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Michener, 1968", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.29.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.29.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.29.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.29.tif", "IsPrimary" : "1", "_SurrogateID" : "8790", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14578, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14578", "Disp_Access_No" : "1991.177", "_AccNumSort1" : "", "Disp_Create_DT" : "1960", "_Disp_Start_Dat" : "1960", "_Disp_End_Date" : "1960", "Disp_Title" : "Plus Reversed", "Alt_Title" : "", "Obj_Title" : "Plus Reversed", "Series_Title" : "", "Disp_Maker_1" : "Richard Joseph Anuszkiewicz", "Sort_Artist" : "Anuszkiewicz, Richard Joseph", "Disp_Dimen" : "189.6 cm x 148 cm (74 5/8 in. x 58 1/4 in.)", "Disp_Height" : "189.6 cm", "Disp_Width" : "148 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Like a scientist observing objective data, Richard Anuszkiewicz regards his paintings as experiments, investigations, and studies of color. A student of Josef Albers, the leading professor of color theory in the United States, Anuszkiewicz has developed a compelling painting style that gives visual form to scientific principles. Plus Reversed is a key example of what has been called Optical art or Op art in the United States—a painting whose color and pattern conjunctions cause involuntary perceptual effects in its viewer. Here the artist paired the complementary colors of red and green in repetitive patterns of plus-shaped signs, reminiscent of the voltage symbols on a battery. The juxtaposition of colors intensifies their vividness and induces a flickering retinal effect. The patterning creates a further reverberation of its own by changing colors as it expands outward, suggesting movement. Plus Reversed is one of Anuszkiewicz’s most accomplished early works; shown in important exhibitions, it received wide critical review in the 1960s. It is also the first painting the artist ever sold: according to collector James Michener, who saw it displayed in a gallery window on Madison Avenue in New York, “It quite knocked me over and I bought it on the spot.” ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "web use only", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.177.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.177.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.177.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.177.tif", "IsPrimary" : "1", "_SurrogateID" : "1508", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.177.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.177.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.177.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1991.177.mp3", "IsPrimary" : "0", "_SurrogateID" : "8477", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "This is an excerpt from a tape James Michener made commenting on the source of paintings in his collection, probably recorded around 1968.", "View" : "" } , ] },{ "embark_ID" : 14177, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14177", "Disp_Access_No" : "G1968.30", "_AccNumSort1" : "", "Disp_Create_DT" : "1965", "_Disp_Start_Dat" : "1965", "_Disp_End_Date" : "1965", "Disp_Title" : "An Eagle's Nest", "Alt_Title" : "", "Obj_Title" : "An Eagle's Nest", "Series_Title" : "", "Disp_Maker_1" : "Edward Avedisian", "Sort_Artist" : "Avedisian, Edward", "Disp_Dimen" : "184.2 cm x 183.5 cm (72 1/2 in. x 72 1/4 in.)", "Disp_Height" : "184.2 cm", "Disp_Width" : "183.5 cm", "Dimen_Extent" : "Canvas", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "Although he began his career as a second generation Abstract Expressionist, Edward Avedisian is best known today for his paintings from the 1960s, which demonstrate affinities with both geometric and color field painting. His work from this period was admired by critic Clement Greenberg, who purchased at least one Avedisian painting for his personal collection. In the mid 1960s, Avedisian was affiliated with the Op art movement. The same year he painted An Eagle’s Nest, curator William Seitz showcased his work in the 1965 exhibition The Responsive Eye. Between 1963 and 1966, Avedisian worked almost exclusively with the motif of striped or banded circles on square canvases. Instead of applying paint to the canvas with a brush, he stained it directly into the support, a technique he borrowed from Helen Frankenthaler and Morris Louis. Avedisian tended to favor bright, vivid colors as well, although he refrained from juxtaposing complementary (or high-contrast) colors in the same canvas. As a result, his paintings lack the optical vibration or “flip” characteristic of much Op art. They do, however, play with figure/ground relationships, since the circular forms appear alternately to protrude out of or recede back into the canvas. An Eagle’s Nest is composed of two gray-blue circles with navy-blue bands that float in a field of shocking lime green. Because the color (in this case Liquitex, a form of acrylic paint) was soaked into the canvas, the edges of both the circles and the bands are hazy and imprecise, although the crisp pencil marks visible underneath the paint suggest that the artist initially drew the circles with the aid of a compass. Avedisian placed one of the circles at the upper left corner, and the other at the lower right corner, creating a vague impression of movement. Indeed, it is possible to read the two circles as merely one circle represented at two different moments in time—that is, at two different points in its arc down across the canvas. The circular forms that populate so much of Avedisian’s work garnered a variety of adjectives in the 1960s, such as “amoebic,” “nucleic,” “planetary,” “bouncing,” and “jolly.” In 1965 a critic wrote, “Avedisian has taken pains to place his circular forms with deliberate asymmetry so that the circles have the effect of stars thrown out at random in a sky.” As is the case with An Eagle’s Nest, however, Avedisian’s titles usually have no direct visual analogue in the painting. With his playful object-related titles, such as Baseball and No Snow, Avedisian would even seem to comment on (and perhaps tease) the viewer of modern art who strains, unsuccessfully, to identify a recognizable object in an abstract painting. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1968", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.30.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.30.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.30.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.30.tif", "IsPrimary" : "1", "_SurrogateID" : "2339", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13950, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13950", "Disp_Access_No" : "P1969.6.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1968", "_Disp_Start_Dat" : "1968", "_Disp_End_Date" : "1968", "Disp_Title" : "Lavender High", "Alt_Title" : "", "Obj_Title" : "Lavender High", "Series_Title" : "", "Disp_Maker_1" : "Alice Baber", "Sort_Artist" : "Baber, Alice", "Disp_Dimen" : "191.8 cm x 191.8 cm (75 1/2 in. x 75 1/2 in.)", "Disp_Height" : "191.8 cm", "Disp_Width" : "191.8 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Michener Acquisitions Fund, 1969", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1969.6.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1969.6.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1969.6.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1969.6.1.tif", "IsPrimary" : "1", "_SurrogateID" : "2520", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14176, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14176", "Disp_Access_No" : "G1968.31.1/2-2/2", "_AccNumSort1" : "", "Disp_Create_DT" : "1966", "_Disp_Start_Dat" : "1966", "_Disp_End_Date" : "1966", "Disp_Title" : "Horizontals Tiered ", "Alt_Title" : "", "Obj_Title" : "Horizontals Tiered ", "Series_Title" : "", "Disp_Maker_1" : "Jo Baer", "Sort_Artist" : "Baer, Jo", "Disp_Dimen" : "132.1 cm x 182.9 cm (52 in. x 72 in.)", "Disp_Height" : "132.1 cm", "Disp_Width" : "182.9 cm", "Dimen_Extent" : "Each panel", "Medium" : "Oil and synthetic resin", "Support" : "canvas", "Disp_Medium" : "Oil and synthetic resin on canvas", "Info_Page_Comm" : "At first glance, "Horizontals Tiered" may appear as two empty canvases. But as she wrote in 1967, artist Jo Baer believed that “most sensation is the edge of things.” By painting thin belts of color between areas of white and black, Baer strove to induce an optical phenomenon: on the inner edge of the band, the color appears lighter; on the outer edge, it appears darker. In privileging the peripheries of the canvas, Baer questioned conventional ways of looking at art. Baer’s attention to the edges of her work aligns her not only with other Minimalist artists, but also with color theorists such as Josef Albers, whose book, "Interaction of Color," was published just three years before this work was made. Explaining her process, Baer said, “I was always curious why the color on the palette was different than the color on the painting. I knew what I wanted something to look like, and I found that the means to do it were so different than the end result.”", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. 