BUFFALO, N.Y. -- The UB Anderson Gallery, the University at
Buffalo's art museum, has received the archive -- personal
journals, travel slides and other artifacts -- and seven works of
art by the late artist and UB alumnus Allan D'Arcangelo (1930-98).
The gifts significantly contribute to UB Anderson Gallery's
continuing endeavor to be an academic resource for students and
scholars by supplementing its growing collection and archive on
The archive includes D'Arcangelo's personal journals,
correspondence, audiocassette interviews, travel slides, 16mm film
and video footage, announcement cards, art catalogs, and
periodicals, documenting his life and career. The seven works of
art from the late 1960s and early 1970s include an acrylic, a color
silkscreen and five drawings.
"Allan D'Arcangelo is from the same generation of artists in our
collection and represented by our benefactor David K. Anderson and
his mother Martha Jackson," said Sandra Olsen, director of UB Art
Galleries. "This gift furthers our efforts to become a central
resource for information on D'Arcangelo and other artists from the
post-World War II era."
The archive and artwork will be central to research conducted by
Sandra Firmin, UB Art Gallery curator, who is planning a major
retrospective of the artist's work, in collaboration with the
Burchfield-Penney Art Center, scheduled for 2009.
Born to Italian immigrants in Buffalo in 1930, D'Arcangelo
received his bachelor's degree in history from UB in 1953 and then
moved to New York City to pursue his interest in the arts. He began
painting in the late 1950s, at a pivotal moment when artists,
critics and dealers were challenging the dominance of abstract
expressionism and other modernist doctrines and hotly contesting
new criteria defining the creation and interpretation of art in
society. As an artist, activist and educator, D'Arcangelo
communicated his socially minded ideas in his artwork, in "ban the
bomb" and antiwar protests and in the classroom, teaching at the
School of Visual Arts (1963-68 and 1982-92) and Brooklyn College
Represented first by the Fischbach Gallery in the 1960s and then
by the Marlborough Gallery in the 1970s, he was featured in
numerous solo and group exhibitions internationally that were well
received by critics, art historians and, especially, his peers.
Public collections with major holdings include the Museum of Modern
Art, the Whitney Museum of American Art, the Burchfield-Penney Art
Center, the Albright-Knox Art Gallery, the Hirshhorn Museum and
Sculpture Garden and the Virginia Museum of Fine Arts.
D'Arcangelo believed resolutely in the social role of the artist
and, beginning in the 1960s through the early '80s, created bold
compositions and emblematic depictions of consumer products,
highway landscapes, industrial structures, barricades and airplanes
to grapple with philosophical uncertainties endemic to a changing
While many critics, curators and scholars, including Lawrence
Alloway, Dore Ashton, and David Antin, have reaffirmed continually
D'Arcangelo's position as a leading figure, his importance and
originality has not been duly recognized, partly because of his
willful withdrawal from the commercial art world in the 1980s until
his death. This gift and the planned retrospective will provide new
insight into D'Arcangelo's contributions to the field.