For years the Albright-Knox (AK) has been undergoing a number of expansion studies meant to analyze the potential of the collection as it relates to the physical space of the campus. Obviously, this is no easy task and does take a considerable amount of time, so as not to make any monumental mistakes along the way. All the same, the public and the world can wait no longer.
With only 3% of the collections on view at any given time, there are huge missed opportunities with the limited space that the gallery possesses. Not to mention the upkeep needed for the existing gallery, simply to maintain the structures and the collections. It all adds up to big money – money that the gallery doesn’t have at this moment. But the process to move forward has to start sometime… and that time is finally here. That means that the information from the Public Outreach Sessions is being compiled and disseminated back into the community. Last evening the AK held a debriefing that focused on those results.
It was the AK’s eleventh Director, Dr. Janne Sirén, who led the conversation that revolved around the painstaking task of doing what’s right for the collection, the campus, the neighborhood and the city. He referred to the various AK components as a “historic, fragile and monumental ecosystem”. He started out by saying that although there are 60,000 professional museums in the world, there are only 3000 that display modern contemporary art. He ranked the top galleries in the world (including MOMA, Guggenheim, Tate, Pompidou), and then shared that, of course, the AK is one of a number of top contenders to follow in the immediate footsteps of the leaders. At the same time, he mentioned that if the Guggenheim was given the chance to trade collections with the AK, they would do it in an instant. Which essentially means that the main reason that the Guggenheim is so well-regarded is… Frank Lloyd Wright’s stunning architectural design.
The AK is stunning in its own way. But if you scratch below the surface, it is easy to see that the campus is desperately in need of an injection of life. If you look around the gallery’s campus, you find a number of flaws, including the sprawling parking lot out front on Elmwood. It is clear that the parking lot is one of the biggest drawbacks of the campus. At the same time, the space where the parking lot sits could be a location for the future expansion. Or it could simply become part of the park scape again, as long as additional parking spaces are identified (underground is costly, but some say well worth the expenditure).
Listening to Sirén speak, there were certain particulars that were crystal clear in his message (at least to me). First, the expansion will take place on the existing campus due to the doubling of operating expenses that it would take if a second campus was to be built. Second, the Elmwood side of the building needs help. The relationship with Elmwood and Buff State is a missed opportunity – there is little connectivity at this point. According to Sirén, the recent addition of bike lanes is a nice touch, but certainly there is a long way to go to make the area more people friendly instead of car friendly. This process is not just about building an addition to exhibit art, it also takes into account the historic nature of the site, and its relationship with other institutions.
In the past, I have heard that possible gallery expansion measures might include constructing a building on top of the parking lot, with underground parking incorporated. I have also heard talk of an elevated addition built in-between the modernist Bunshaft black glass cube structure and the original EB Green designed building. Listening to Sirén speak, it was interesting to hear of a notable expansion pitch (or two) that had been made over the years, none of which came to fruition (lack of funding mainly the reason).
Throughout the talk, Sirén recounted the history of the campus, from building to acquisitions. He talked about the relationship of the gallery to the Olmsted grounds, upon which it sits. He made mention of the original entranceway that over the course of history became the back entrance (the entranceways have been switched, unfortunately). He also noted the disconnect between the grounds and the buildings, and how studies show that there are plenty of dead ends that break up the flow of the campus (inside and out).
I found Sirén to be a keen orator, who connected well with the crowd. He talked about doubling the size of exhibition space from 20,000 square feet to 40,000 square feet, which would allow for more of the ‘fan favorite’ exhibits to see the light of day (something that the public desperately wants). Sirén also pointed out that the public is clamoring for more social experiences within the complex – places to not only view art, but to celebrate it alongside others.
It is clear that there are a number of outdated, problematic issues with the existing campus, from large works that need to be craned in, to no accommodations for young school children to eat their lunch. While there are certain imperative needs that must be incorporated into the new addition, the director likened the public process to “a family with thousands of kids trying to decide on a vacation destination.” Everyone has an idea about where they want to go, but in order to get there, sacrifices must be made along the way. “I can not please everyone!” exclaimed Sirén.
Numerous times Sirén reflected that, “The solution is out there.” Personally, I have a feeling that the gallery is a tad further along than they are letting on. At this point the public is privy to only the feedback from the Public Outreach Sessions. Of course, if the gallery does know more than it’s letting on (as far as where the addition might go, and how it would work towards fixing inherent problematic design and flow flaws), there’s no way we would be let in on the news, or the entire public process would be for naught. All things considered, it’s always good to have the public provide input, as sometimes those shared ideas can infiltrate and enhance the directions that might already be being considered.
Early on in his talk, Sirén stated that in a sports town like Buffalo, it’s good to know that the Albright-Knox is always in the Super Bowl. That couldn’t be a truer point. We have the history. We have one of the most coveted collections in the world. We are situated in an Olmsted landscape. We have an incredible skeletal from upon which to build. We have a dedicated team, and far-reaching community support. We must look at some of the past mistakes as opportunities moving forward. There is a tremendous opportunity that lies in front of us. We are at a crucial milestone in the life of the AK (again), and have the ability to show the world not only what we possess, but what we are capable of moving forward.
Once the Public Outreach Sessions are complete, administration will begin to raise funds and put together a timeline. Then it will issue an RFP for architects (possibly within 12 months). Once again, I believe that there are funding sources that have been identified at this point, and we will not be starting from scratch when the time comes to raise the funds.
Once we are able to substantially increase the number of works on display (whether it’s from our own collection or from traveling exhibits), in a breathtaking and utilitarian setting, the world will come knocking harder upon our door, there is no doubt. In the meantime, it’s comforting to know that we have the buildings blocks (the collection and the existing buildings) at our disposal. As Sirén said, there are few modern galleries that can hold a candle to us. If you think that is true now, just wait until you see what the future beholds.
The public is invited to visit the AK’s website, in order to provide additional input. Click here to share your thoughts and ideas.