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As co-founder of the Washington Workshop Center for the Arts, which he established in 1945 with the help of his wife, the poet Ida Fox, Berkowitz played an instrumental role in the Washington Color School, a group of painters that included Morris Louis, Kenneth Noland, and Howard Mehring among others. For most of his career, Berkowitz was preoccupied with investigating the optical, visceral, and ultimately spiritual effects of color and light. Often reticent about discussing his technique, Berkowitz experimented with staining his canvases before he honed his mature method, which involved priming his canvases and then applying several thin layers of pigment. In 1955, Berkowitz and Fox embarked on a decade-long series of travels to Spain, Wales, Greece, Israel, and the American West, an experience that greatly affected Berkowitz’s work of the 1960s. Berkowitz also found inspiration in sources such as poetry, Eastern music and mysticism, and the psychology and biology of vision. 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Leon Golub’s lifelong commitment to figurative painting has its roots in both aesthetic and ethical concerns. An outspoken critic of institutionalized power structures, Golub used his trenchant figurative paintings and their violent expression to critique governmental interventions and corporate wrongdoings. Even as a young artist, he explored allegorical representations of cultural values, mining classical history for images of corruption and decadence. Seated Boxer I is an early work in this vein, painted while the artist was in Paris. Based on a photograph of a Roman copy of a Hellenistic bronze sculpture of a Greek boxer, the work serves as a platform for his existential musings. Working with the canvas flat on the floor and using loose, gestural stabs, Golub applied layer after layer of varnish and paint solvent, repeatedly scraping off the viscous substance as if debrading a wound. 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Jensen described his work as “a continuous oscillation between numerical and prismatic concerns,” drawing directly upon his wide-ranging expertise in various knowledge systems, spanning Mayan calendars, Chinese philosophy, astronomy, Pythagorean geometry, physics, and art of Central America, to name a few. Though formally abstract, Jensen’s paintings remain resolutely concrete, meant to communicate specific information. Named after the Greek goddess of dawn, this painting symmetrically depicts the sun and moon in opposite color harmonies based on German author Johann Wolfgang von Goethe’s nineteenth-century theories of hot and cool values. Jensen diametrically opposes cool (blue, violet) with warm (yellow, red) colors in bisected, rotating orbs that revolve in a circular path, emulating the movements of celestial bodies in time and space.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. 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But Jensen was a true maverick, developing his own theories of painting by mining a wide range of interdisciplinary sources, including the German poet Johann Wolfgang von Goethe, whose writings explored the interrelationships of color. These concepts, coupled with a strong propensity toward cosmic theology, led Jensen to create an almost incomprehensibly dense artistic system through which he generated vibrant, patterned paintings unlike any others of their time. Born in Guatemala but raised in Europe and the United States, Jensen met collector James Michener in 1961–1962. Recently returned himself from a trip to Guatemala, Michener commissioned Jensen to create a new painting inspired by his birthplace. Jensen responded with a series of new works, from which Michener picked Mayan Temple for his collection. The painting’s colors and their positions in relation to one another are determined by the physical plan of the temple of Palenque in modern-day Mexico, which in turn was oriented along the path of the North Star in the night sky. Despite its complex conceptual underpinnings, the work is jubilant, sensuous, and undeniably contemporary in feel. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. 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Michener, 1968", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.85.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.85.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.85.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.85.tif", "IsPrimary" : "1", "_SurrogateID" : "2379", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14251, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14251", "Disp_Access_No" : "G1962.3", "_AccNumSort1" : "", "Disp_Create_DT" : "not dated", "_Disp_Start_Dat" : "", "_Disp_End_Date" : "", "Disp_Title" : "Black Mountain Ptsora", "Alt_Title" : "", "Obj_Title" : "Black Mountain Ptsora", "Series_Title" : "", "Disp_Maker_1" : "Aristodimos Kaldis", "Sort_Artist" : "Kaldis, Aristodimos", "Disp_Dimen" : "101.9 cm x 81.6 cm (40 1/8 in. x 32 1/8 in.)", "Disp_Height" : "101.9 cm", "Disp_Width" : "81.6 cm", "Dimen_Extent" : "Sheet", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of the Longview Foundation, Inc.,1962", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1962.3.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1962.3.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1962.3.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1962.3.tif", "IsPrimary" : "1", "_SurrogateID" : "5514", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14122, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14122", "Disp_Access_No" : "G1968.86", "_AccNumSort1" : "", "Disp_Create_DT" : "1963", "_Disp_Start_Dat" : "1963", "_Disp_End_Date" : "1963", "Disp_Title" : "Zeus Recomposing Chaos", "Alt_Title" : "", "Obj_Title" : "Zeus Recomposing Chaos", "Series_Title" : "", "Disp_Maker_1" : "Aristodimos Kaldis", "Sort_Artist" : "Kaldis, Aristodimos", "Disp_Dimen" : "152.4 cm x 127 cm (60 in. x 50 in.)", "Disp_Height" : "152.4 cm", "Disp_Width" : "127 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1968", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.86.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.86.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.86.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.86.tif", "IsPrimary" : "1", "_SurrogateID" : "8462", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.86.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.86.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.86.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.86.mp3", "IsPrimary" : "0", "_SurrogateID" : "8476", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "This is an excerpt from a tape James Michener made commenting on the source of paintings in his collection, probably recorded around 1968.", "View" : "" } , ] },{ "embark_ID" : 14506, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14506", "Disp_Access_No" : "1991.246", "_AccNumSort1" : "", "Disp_Create_DT" : "1960", "_Disp_Start_Dat" : "1960", "_Disp_End_Date" : "1960", "Disp_Title" : "High Yellow", "Alt_Title" : "", "Obj_Title" : "High Yellow", "Series_Title" : "", "Disp_Maker_1" : "Ellsworth Kelly", "Sort_Artist" : "Kelly, Ellsworth", "Disp_Dimen" : "204.6 cm x 146.8 cm (80 9/16 in. x 57 13/16 in.)", "Disp_Height" : "204.6 cm", "Disp_Width" : "146.8 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Nature was a primary source of inspiration for Ellsworth Kelly, and it is tempting to read "High Yellow" as a landscape with green grass, blue sky, and yellow sun. But Kelly believed that art should transcend the quotidian experiences of daily life. Though he derived his compositions from the world around him, he did not intend his work to be seen as representational. As he once said, “The form of my painting is the content.” In order to achieve a purity of form, Kelly took inspiration from the works of anonymous medieval craftsmen and eliminated the trace of his hand from the canvas. By pointing beyond the personal, he felt he could conjure the universal. Kelly is widely known for his intuitive use of color. Yellow, in particular, figures prominently in the artist’s practice—most notably at the beginning and end of his color spectrums. The hue also takes the topmost position in the colored-glass window designs for "Austin," Kelly’s most monumental work and the only freestanding building he designed, given to the Blanton in 2015.