalo Art Galleries\, Just Buffalo Literary Center\, and Black Rock Arts. \n\n\n\n\n\n\n\n\n\n  \n\n\n\n\n\nHome\n\n\n\n\n\n\nBuffalo AKG Art Museum\n1285 Elmwood Avenue\nBuffalo\, New York 14222\nNow Open
URL:https://thebuffalohive.com/event/buffalo-art-all-i-ever-wanted-was-a-place-a-centennial-celebration-of-robert-creeley-2/2026-08-28/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art,Literature
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DTSTART;TZID=America/New_York:20260828T100000
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DTSTAMP:20260819T154423Z
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LAST-MODIFIED:20260819T154423Z
UID:10044206-1787911200-1787947200@thebuffalohive.com
SUMMARY:Buffalo Art: Ali Banisadr: Temple of the Mind
DESCRIPTION:Image above:Ali Banisadr (American\, born Iran\, born 1976). Weighing of the heart\, 2023. Oil on linen. 48 x 60 inches (121.92 x 152.4 cm). © Ali Banisadr. \n  \nFriday\, June 26\, 2026–Sunday\, November 8\, 2026 \n\n\n\n\n\n\n\n\nFriday\, 10 am–8 pm  (until 9 pm on M&T FIRST FRIDAYS)\n\nAli Banisadr (American\, born Iran\, born 1976). Weighing of the heart\, 2023. Oil on linen. 48 x 60 inches (121.92 x 152.4 cm). © Ali Banisadr.\n\n\n\n\n\n\n\n\nRobert and Elisabeth Wilmers Building\n\nImitation is not inspiration\, and inspiration only can give birth to a work of art.\n—Albert Pinkham Ryder\n\nAli Banisadr merges the compositional elements of landscape painting with abstract mark-making to create an altogether new form of figuration. The resulting compositions are a carefully composed bedlam of forms that suggest but ultimately deny any specific narrative. Variously reminiscent of gardens of Eden\, the seasonal genre pictures of Flemish Renaissance painter Pieter Bruegel the Elder\, and Boschian depictions of Hell\, Banisadr’s contemporary abstractions call upon the history of painting. The title of the exhibition\, borrowed from Albert Pinkham Ryder’s enigmatic painting\, The Temple of the Mind\, serves as a conceptual framework for the project\, suggesting a space where perception\, memory\, and imagination converge. While the Romantic painter was admired for his pioneering\, semi-abstract style\, for Banisadr\, Ryder holds a space for contemplation amid rising uncertainties. \nAli Banisadr (American\, born Iran\, 1976). Return to Mother\, 2022. Oil on linen. 82 x 180 inches (208.28 x 457.2 cm). © Ali Banisadr.\nGiven his deep interest in art history\, the Buffalo AKG has invited Banisadr to participate in the first-ever artist collection intervention. In addition to the installation in the Hemicycle Gallery\, a focused selection of Banisadr’s work will be installed throughout the Robert and Elisabeth Wilmers Building\, among the dreamlike imaginings of the Surrealists and the unbridled energy of the Abstract Expressionists. \nBanisadr reaches across time to draw on a wide range of influences. From art\, history\, literature\, and mythology to music\, film\, and technology\, he thinks of such sources as guiding his hand rather than driving his imagery\, and the powerful microcosms he creates are uniquely his own. Within these layered compositions\, subtle references to current events and the human condition—conflict\, migration\, and collective uncertainty—emerge and dissolve within the flux of his painterly language. Originating from one spontaneous moment to the next\, hidden figures and beguiling narratives reveal themselves to those who slow down in the present moment. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nAli Banisadr (American\, born Iran\, 1976). The Witness\, 2025. Oil on linen. 28 x 36 inches (71.12 x 91.44 cm). © Ali Banisadr.\n\n\n\n\n\n\n\n\n\n\n\n\nBanisadr’s works often evoke the natural world\, its shifting terrains and elemental forces\, while also suggesting cosmological dimensions that extend beyond the visible. Furthermore\, the artist’s unusual experience as a synesthete—a blending of the senses—also informs his practice. Over the years\, he has learned to allow his unique perceptions to guide his process\, leaning into the ways that color evokes specific sounds of harmony or discord. \nFrancisco de Goya (Spanish\, 1746–1828). Mucho hay que chupar (There is Plenty to Suck) from\, “Los Caprichos\,” 1799. Etching with aquatint. image area: 8 1/8 x 5 inches (20.64 x 12.7 cm); sheet: 11 1/2 x 8 1/8 inches (29.21 x 20.64 cm). Collection Buffalo AKG Art Museum. Gift of Frederic P. Norton\, 1999 (P1999:6.209).\nThe presentation in the Hemicycle Gallery will also feature an installation that delves deeply into the artist’s influences and process through materials from his studio and an artist-curated selection of works from the museum’s collection. From Andō Hiroshige’s evocative woodcuts and Francisco de Goya’s intense\, sometimes nightmarish\, depictions of violence and superstition to the artist’s sketchbooks and other visual cues\, visitors are invited to immerse themselves in Banisadr’s curious\, fantastical world. \nThe exhibition will be accompanied by an audio journey voiced by Banisadr and will debut a new etching created with the team at Mirabo Press in Buffalo\, New York. A short-documentary film on the artist is also in development. \n\n\n\n\n\n\n\n\n\nAli Banisadr: Temple of the Mind is organized by the Buffalo AKG Art Museum and co-curated by the artist and Godin-Spaulding Senior Curator for the Collection\, Holly E. Hughes.
