{ "objects" : [ { "embark_ID" : 14722, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14722", "Disp_Access_No" : "1986.293", "_AccNumSort1" : "", "Disp_Create_DT" : "1974", "_Disp_Start_Dat" : "1974", "_Disp_End_Date" : "1974", "Disp_Title" : "Cube No. 1", "Alt_Title" : "", "Obj_Title" : "Cube No. 1", "Series_Title" : "", "Disp_Maker_1" : "Rudy Ayoroa", "Sort_Artist" : "Ayoroa, Rudy", "Disp_Dimen" : "53.3 cm x 30.5 cm x 47.7 cm (21 in. x 12 in. x 18 3/4 in.)", "Disp_Height" : "53.3 cm", "Disp_Width" : "30.5 cm", "Dimen_Extent" : "HLW", "Medium" : "Plexiglass, flourescent light and motor", "Support" : "", "Disp_Medium" : "Plexiglass, flourescent light and motor", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Barbara Duncan, 1986", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Bolivian", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1986.293.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1986.293.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1986.293.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1986.293.tif", "IsPrimary" : "1", "_SurrogateID" : "6429", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16845, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16845", "Disp_Access_No" : "2003.82", "_AccNumSort1" : "", "Disp_Create_DT" : "2000", "_Disp_Start_Dat" : "2000", "_Disp_End_Date" : "2000", "Disp_Title" : "Internet de madera [Wooden Internet]", "Alt_Title" : "", "Obj_Title" : "Internet de madera [Wooden Internet]", "Series_Title" : "", "Disp_Maker_1" : "Abel Barroso", "Sort_Artist" : "Barroso, Abel", "Disp_Dimen" : "55.1 cm x 56.5 cm x 38.6 cm (21 11/16 in. x 22 1/4 in. x 15 3/16 in.)", "Disp_Height" : "55.1 cm", "Disp_Width" : "56.5 cm", "Dimen_Extent" : "HWD", "Medium" : "Wood, ink, paper ", "Support" : "", "Disp_Medium" : "Wood, ink, paper ", "Info_Page_Comm" : "Abel Barroso’s work uses humor and a low-tech interpretation of modern communications to comment on contemporary Cuban society and politics. Barroso, who trained as a printmaker, constructs his sculptures from used wood printing blocks that are themselves made from everyday materials such as plywood packing cases. In Internet de madera, the artist has created a “third world Internet” from carved plywood: a printed scroll serves as a “screen” that the viewer/user can move by manually turning the levers on the side. The consumerist use of the Internet is emphasized, though the series of photographs displayed on the “screen” were taken in the street markets in Cuba, thus conflating the fantasy of e-commerce with the reality of everyday transactions. This hybrid Internet machine/cash register is full of comical references to the high-tech global world to which Cubans have little access. For example, a credit card (American credit cards are illegal in Cuba) made of wood and carved with the word fantasía (“fantasy”) and a wooden 3 1/2–inch floppy disk both lie on the keyboard. This eternally unplugged and unconnected Internet machine is a powerful metaphor for Cuba’s place in the world and also a critique of the consumerist fantasies of developed societies", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Fran Magee and Gallery 106, 2003", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Cuban", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2003.82.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2003.82.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2003.82.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2003.82.tif", "IsPrimary" : "1", "_SurrogateID" : "2145", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14641, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14641", "Disp_Access_No" : "1987.77", "_AccNumSort1" : "", "Disp_Create_DT" : "1985", "_Disp_Start_Dat" : "1985", "_Disp_End_Date" : "1985", "Disp_Title" : "Los indios del Chaco [The Chaco Indians]", "Alt_Title" : "The Indians of the Chaco", "Obj_Title" : "Los indios del Chaco [The Chaco Indians]", "Series_Title" : "", "Disp_Maker_1" : "Luis Fernando Benedit", "Sort_Artist" : "Benedit, Luis Fernando", "Disp_Dimen" : "97.3 cm x 62 cm x 59.8 cm (38 5/16 in. x 24 7/16 in. x 23 9/16 in.)", "Disp_Height" : "97.3 cm", "Disp_Width" : "62 cm", "Dimen_Extent" : "HLW", "Medium" : "Sheet metal, epoxy resin, wood, oil, and enamel sculpture on a wooden base", "Support" : "", "Disp_Medium" : "Sheet metal, epoxy resin, wood, oil, and enamel sculpture on a wooden base", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mr. and Mrs. David Guss and the Archer M. Huntington Museum Fund, 1987.", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1987.77_right_side.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1987.77_right_side.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1987.77_right_side.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1987.77_right_side.tif", "IsPrimary" : "0", "_SurrogateID" : "3499", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1987.77_left_side.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1987.77_left_side.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1987.77_left_side.