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "edu; promo; web", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.246.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.246.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.246.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1991.246.mp3", "IsPrimary" : "0", "_SurrogateID" : "8505", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "This is an excerpt from a tape James Michener made commenting on the source of paintings in his collection, probably recorded around 1968.", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.246-2016.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.246-2016.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.246-2016.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.246-2016.tif", "IsPrimary" : "1", "_SurrogateID" : "14270", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14504, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14504", "Disp_Access_No" : "1991.248", "_AccNumSort1" : "", "Disp_Create_DT" : "1960", "_Disp_Start_Dat" : "1960", "_Disp_End_Date" : "1960", "Disp_Title" : "Black and White No. 2", "Alt_Title" : "", "Obj_Title" : "Black and White No. 2", "Series_Title" : "", "Disp_Maker_1" : "Franz Kline", "Sort_Artist" : "Kline, Franz", "Disp_Dimen" : "203.9 cm x 155 cm (80 1/4 in. x 61 in.)", "Disp_Height" : "203.9 cm", "Disp_Width" : "155 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. 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Michener, 1968", "Copyright_Type" : "All but store merchandise - must make special request for merchandise", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.90.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.90.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.90.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.90.tif", "IsPrimary" : "1", "_SurrogateID" : "2381", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14494, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14494", "Disp_Access_No" : "1991.257", "_AccNumSort1" : "", "Disp_Create_DT" : "1961", "_Disp_Start_Dat" : "1961", "_Disp_End_Date" : "1961", "Disp_Title" : "Water-Shot", "Alt_Title" : "", "Obj_Title" : "Water-Shot", "Series_Title" : "", "Disp_Maker_1" : "Morris Louis", "Sort_Artist" : "Louis, Morris", "Disp_Dimen" : "214.7 cm x 135.3 cm (84 1/2 in. x 53 1/4 in.)", "Disp_Height" : "214.7 cm", "Disp_Width" : "135.3 cm", "Dimen_Extent" : "Sight", "Medium" : "Acrylic on unsized canvas", "Support" : "", "Disp_Medium" : "Acrylic on unsized canvas", "Info_Page_Comm" : "Helen Frankenthaler’s canny development of new working methods inspired other mid-century painters who were concerned less with artistic meaning and metaphor than with the formal and visual properties and processes of abstract painting. Morris Louis, a Washington, D.C.–based artist who was introduced to Frankenthaler by critic Clement Greenberg, took her staining process a step further, devising ways of soaking the canvas that involved neither brush nor gesture. By pouring Magna acrylic paint down the surface of a vertically tilted canvas and aggressively manipulating its flow with careful movements, he avoided any personal touch or texture that would divert attention from the purely optical effects and the resulting dynamic striations of color. Greenberg said about the method, “The fabric, being soaked in paint rather than merely covered by it, becomes paint in itself, color in itself.” Louis’s career was short, and he completed few series of paintings, although each was extraordinary in its own lyrical way. Water-Shot is from Stripes, his final series. Using nine hues to form the primary stripes, he achieved a complex chromatic range through overlaps and adjacencies, producing unexpected lushness with an economy of means. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. 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In the latter half of that decade, however, Lozano shifted gears, translating her signature style into a more sculptural language. With "Stroke" the artist broke free of the constraints of the canvas by perforating and layering canvases themselves. Using tools rather than depicting them, Lozano moved beyond two-dimensional painting to engage “real space” both in her process and in her finished work. Indeed, she referred to this body of work as “energy paintings,” aiming to capture “the energy which emanates from the forever conflict in painting between . . . its static solid-matter surface and the passages of movement and time it evokes in the mind.”", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of The Judith Rothschild Foundation and the Michener Acquisitions Fund, 2001", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2001.82.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2001.82.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2001.82.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2001.82.tif", "IsPrimary" : "0", "_SurrogateID" : "1747", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2001.82-1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2001.82-1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2001.82-1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2001.82-1.tif", "IsPrimary" : "1", "_SurrogateID" : "15800", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14116, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14116", "Disp_Access_No" : "G1968.92", "_AccNumSort1" : "", "Disp_Create_DT" : "1964", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1964", "Disp_Title" : "Ream", "Alt_Title" : "", "Obj_Title" : "Ream", "Series_Title" : "", "Disp_Maker_1" : "Lee Lozano", "Sort_Artist" : "Lozano, Lee", "Disp_Dimen" : "198 x 244 cm (78 x 96 in.)", "Disp_Height" : "198 cm", "Disp_Width" : "244 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "From 1963 to 1964, Lee Lozano took hardware—screwdrivers, hammers, wrenches—as her pictorial focus. Here, Lozano takes a reamer (a device used to drill holes) as her subject. Ensconced in a male-dominated art world, Lozano preyed on the provocative connotations of tools to poke fun at the chauvinistic climate in which she found herself. The artist manipulated and anthropomorphized her subjects to imbue them with new (often humorous, sexualized) meaning. At the same time, the sci-fi quality of these mechanized images tapped into the popularity of science fiction at that time— in art historian Helen Molesworth’s words, we might think of Lozano’s tool paintings as “cyborg fantasies of a complete merger of body and machine.”", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. 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While it may appear reductive at first glance, Marden considers his paintings to be subjective, contemplative objects whose truths are disclosed slowly over time. “I believe these are highly emotional paintings not to be admired for any technical or intellectual reason, but to be felt,” Marden once proclaimed. UT Austin art historian Richard Shiff argues that the tension between stillness and movement in "Fave" stems from Marden’s careful observations of the Hudson River in New York, where the artist lives and works. "Fave" calls to mind the color shifts of water as it reflects atmospheric changes. Marden once described the sky above the sea as “blue, gray, yellow, sulphur, turquoise, yellow, blue,” indicating his ability to see multiple layers of color at once.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. 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McNeil", "Sort_Artist" : "McNeil, George J.", "Disp_Dimen" : "198 cm x 183 cm (77 15/16 in. x 72 1/16 in.)", "Disp_Height" : "198 cm", "Disp_Width" : "183 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Michener Acquisitions Fund, 1969", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1969.14.2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1969.14.2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1969.14.2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1969.14.2.tif", "IsPrimary" : "1", "_SurrogateID" : "6842", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14112, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14112", "Disp_Access_No" : "G1968.96", "_AccNumSort1" : "", "Disp_Create_DT" : "1965", "_Disp_Start_Dat" : "1965", "_Disp_End_Date" : "1965", "Disp_Title" : "Element of Blue", "Alt_Title" : "", "Obj_Title" : "Element of Blue", "Series_Title" : "", "Disp_Maker_1" : "Howard Mehring", "Sort_Artist" : "Mehring, Howard", "Disp_Dimen" : "130 cm x 117 cm (51 3/16 in. x 46 1/16 in.)", "Disp_Height" : "130 cm", "Disp_Width" : "117 cm", "Dimen_Extent" : "Canvas", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1968", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.96.