URL:https://thebuffalohive.com/event/buffalo-art-ali-banisadr-temple-of-the-mind-2/2026-08-28/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art
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DTSTART;TZID=America/New_York:20260828T100000
DTEND;TZID=America/New_York:20260828T200000
DTSTAMP:20260819T153325Z
CREATED:20260819T003820Z
LAST-MODIFIED:20260819T153325Z
UID:10042631-1787911200-1787947200@thebuffalohive.com
SUMMARY:Buffalo Art: Let Us Gather in a Flourishing Way
DESCRIPTION:Image above: Rogelio Báez Vega (Lives and works in Santurce\, Puerto Rico). New York Department Store\, Bayamón Branch\, 2024–25. Oil\, beeswax\, and gold powder pigment on canvas / Óleo\, cera de abeja y polvo de oro sobre lienzo. 48 × 72 in. (121.9 × 182.9 cm). Courtesy of the artist. Photo: Courtesy of the artist  \n  \nLet Us Gather in a Flourishing Way explores contemporary Latinx artists’ innovations and interventions within established traditions of painting\, inviting discussion on a variety of themes and revealing the diversity and expansiveness present within the field. The fifty-eight artists in the exhibition—and those in the Latinx field more broadly—encourage us to interrogate the continued relevance of boundaries\, from political borders to disciplinary confines. This exhibition therefore celebrates artists whose expressions are first and foremost personal and subjective\, but whose heterogeneous and culturally specific interventions enrich one another and the history of American and contemporary art\, two fields from which such artists have been historically excluded. Inspired by former U.S. Poet Laureate Juan Felipe Herrera’s poem “[Let Us Gather in a Flourishing Way]\,” the show celebrates abundance and presents a vision of Latinx art that is\, like the diaspora itself\, infinitely complex. \n\n\n\n\n  \nDavid Antonio Cruz (Lives and works in New York). iknowyou’vebeenwonderingwherei’vebeen:adrift\,adraft\,astare\,atilt\,asigh\,exhale.but\,icamebacktoletyouknow\,gotathingforyou\,andican’tletitgo_the raft.\, 2024. Oil\, acrylic\, and ink on wood panel / Óleo\, acrílico y tinta sobre panel de madera. Two panels\, each 72 × 48 in. (188 × 121.9 cm). Overall 72 × 98 1/2 in. (188 × 250.2 cm). Collection of Igor DaCosta. Photo: Robert Chase Heishman\, courtesy of the artist and Monique Meloche Gallery\, Chicago \nThe show’s intergenerational and regionally broad dialogue is reflected in seven thematic groupings: (New) Histories\, offering new perspectives on personal\, cultural\, and global histories; Bodies & Figures\, representations of and by marginalized people\, considering the importance of the body\, and who is or isn’t seen in an image; Identity/Place\, a consideration of how identity and place shape each other with a diasporic lens; Land/tierra\, varied approaches to land and the built environment\, from the material to the imaginary; Community\, highlighting various communities—artistic\, blood\, and chosen—and their importance to populations within the diaspora; Pinturx\, contemporary Latinx approaches to traditional painting genres like still life and portraiture; and Abstractions\, exploring centuries-long Indigenous and European abstract traditions still in use by artists today. \nAllowing for cacophony and heterogeneity in its narratives\, the exhibition takes its cues from the artists themselves\, who are actively cultivating the landscape of contemporary painting as visitors will experience it in the museum. Rather than telling a finished story\, as survey exhibitions often do\, this exhibition gives audiences a peek into this vibrant and lively active network. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nYvette Mayorga (Lives and works in Chicago). The Brunette Latinx Self Portrait After François Boucher’s “The Brunette Odalisque\,” c.1745\, 2022. Acrylic nails\, acrylic marker\, false eyelashes\, collage\, plastic rings\, plastic nail charms\, rhinestones\, car wrap vinyl\, and acrylic piping on panel / Uñas acrílicas\, marcador acrílico\, cejas postizas\, collage\, anillos de plástico\, decoraciones de plástico para uñas\, diamantes de imitación\, vinil de auto y acrílico aplicado con manga pastelera sobre panel. Overall 60 × 120 × 2 in. (152.4 × 304.8 × 5.1 cm). Courtesy of the artist. Photo: Robert Chase Heishman\n\n\n\n\n\nVincent Valdez (Lives and works in Houston). The Sea\, 2020. Oil on canvas / Óleo sobre lienzo. 50 × 70 in. (127 × 177.8 cm). Courtesy Matthew Brown. Photo: Paul Salveson\, courtesy of Matthew Brown  \n  \n\n\n\n\n\n\nManuela Gonzalez (Lives and works in Lake Worth Beach\, Florida). Inanna\, 2024. Acrylic on mixed fabrics / Acrílico sobre tejidos mixtos. Overall 66 × 58 × 2 in. (167.6 × 147.3 × 5.1 cm). Collection of the artist.\n\n\n\n\n\nLilian Martinez (Lives and works in Los Angeles). Garden Club\, 2024. Acrylic on canvas  / Acrílico sobre lienzo. 50 × 65 in. (127 × 165.1 cm). Collection Buffalo AKG Art Museum\, Gift of Pamela and David Hornik\, 2025 (2025:9). Photo: Deen Babakhyi\, courtesy of the artist and OCHI\n\n\n\n\n\nEamon Ore-Giron (Lives and works in Los Angeles). Talking Shit with Illapa (variation I)\, 2023. Mineral paint and Flashe on canvas / Pintura mineral y Flashe sobre lienzo. 72 × 96 1/8 in. (182.9 × 244.2 cm). Collection Buffalo AKG Art Museum\, George B. and Jenny R. Mathews Fund\, 2024 (2024:6). Photo: Brenda Bieger\, Buffalo AKG Art Museum\n\n\n\n\n\nPatrick Martinez (Lives and works in Los Angeles). Promised Land\, 2022. Acrylic\, stucco\, neon\, Mean Streak\, ceramic\, spray paint\, latex house paint\, banner tarp\, ceramic tile\, tile adhesive\, and family archive photo collage on panel / Acrílico\, estuco\, neón\, Mean Streak\, cerámica\, pintura en aerosol\, pintura de látex para interior\, cartel publicitario\, azulejos de cerámica\, adhesivo para azulejos y collage de archivo fotográfico familiar sobre panel.  84 × 192 × 7 in. (213.4 × 487.7 × 17.8 cm). Collection Buffalo AKG Art Museum\, George B. and Jenny R. Mathews Fund\, 2022 (2022:78). Photo: Yubo Dong\, ofstudio photography\, courtesy of Charlie James Gallery\n\n\n\n\n\nCandida Alvarez (Lives and works in Baroda\, Michigan\, and Chicago). Flor de Caballo 3\, 2022. Acrylic on linen  / Acrílico sobre lino. 48 × 48 in. (121.9 × 121.9 cm). Courtesy of the artist. Photo: Robert Chase Heishman\, courtesy of the artist and Monique Meloche Gallery\, Chicago\n\n\n\n\n\nCarlos Rosales-Silva (Lives and works in New York). Peep Hole 3\, 2023. Crushed stone and glass bead in acrylic paint on panel / Piedra molida y cuentas de vidrio en pintura acrílica sobre panel. Overall 50 × 40 × 1 1/2 in. (127 × 101.6 × 3.8 cm). Courtesy of the artist and Sargent’s Daughters. Photo: Nicholas Knight\n\n\n\n\n\nPrevious slideNext slide\n\n\n\n\n\n\n\n\n\n\n\n\nLet Us Gather in a Flourishing Way is organized by the Buffalo AKG Art Museum and curated by Curator Andrea Alvarez. It will be followed by a national tour including presentations at the Des Moines Art Center\, the Museum of Contemporary Art Denver\, the Phoenix Art Museum\, and the Frye Art Museum\, Seattle. \n\n\n\n\n\n 
URL:https://thebuffalohive.com/event/buffalo-art-let-us-gather-in-a-flourishing-way/2026-08-28/
LOCATION:Buffalo AKG Art Museum\, Buffalo\, NY\, United States
CATEGORIES:Art
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