Clough bagged Sol LeWitt, who handed over instructions for a piece that the group labored over for one beer- and marijuana-filled evening. As she investigated, it became clear, she said, that “Buffalo had a story that wanted and needed to be told.”Īmong the many they lured were Jonathan Borofsky, whom Mr. Pesanti dreamed up the idea three years ago, soon after arriving at the museum, when she realized that many important artworks had been made nearby. (It also covers the local literary and music scenes, like the Buffalo Philharmonic, directed at the time by Lukas Foss and then by Michael Tilson Thomas.) Ms.
Sherman’s early storyboard drama “A Play of Selves” (1976), Gordon Matta-Clark’s 1974 house deconstruction “Bingo,” Hollis Frampton’s film “Gloria!” and the drawings for “Box and Pole” (1977), all that remains of an early sculpture by Mr. Organized by Heather Pesanti, a curator at the museum, the show includes seminal artworks made in the area, like Ms. How and why this scene came about is the subject of the survey show “Wish You Were Here: The Buffalo Avant-Garde in the 1970s,” at the Albright-Knox museum here through July 8. But by the ’70s, as its mills and foundries closed, it was gradually becoming a symbol of urban blight.ĭuring that decade Buffalo also boasted a thriving avant-garde arts scene, rich enough to nurture Pictures-generation artists like Cindy Sherman and Robert Longo, to attract visiting video and film artists like Bill Viola and Stan Brakhage, and to encourage large-scale land art by Martin Puryear, Nancy Holt and others.
Once called the City of Light because of its abundant hydroelectric power (courtesy of Niagara Falls), Buffalo was a manufacturing and rail hub for much of the 20th century. THINK of this city in the 1970s, and the picture that springs to mind is of a dying industrial metropolis.
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