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.96.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.96.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.96.tif", "IsPrimary" : "1", "_SurrogateID" : "2387", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17154, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17154", "Disp_Access_No" : "2004.107", "_AccNumSort1" : "", "Disp_Create_DT" : "1967-1968", "_Disp_Start_Dat" : "1967", "_Disp_End_Date" : "1968", "Disp_Title" : "Tablet 164", "Alt_Title" : "", "Obj_Title" : "Tablet 164", "Series_Title" : "", "Disp_Maker_1" : "Eleanore Mikus", "Sort_Artist" : "Mikus, Eleanore", "Disp_Dimen" : "131.4 cm x 76.2 cm x 5 cm (51 3/4 in. x 30 in. x 1 15/16 in.)", "Disp_Height" : "131.4 cm", "Disp_Width" : "76.2 cm", "Dimen_Extent" : "sight", "Medium" : "Epoxy resin", "Support" : "fiberglass", "Disp_Medium" : "Epoxy resin on fiberglass", "Info_Page_Comm" : "<SPAN>Shortly after moving to New York City in 1960, Eleanore Mikus debuted her characteristic tablet paintings, so called for the tablet’s connotations of recordkeeping and history. While tapping into trends that were pervasive at the time—a monochrome palette, the grid, unconventional materials—Mikus managed to achieve a unique tactility in her work. As artist Luis Camnitzer recalled, her nuanced paintings were “the perfect antidote to the times, an oasis in the desert.” <BR/>The tablets are the products of repetition and chance. To make them, Mikus laid irregular pieces of fiberglass on her studio floor, “the more uneven, the better.” Mikus composed her tablets blindly, bracing each block facedown and gluing it to the next, “all the time thinking how the front would look without actually seeing it.” In <SPAN STYLE="font-style:italic">Tablet 164</SPAN>, the foundation dips and pleats beneath layers of epoxy resin. These protrusions bear the impression of the artist’s hand, giving the work a corporeal quality. Shadows pool around peaks and valleys on the surface, simultaneously evoking a Minimalist grid and topographical model. </SPAN>", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Gabrielle Burns, courtesy the Artist and Mitchell Algus Gallery, 2004", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.107-2017-frame.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.107-2017-frame.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.107-2017-frame.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.107-2017-frame.tif", "IsPrimary" : "1", "_SurrogateID" : "15055", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.107-2017.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.107-2017.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.107-2017.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.107-2017.tif", "IsPrimary" : "0", "_SurrogateID" : "15057", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14471, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14471", "Disp_Access_No" : "1991.276", "_AccNumSort1" : "", "Disp_Create_DT" : "1960-1961", "_Disp_Start_Dat" : "1960", "_Disp_End_Date" : "1961", "Disp_Title" : "Rock Bottom", "Alt_Title" : "", "Obj_Title" : "Rock Bottom", "Series_Title" : "", "Disp_Maker_1" : "Joan Mitchell", "Sort_Artist" : "Mitchell, Joan", "Disp_Dimen" : "198.1 cm x 172.7 cm (78 in. x 68 in.)", "Disp_Height" : "198.1 cm", "Disp_Width" : "172.7 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Joan Mitchell made this painting on Long Island, New York in the summer of 1960; it is one of the only works she painted outside of France. Mitchell often looked to nature for her abstraction, and the cobalt blue paint that dominates this frenetic work is a color she begins to use frequently after her summer on the Long Island shores. Mitchell often painted scenes as seen through the filter of her memory, describing her works as “remembered landscapes . . . [which] become transformed” through the act of painting. In a review of her first solo show in Paris, which opened the year this painting was made, French critic Pierre Schneider wrote that Mitchell’s works divulged “conflicting hesitations and mutually abolishing decisions.” With its raw energy, dramatic drips, and emphatic gestures, "Rock Bottom" reveals the agency Mitchell exercises in her approach to abstraction, movement, color, and the picture. “It’s a very violent painting,” the artist once said of this painting. “And you might say [about] sea . . . rocks.”", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. 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Michener, 1968", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.113.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.113.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.113.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.113.tif", "IsPrimary" : "1", "_SurrogateID" : "2316", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14448, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14448", "Disp_Access_No" : "1991.317", "_AccNumSort1" : "", "Disp_Create_DT" : "1961", "_Disp_Start_Dat" : "1961", "_Disp_End_Date" : "1961", "Disp_Title" : "Dead Veteran", "Alt_Title" : "", "Obj_Title" : "Dead Veteran", "Series_Title" : "", "Disp_Maker_1" : "Larry Rivers", "Sort_Artist" : "Rivers, Larry", "Disp_Dimen" : "205.8 cm x 132.2 cm (81 in. x 52 1/16 in.)", "Disp_Height" : "205.8 cm", "Disp_Width" : "132.2 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "A multitalented painter and musician, Rivers was both a peer of the Abstract Expressionists and a colleague of the younger Pop artists who were gaining recognition in the early 1960s. Dead Veteran is a contemporary history painting, inspired by news magazine photographs of the funeral of the last surviving veteran of the Civil War. With bold inventiveness, Rivers here combined the dynamic abstract color harmonies of his teacher Hans Hofmann with loose gestures describing indeterminate space, expressively drawn figures, and images reproduced from mass media. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.317.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.317.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.317.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.317.tif", "IsPrimary" : "1", "_SurrogateID" : "1567", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14200, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14200", "Disp_Access_No" : "G1968.114", "_AccNumSort1" : "", "Disp_Create_DT" : "1964", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1964", "Disp_Title" : "Cityscape", "Alt_Title" : "", "Obj_Title" : "Cityscape", "Series_Title" : "", "Disp_Maker_1" : "K.C. Rowland", "Sort_Artist" : "Rowland, K.C.", "Disp_Dimen" : "98 cm x 131 cm (38 9/16 in. x 51 9/16 in.)", "Disp_Height" : "98 cm", "Disp_Width" : "131 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1968", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.114.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.114.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.114.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.114.tif", "IsPrimary" : "1", "_SurrogateID" : "2317", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.114.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.114.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.114.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.114.mp3", "IsPrimary" : "0", "_SurrogateID" : "8456", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "This is an excerpt from a tape James Michener made commenting on the source of paintings in his collection, probably recorded around 1968.", "View" : "" } , ] },{ "embark_ID" : 17243, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17243", "Disp_Access_No" : "2004.159", "_AccNumSort1" : "", "Disp_Create_DT" : "1966", "_Disp_Start_Dat" : "1966", "_Disp_End_Date" : "1966", "Disp_Title" : "Reo Reo", "Alt_Title" : "", "Obj_Title" : "Reo Reo", "Series_Title" : "", "Disp_Maker_1" : "Edwin Ruda", "Sort_Artist" : "Ruda, Edwin", "Disp_Dimen" : "91.4 cm x 609.6 cm (36 in. x 240 in.)", "Disp_Height" : "91.4 cm", "Disp_Width" : "609.6 cm", "Dimen_Extent" : "canvas", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "In the late 1950s, Edwin Ruda made frequent road trips between El Paso, where his fiancée lived, and Austin, where he taught at The University of Texas. He wondered then how one might paint the vastness of the west Texas landscape. After his return to New York City in 1960, Ruda drew on this experience as he began to explore “the possibilities of space related to the body” through oversized, dynamically shaped canvases that engulf the viewer, with colors that interact to produce what he termed “optic energy.” The blue lozenges that flank the corners of his twenty-foot diamond-shaped painting, Reo Reo, are meant to engage the viewer’s peripheral field of vision and evoke the sensation of moving down a road. The work’s title could allude to the space between two rivers—the Rio Grande and the Colorado—that Ruda traversed on his drives, or function as a tongue-in-cheek homage to his friend, artist Leo Valledor.