There is a long historical link between classic Canadian painting and the contemporary work about climate change now showing in Buffalo
Lea Porsager's decommissioned wind turbine blade, entitled OFFSHORE G.O.D. Remains, is seen in an exhibition of Nordic art the Buffalo AKG Art Museum, with paintings by Sara-Vide Ericson, including Soul Fracking, in the background.The current exhibition of Nordic art at the renovated and renamed Buffalo AKG Art Museum includes the giant blade of a wind turbine. Danish artist Lea Porsager has dismantled the decommissioned blade and placed five sections on the gallery floor.
A century later, what was by now the Albright-Knox Art Gallery, was in desperate need of renovation and expansion. The modernist wing that had been added to its classical pavilion in 1962 was crampedwere finalized in 2016, cemented with a US$52.5-million commitment from the Californian bond trader Jeffrey Gundlach, a native of Buffalo and the source of the G in the new name. The Gundlach building, attached to the original by a glass bridge, opened last June.
Climate change might seem to demand retrenchment or rationing: Christoffersen notes that today’s art museums try to use sea instead of air freight and are considering relaxing their energy-consuming climate controls. Yet, faced with the enormity of the crisis, many of the artists have responded with scale, producing oversized paintings and installations.
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