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of the artist, 2004", "Copyright_Type" : "all ", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.159.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.159.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.159.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.159.tif", "IsPrimary" : "1", "_SurrogateID" : "4239", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.159 artist.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.159 artist.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.159 artist.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2004.159 artist.jpg", "IsPrimary" : "0", "_SurrogateID" : "5152", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.159 window.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.159 window.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.159 window.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2004.159 window.jpg", "IsPrimary" : "0", "_SurrogateID" : "5153", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "Painting was too large to go down stairs or elevator, so was taken out through the studo window.", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.159 byebye.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.159 byebye.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.159 byebye.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2004.159 byebye.jpg", "IsPrimary" : "0", "_SurrogateID" : "5154", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.159 street.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.159 street.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.159 street.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2004.159 street.jpg", "IsPrimary" : "0", "_SurrogateID" : "5155", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.159 truck.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.159 truck.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.159 truck.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2004.159 truck.jpg", "IsPrimary" : "0", "_SurrogateID" : "5156", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14199, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14199", "Disp_Access_No" : "G1968.115", "_AccNumSort1" : "", "Disp_Create_DT" : "1961", "_Disp_Start_Dat" : "1961", "_Disp_End_Date" : "1961", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "Untitled", "Series_Title" : "", "Disp_Maker_1" : "Ludwig Sander", "Sort_Artist" : "Sander, Ludwig", "Disp_Dimen" : "153 cm x 137 cm (60 1/4 in. x 53 15/16 in.)", "Disp_Height" : "153 cm", "Disp_Width" : "137 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1968", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.115.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.115.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.115.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.115.tif", "IsPrimary" : "1", "_SurrogateID" : "2318", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14443, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14443", "Disp_Access_No" : "1991.321", "_AccNumSort1" : "", "Disp_Create_DT" : "1964", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1964", "Disp_Title" : "Criminal Being Executed", "Alt_Title" : "", "Obj_Title" : "Criminal Being Executed", "Series_Title" : "", "Disp_Maker_1" : "Peter Saul", "Sort_Artist" : "Saul, Peter", "Disp_Dimen" : "190.5 cm x 160.4 cm (75 in. x 63 1/8 in.)", "Disp_Height" : "190.5 cm", "Disp_Width" : "160.4 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Peter Saul painted Criminal Being Executed during his post-college years in Europe, but as with all of the work from this important early period, it comments directly and critically on the affluent American society he had left behind. Saul’s work evokes the claustrophobia of a consumerist society and the lurid sensationalism of media-driven topical debate. Like the contemporaneous New York–based Pop artists, Saul drew his themes from current events, the daily news, and especially American comic strips, which chronicled escalating melodramas and explored issues of class and difference in subversive ways. But unlike the ironic and iconic imagery of the Pop artists, Saul’s hard-core humor and perversely provocative imagery can be read as a personal and political statement, intended to express his disdain for—and incite a response to—a way of life that he viewed as controlled by large, ambivalent forces. In works like Criminal Being Executed, the young artist struck back at the realm of advertising with its own weapons of exaggeration—distorted scale, quick contrasts, emphatic colors, and labels and logos. His depiction of violence, both past and anticipated, calls for an end to complacency and ironic detachment. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "All", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.321.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.321.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.321.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.321.tif", "IsPrimary" : "1", "_SurrogateID" : "1568", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14198, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14198", "Disp_Access_No" : "G1968.116", "_AccNumSort1" : "", "Disp_Create_DT" : "1963", "_Disp_Start_Dat" : "1963", "_Disp_End_Date" : "1963", "Disp_Title" : "Night Town", "Alt_Title" : "", "Obj_Title" : "Night Town", "Series_Title" : "", "Disp_Maker_1" : "Raymond Saunders", "Sort_Artist" : "Saunders, Raymond", "Disp_Dimen" : "135 cm x 81 cm (53 1/8 in. x 31 7/8 in.)", "Disp_Height" : "135 cm", "Disp_Width" : "81 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1968", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.116.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.116.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.116.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.116.tif", "IsPrimary" : "1", "_SurrogateID" : "2319", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14442, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14442", "Disp_Access_No" : "1991.322", "_AccNumSort1" : "", "Disp_Create_DT" : "1960", "_Disp_Start_Dat" : "1960", "_Disp_End_Date" : "1960", "Disp_Title" : "From That Day On", "Alt_Title" : "", "Obj_Title" : "From That Day On", "Series_Title" : "", "Disp_Maker_1" : "Ben Shahn", "Sort_Artist" : "Shahn, Ben", "Disp_Dimen" : "181.6 cm x 89.9 cm (71 1/2 in. x 35 3/8 in.)", "Disp_Height" : "181.6 cm", "Disp_Width" : "89.9 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil and tempera on canvas", "Support" : "board", "Disp_Medium" : "Oil and tempera on canvas on board", "Info_Page_Comm" : "The leading chronicler of social and political injustice in mid-century American painting, Ben Shahn was a persuasive artist whose bold works convey enormous compassion for human suffering. From That Day On belongs to the Lucky Dragon series of paintings that Shahn created to commemorate the deaths of the crew of the Lucky Dragon, a Japanese fishing boat caught in the radioactive cloud of a 1954 U.S. hydrogen bomb test in the Pacific. Shahn, who believed he could best illuminate universal tragedy by focusing on specifics, here has honored the fisherman Aikichi Kuboyama, who died seven months after the bomb blast. Kuboyama’s burned and darkened flesh is juxtaposed with the tender new skin of his baby daughter. This shocking contrast, along with the representation of living plants in the decorative textile patterns, denotes the cycles of birth and death. Kuboyama’s enormous, grievously wounded hands underscore his innocence and helplessness. A dragon emerging from a red cloud at the upper left reminds the viewer of the event itself, the role of fate (the dragon is often a symbol of destiny), and what Shahn called “the ineffable, unspeakable tragedy” of atomic power, whose threat to civilization weighed heavily on his thoughts in the last years of his life. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "case by case basis.", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.322.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.322.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.322.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.322.tif", "IsPrimary" : "1", "_SurrogateID" : "1569", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14196, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14196", "Disp_Access_No" : "G1968.118", "_AccNumSort1" : "", "Disp_Create_DT" : "1967", "_Disp_Start_Dat" : "1967", "_Disp_End_Date" : "1967", "Disp_Title" : "Besped", "Alt_Title" : "", "Obj_Title" : "Besped", "Series_Title" : "", "Disp_Maker_1" : "Kenneth Showell", "Sort_Artist" : "Showell, Kenneth", "Disp_Dimen" : "274.3 cm x 228.6 cm (108 in. x 90 in.)", "Disp_Height" : "274.3 cm", "Disp_Width" : "228.6 cm", "Dimen_Extent" : "Canvas", "Medium" : "Sprayed acrylic", "Support" : "canvas", "Disp_Medium" : "Sprayed acrylic on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1968", "Copyright_Type" : "edu., promo., web, merch", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.118.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.118.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.118.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.118.tif", "IsPrimary" : "1", "_SurrogateID" : "2321", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.118.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.118.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.118.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.118.mp3", "IsPrimary" : "0", "_SurrogateID" : "8457", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "This is an excerpt from a tape James Michener made commenting on the source of paintings in his collection, probably recorded around 1968.", "View" : "" } , ] },{ "embark_ID" : 14195, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14195", "Disp_Access_No" : "G1968.119", "_AccNumSort1" : "", "Disp_Create_DT" : "1963", "_Disp_Start_Dat" : "1963", "_Disp_End_Date" : "1963", "Disp_Title" : "More Towers of Babel", "Alt_Title" : "", "Obj_Title" : "More Towers of Babel", "Series_Title" : "", "Disp_Maker_1" : "Mel Silverman", "Sort_Artist" : "Silverman, Mel", "Disp_Dimen" : "122 cm x 92 cm (48 1/16 in. x 36 1/4 in.)", "Disp_Height" : "122 cm", "Disp_Width" : "92 cm", "Dimen_Extent" : "Canvas", "Medium" : "Collage", "Support" : "masonite", "Disp_Medium" : "Collage on masonite", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. 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Michener, 1968", "Copyright_Type" : "educ. pub. & merchandise only", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 14436, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14436", "Disp_Access_No" : "1991.328", "_AccNumSort1" : "", "Disp_Create_DT" : "1961", "_Disp_Start_Dat" : "1961", "_Disp_End_Date" : "1961", "Disp_Title" : "Levant No. 8", "Alt_Title" : "", "Obj_Title" : "Levant No. 8", "Series_Title" : "", "Disp_Maker_1" : "Theodoros Stamos", "Sort_Artist" : "Stamos, Theodoros", "Disp_Dimen" : "213.4 cm x 111.2 cm (84 in. x 43 3/4 in.)", "Disp_Height" : "213.4 cm", "Disp_Width" : "111.2 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.328.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.328.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.328.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.328.tif", "IsPrimary" : "1", "_SurrogateID" : "1573", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.328.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.328.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.328.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1991.328.mp3", "IsPrimary" : "0", "_SurrogateID" : "8643", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "This is an excerpt from a tape James Michener made commenting on the source of paintings in his collection, probably recorded around 1968.", "View" : "" } , ] },{ "embark_ID" : 14192, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14192", "Disp_Access_No" : "G1968.122", "_AccNumSort1" : "", "Disp_Create_DT" : "1963", "_Disp_Start_Dat" : "1963", "_Disp_End_Date" : "1963", "Disp_Title" : "The Arm of Don Juan", "Alt_Title" : "", "Obj_Title" : "The Arm of Don Juan", "Series_Title" : "", "Disp_Maker_1" : "Harold Stevenson", "Sort_Artist" : "Stevenson, Harold", "Disp_Dimen" : "115.6 cm x 88.9 cm (45 1/2 in. x 35 in.)", "Disp_Height" : "115.6 cm", "Disp_Width" : "88.9 cm", "Dimen_Extent" : "Each panel", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Harold Stevenson has created a body of work that explores the human figure as an erotic form. Through the monumentality of its construction, the male form is represented here as a sensual landscape. At the same time, the grid suggested by the diptych panels tends to enhance the abstract quality of the image and focuses attention on the structure and tones of each section. It is these odd juxtapositions of the artist’s objective and subjective impressions that makes this figure study so memorable. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1968", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.122.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.122.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.122.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.122.tif", "IsPrimary" : "1", "_SurrogateID" : "2325", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14435, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14435", "Disp_Access_No" : "1991.329", "_AccNumSort1" : "", "Disp_Create_DT" : "1964", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1964", "Disp_Title" : "C-109", "Alt_Title" : "", "Obj_Title" : "C-109", "Series_Title" : "", "Disp_Maker_1" : "Tadasky", "Sort_Artist" : "Tadasky", "Disp_Dimen" : "172.8 cm x 172.8 cm (68 1/16 in. x 68 1/16 in.)", "Disp_Height" : "172.8 cm", "Disp_Width" : "172.8 cm", "Dimen_Extent" : "Sight", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : " “It’s a little like staring at a turning record while trying to read the label,” wrote Jacqueline Barnitz in a review of Tadasky’s first one-person show in 1965. Barnitz, now a professor of art history at the University of Texas at Austin, aptly describes the work of Japanese-born, New York-based artist Tadasky. In the mid-1960s, Tadasky adopted the style that first brought him public recognition: circles composed of concentric rings that alternate between black and various combinations of complementary colors, such as the rusty orange-red and synthetic forest-green of C-109. It is the strong contrast between these colors that creates the illusion of movement noticed by Barnitz. Tadasky’s circles seem to wobble and spin, expanding out into the viewer’s space or, alternately, receding deep into the canvas. Visual agitation, accompanied by a sensation of physical disorientation, is the sum of an encounter with a painting like C-109. Tadasky worked with the aid of a machine in the 1960s, which accounts in large part for his paintings’ precision, exactitude, and regularity. After placing a canvas on the machine’s flat surface, Tadasky would hold his brush over the support. The machine rotated at an even pace, allowing the artist to create concentric rings of uniform width. This method also had the result of expelling any trace of the artist’s unique touch from the painting. In both form and effect, Tadasky’s circles lend themselves to a comparison with Marcel Duchamp’s Rotary Glass Plates (Precision Optics) (1920), Disks Bearing Spirals (1923), Rotary Demisphere (Precision Optics) (1925), and Rotoreliefs (Optical Disks) (1935), which likewise sought to investigate the optical properties of abstract (specifically circular) motifs. What distinguishes Duchamp from Tadasky is that the latter used abstract motifs to generate the impression of movement—what we might think of as virtual movement—while the former set his abstract motifs in motion electrically. Duchamp exerted a profound influence on postwar American artists, particularly after his 1963 retrospective at the Pasadena Art Museum, which was responsible for prompting renewed interest in the artist’s work.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.329.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.329.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.329.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.329.tif", "IsPrimary" : "1", "_SurrogateID" : "1574", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.329.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.329.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.329.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1991.329.mp3", "IsPrimary" : "0", "_SurrogateID" : "8644", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "This is an excerpt from a tape James Michener made commenting on the source of paintings in his collection, probably recorded around 1968.", "View" : "" } , ] },{ "embark_ID" : 14433, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14433", "Disp_Access_No" : "1991.330", "_AccNumSort1" : "", "Disp_Create_DT" : "1964", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1964", "Disp_Title" : "The Potter's Family", "Alt_Title" : "", "Obj_Title" : "The Potter's Family", "Series_Title" : "", "Disp_Maker_1" : "Sabina Teichman", "Sort_Artist" : "Teichman, Sabina", "Disp_Dimen" : "111.8 cm x 133.5 cm (44 in. x 52 9/16 in.)", "Disp_Height" : "111.8 cm", "Disp_Width" : "133.5 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.330.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.330.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.330.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.330.tif", "IsPrimary" : "1", "_SurrogateID" : "8881", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14432, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14432", "Disp_Access_No" : "1991.331", "_AccNumSort1" : "", "Disp_Create_DT" : "1961", "_Disp_Start_Dat" : "1961", "_Disp_End_Date" : "1961", "Disp_Title" : "Coastal Morning", "Alt_Title" : "", "Obj_Title" : "Coastal Morning", "Series_Title" : "", "Disp_Maker_1" : "William Thon", "Sort_Artist" : "Thon, William", "Disp_Dimen" : "55.9 cm x 91.5 cm (22 in. x 36 in.)", "Disp_Height" : "55.9 cm", "Disp_Width" : "91.5 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "masonite", "Disp_Medium" : "Oil on masonite", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.331.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.331.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.331.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.331.tif", "IsPrimary" : "1", "_SurrogateID" : "1575", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14431, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14431", "Disp_Access_No" : "1991.332", "_AccNumSort1" : "", "Disp_Create_DT" : "1965", "_Disp_Start_Dat" : "1965", "_Disp_End_Date" : "1965", "Disp_Title" : "Work Jacket on Easel", "Alt_Title" : "", "Obj_Title" : "Work Jacket on Easel", "Series_Title" : "", "Disp_Maker_1" : "Sidney Tillim", "Sort_Artist" : "Tillim, Sidney", "Disp_Dimen" : "91.5 cm x 104.2 cm (36 in. x 41 in.)", "Disp_Height" : "91.5 cm", "Disp_Width" : "104.2 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.332.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.332.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.332.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.332.tif", "IsPrimary" : "1", "_SurrogateID" : "6365", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.332.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.332.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.332.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1991.332.mp3", "IsPrimary" : "0", "_SurrogateID" : "8645", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "This is an excerpt from a tape James Michener made commenting on the source of paintings in his collection, probably recorded around 1968.", "View" : "" } , ] },{ "embark_ID" : 14191, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14191", "Disp_Access_No" : "G1968.123", "_AccNumSort1" : "", "Disp_Create_DT" : "1965", "_Disp_Start_Dat" : "1965", "_Disp_End_Date" : "1965", "Disp_Title" : "Landscape with Yellow Balance", "Alt_Title" : "", "Obj_Title" : "Landscape with Yellow Balance", "Series_Title" : "", "Disp_Maker_1" : "Robert S. Titus", "Sort_Artist" : "Titus, Robert S.", "Disp_Dimen" : "122 cm x 124 cm (48 1/16 in. x 48 13/16 in.)", "Disp_Height" : "122 cm", "Disp_Width" : "124 cm", "Dimen_Extent" : "Canvas", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1968", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.123.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.123.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.123.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.123.tif", "IsPrimary" : "1", "_SurrogateID" : "2326", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15088, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15088", "Disp_Access_No" : "1979.31", "_AccNumSort1" : "", "Disp_Create_DT" : "1968", "_Disp_Start_Dat" : "1968", "_Disp_End_Date" : "1968", "Disp_Title" : "I", "Alt_Title" : "", "Obj_Title" : "I", "Series_Title" : "", "Disp_Maker_1" : "John Torreano", "Sort_Artist" : "Torreano, John", "Disp_Dimen" : "198 cm (77 15/16 in.)", "Disp_Height" : "198 cm", "Disp_Width" : "", "Dimen_Extent" : "Image diameter", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "I and Universe Painting, two works by John Torreano from 1968 and 1975 respectively, reflect the artist’s belief that art is a process of communication between artist, artwork, and viewer, a process that grants the viewer as much say in the creative potential of each artwork as the artist himself. The two works also testify to Torreano’s longstanding preoccupation with a particular set of formal issues: both I and Universe Painting are predicated on an ornamental sense of geometry and a vivid sense of color and surface. At the same time, they give viewers the opportunity to trace the development of Torreano’s career between 1968 and 1975, when he refined certain theoretical principles and shifted media from painting to a hybridized form of painting and sculpture. In I, the first painting he ever sold, Torreano manipulates figure/ground relationships. Stripes painted in vibrant hues intersect with one another to form a plaid design. Torreano recently stated that he intended the white circle in the middle of the canvas to “close with the wall” so that it appeared as if the circle was not a circle at all, but rather part of the wall behind the painting. When the illusion is successful, the wall, not the canvas, acts as the “ground” for the plaid design (or “figure”). Placing what could potentially be read as a “hole” in the canvas serves another purpose as well: it acknowledges the fact of the gallery, drawing attention, through formal means alone, to the physical space that surrounds the painting. I might thus be said to demonstrate a certain amount of self-awareness with regard to its own context. The title is a verbal pun that refers to the word I (as in me) as well as the word eye, a meaning reinforced by the circular shape of the canvas. This particular title anthropomorphizes the painting, as if I had the ability to return the viewer’s gaze.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1979", "Copyright_Type" : "All", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1979.31.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1979.31.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1979.31.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1979.31.tif", "IsPrimary" : "1", "_SurrogateID" : "1180", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14430, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14430", "Disp_Access_No" : "1991.335", "_AccNumSort1" : "", "Disp_Create_DT" : "1967", "_Disp_Start_Dat" : "1967", "_Disp_End_Date" : "1967", "Disp_Title" : "Light Pink Octagon", "Alt_Title" : "", "Obj_Title" : "Light Pink Octagon", "Series_Title" : "", "Disp_Maker_1" : "Richard Tuttle", "Sort_Artist" : "Tuttle, Richard", "Disp_Dimen" : "144.2 cm x 134.7 cm (56 3/4 in. x 53 1/16 in.)", "Disp_Height" : "144.2 cm", "Disp_Width" : "134.7 cm", "Dimen_Extent" : "Sight", "Medium" : "Canvas dyed with Tintex", "Support" : "", "Disp_Medium" : "Canvas dyed with Tintex", "Info_Page_Comm" : "Richard Tuttle’s Light Pink Octagon challenges notions of what a work of art can be. A hybrid object—neither painting nor sculpture nor drawing, but containing aspects of all three—the modest, seemingly offhand work is from a pivotal early series that established Tuttle’s interest in how objects define the spaces around them. Light Pink Octagon commands attention, embodying the artist’s unique sense of possibility and play. Made from a piece of cloth cut into an octagonal shape, hemmed on all sides, and dyed pale pink, it can be hung at any height on the wall and from any side or angle, or placed unceremoniously on the floor. Permanently wrinkled during the dyeing process, it looks more like a castoff than a work of art. Indeed, its humble appearance and presentation deny the status most works of art seek to claim. Tuttle’s means of making art is a way of asking questions. His unexpected and poetic use of materials embraces the value of looking without prior judgment—of observing with an open mind. In 2008, The Blanton’s holdings of Tuttle’s work increased significantly with a gift from legendary art collectors Dorothy and Herbert Vogel, in concert with the National Gallery of Art, of 34 works on paper made by the artist between 1970 and 1982. These compelling works—some quite small—expand on the artist’s ongoing interests in line, color, and space. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "all approved by artist.", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.335.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.335.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.335.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.335.tif", "IsPrimary" : "1", "_SurrogateID" : "1577", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14189, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14189", "Disp_Access_No" : "G1968.125", "_AccNumSort1" : "", "Disp_Create_DT" : "1966", "_Disp_Start_Dat" : "1966", "_Disp_End_Date" : "1966", "Disp_Title" : "American Landscape", "Alt_Title" : "", "Obj_Title" : "American Landscape", "Series_Title" : "", "Disp_Maker_1" : "John Martin Tweddle", "Sort_Artist" : "Tweddle, John Martin", "Disp_Dimen" : "168 cm x 243 cm (66 1/8 in. x 95 11/16 in.)", "Disp_Height" : "168 cm", "Disp_Width" : "243 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "In this painting, Tweddle transforms nature into a chaotic urban grid. By bisecting his canvas with a procession of crudely drawn cars, he provides a visual analogue for the manner in which industry has taken over the natural world. Through his frenzied composition, Tweddle offers a parody of U.S. society and its beliefs in the ideals of progress and industrialization.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1968", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.125.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.125.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.125.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.125.tif", "IsPrimary" : "1", "_SurrogateID" : "2328", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14188, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14188", "Disp_Access_No" : "G1968.126", "_AccNumSort1" : "", "Disp_Create_DT" : "1960", "_Disp_Start_Dat" : "1960", "_Disp_End_Date" : "1960", "Disp_Title" : "To Stefan Wolpe", "Alt_Title" : "", "Obj_Title" : "To Stefan Wolpe", "Series_Title" : "", "Disp_Maker_1" : "Jack Tworkov", "Sort_Artist" : "Tworkov, Jack", "Disp_Dimen" : "226 cm x 190.5 cm (89 in. x 75 in.)", "Disp_Height" : "226 cm", "Disp_Width" : "190.5 cm", "Dimen_Extent" : "overall", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1968", "Copyright_Type" : "All approved.", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.126.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.126.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.126.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.126.tif", "IsPrimary" : "1", "_SurrogateID" : "2329", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.126.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.126.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.126.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.126.mp3", "IsPrimary" : "0", "_SurrogateID" : "8470", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "This is an excerpt from a tape James Michener made commenting on the source of paintings in his collection, probably recorded around 1968.", "View" : "" } , ] },{ "embark_ID" : 14972, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14972", "Disp_Access_No" : "1983.108", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1968", "_Disp_Start_Dat" : "1963", "_Disp_End_Date" : "1973", "Disp_Title" : "Fast Approach", "Alt_Title" : "", "Obj_Title" : "Fast Aproach", "Series_Title" : "", "Disp_Maker_1" : "Donald Leroy Weismann", "Sort_Artist" : "Weismann, Donald Leroy", "Disp_Dimen" : "111.1 cm x 135.9 cm (43 3/4 in. x 53 1/2 in.)", "Disp_Height" : "111.1 cm", "Disp_Width" : "135.9 cm", "Dimen_Extent" : "Frame", "Medium" : "Oil", "Support" : "linen canvas", "Disp_Medium" : "Oil on linen canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Victor and Myra Ravel, 1983", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1983.108.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1983.108.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1983.108.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1983.108.tif", "IsPrimary" : "1", "_SurrogateID" : "11320", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 19463, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/19463", "Disp_Access_No" : "2010.7", "_AccNumSort1" : "", "Disp_Create_DT" : "1968", "_Disp_Start_Dat" : "1968", "_Disp_End_Date" : "1968", "Disp_Title" : "Untitled, Meander Paintings, River", "Alt_Title" : "", "Obj_Title" : "Untitled, Meander Paintings, River", "Series_Title" : "", "Disp_Maker_1" : "Mac Wells", "Sort_Artist" : "Wells, Mac", "Disp_Dimen" : "30.48 cm x 30.48 cm (12 in. x 12 in.)", "Disp_Height" : "30.48 cm", "Disp_Width" : "30.48 cm", "Dimen_Extent" : "canvas", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "purple and tan ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of David Reed, 2010", "Copyright_Type" : "All approved.", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2010.7.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2010.7.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2010.7.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2010.7.tif", "IsPrimary" : "1", "_SurrogateID" : "5601", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 19464, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/19464", "Disp_Access_No" : "2010.8", "_AccNumSort1" : "", "Disp_Create_DT" : "1967", "_Disp_Start_Dat" : "1967", "_Disp_End_Date" : "1967", "Disp_Title" : "Untitled, Meander Paintings, River", "Alt_Title" : "", "Obj_Title" : "Untitled, Meander Paintings, River", "Series_Title" : "", "Disp_Maker_1" : "Mac Wells", "Sort_Artist" : "Wells, Mac", "Disp_Dimen" : "30.48 cm x 30.48 cm (12 in. x 12 in.)", "Disp_Height" : "30.48 cm", "Disp_Width" : "30.48 cm", "Dimen_Extent" : "canvas", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "green and tan", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of David Reed, 2010", "Copyright_Type" : "All approved.", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2010.8.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2010.8.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2010.8.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2010.8.tif", "IsPrimary" : "1", "_SurrogateID" : "5602", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14187, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14187", "Disp_Access_No" : "G1968.127", "_AccNumSort1" : "", "Disp_Create_DT" : "1966", "_Disp_Start_Dat" : "1966", "_Disp_End_Date" : "1966", "Disp_Title" : "Lowering II", "Alt_Title" : "", "Obj_Title" : "Lowering II", "Series_Title" : "", "Disp_Maker_1" : "Mac Wells", "Sort_Artist" : "Wells, Mac", "Disp_Dimen" : "46 cm x 178 cm (18 1/8 in. x 70 1/16 in.)", "Disp_Height" : "46 cm", "Disp_Width" : "178 cm", "Dimen_Extent" : "Canvas", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1968", "Copyright_Type" : "All approved.", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.127.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.127.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.127.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.127.tif", "IsPrimary" : "1", "_SurrogateID" : "2330", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14186, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14186", "Disp_Access_No" : "G1968.128", "_AccNumSort1" : "", "Disp_Create_DT" : "1967", "_Disp_Start_Dat" : "1967", "_Disp_End_Date" : "1967", "Disp_Title" : "Annunciations", "Alt_Title" : "", "Obj_Title" : "Annunciations", "Series_Title" : "", "Disp_Maker_1" : "John Wesley", "Sort_Artist" : "Wesley, John", "Disp_Dimen" : "119 cm x 203 cm (46 7/8 in. x 79 15/16 in.)", "Disp_Height" : "119 cm", "Disp_Width" : "203 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Like many of his contemporaries in New York in the early 1960s, John Wesley chose to work with the visual language of popular culture, appropriating and reinventing the hard-edged style and the specific iconography of classic 1950s comic-book cartoons. For Wesley, however, unlike the Pop artists to whom he was often compared, this language provided a point of departure for subtle and idiosyncratic investigations of form and content. A true maverick, Wesley makes paintings that are cool hybrids - they combine a Pop vocabulary, a refined minimalist sensibility, and a surrealistic proclivity for uncanny juxtapositions. In this work, which was commissioned especially for collector James Michener, six female figures stand alone, separated by compartments, as in a comic book. Five of the women appear to be in various stages of pregnancy, while the sixth cradles a baby in her arms. Their poses are awkward and their expressions vacuous; the work seems to be a spoof of traditional religious treatments of the theme of the annunciation. Wesley's work can be read as decorative, in that he plays positive against negative space and arranges shapes to create patterns that have rigor and complexity. His standard approach involves the use of flat shapes in serial format, delicate black outlines and matte, chalky color. While the specific meaning of a Wesley work tends to be perplexing, his paintings are as much about the artistic concerns of abstraction as they are about the curious subjects they depict.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. 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