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1987.77_left_side.tif", "IsPrimary" : "1", "_SurrogateID" : "6415", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15018, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15018", "Disp_Access_No" : "1982.186", "_AccNumSort1" : "", "Disp_Create_DT" : "1971", "_Disp_Start_Dat" : "1971", "_Disp_End_Date" : "1971", "Disp_Title" : "Gota de agua [Drop of Water]", "Alt_Title" : "Water Drop", "Obj_Title" : "Gota de agua [Drop of Water]", "Series_Title" : "", "Disp_Maker_1" : "Luis Fernando Benedit", "Sort_Artist" : "Benedit, Luis Fernando", "Disp_Dimen" : "44.1 cm x 25.1 cm x 25.1 cm (17 3/8 in. x 9 7/8 in. x 9 7/8 in.)", "Disp_Height" : "44.1 cm", "Disp_Width" : "25.1 cm", "Dimen_Extent" : "HLW", "Medium" : "Plexiglass, plastic tubing, water, and cotton (with metal screws)", "Support" : "", "Disp_Medium" : "Plexiglass, plastic tubing, water, and cotton (with metal screws)", "Info_Page_Comm" : "Benedit’s work of the early 1970s is concerned with the creation and observation of life in scientifically controlled environments. In Gota de agua, a single drop of water, seen through a magnifying glass, reflects and distorts the room around it, including the viewer. Although the work is not overtly political, it is hard not to read a more sinister meaning into this process of observation and control, given the political reality in Latin America in that decade. Like Luis Camnitzer’s prints in this same gallery, the tight perspective and suggestion of experimentation could be read as a response to the specter of torture. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Waldo Rasmussen, 1982", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.186.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.186.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.186.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.186.tif", "IsPrimary" : "1", "_SurrogateID" : "1235", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14843, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14843", "Disp_Access_No" : "1985.22", "_AccNumSort1" : "", "Disp_Create_DT" : "1983", "_Disp_Start_Dat" : "1983", "_Disp_End_Date" : "1983", "Disp_Title" : "La concepción [The Conception]", "Alt_Title" : "La concepción", "Obj_Title" : "La concepción [The Conception]", "Series_Title" : "", "Disp_Maker_1" : "María Brito", "Sort_Artist" : "Brito, María", "Disp_Dimen" : "203.2 cm x 96.5 cm x 137.2 cm (80 in. x 38 in. x 54 in.)", "Disp_Height" : "203.2 cm", "Disp_Width" : "96.5 cm", "Dimen_Extent" : "HLW", "Medium" : "Wood and mixed media", "Support" : "", "Disp_Medium" : "Wood and mixed media", "Info_Page_Comm" : "María Brito creates sculpture and installation works that often relate to her personal identity as a Cuban-American as well as relate to the viewer’s own identity. She merges architectural forms with dream-like imagery creating psychological situations for the viewer to ponder. Utilizing familiar objects, forms, and spaces draw the viewer into the piece in order to identify and relate emotionally to her work. In La concepcíon [The Conception] (1983), Brito creates an architectural installation/sculpture similar to a small room or corner of a room. The simplistic forms and objects she uses, such as a white table, a shelf with jars, and a small mirror, are generic enough for several viewers to relate. However, they are juxtaposed with specifically and accompanied with a mannequin head and other small objects in order to create the catalyst of a specific memory or emotion. Brito uses her art as a means of communication with her viewers by creating a dialogue between the individual and the work.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Ricardo Pau-Llosa, 1985", "Copyright_Type" : "", "Disp_Obj_Type" : "installation", "Creation_Place2" : "Cuban", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1985.22.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1985.22.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1985.22.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1985.22.tif", "IsPrimary" : "1", "_SurrogateID" : "3385", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17374, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17374", "Disp_Access_No" : "2005.31", "_AccNumSort1" : "", "Disp_Create_DT" : "1986", "_Disp_Start_Dat" : "1986", "_Disp_End_Date" : "1986", "Disp_Title" : "Escultura em granito", "Alt_Title" : "", "Obj_Title" : "Untitled", "Series_Title" : "", "Disp_Maker_1" : "Waltercio Caldas", "Sort_Artist" : "Caldas, Waltercio", "Disp_Dimen" : "8.6 cm x 50.3 cm x 34.3 cm (3 3/8 in. x 19 13/16 in. x 13 1/2 in.)", "Disp_Height" : "8.6 cm", "Disp_Width" : "50.3 cm", "Dimen_Extent" : "HWD", "Medium" : "Black granite", "Support" : "", "Disp_Medium" : "Black granite", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase as a gift of Margaret McDermott in memory of Barbara Duncan, 2005", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Brazilian", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.31.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.31.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.31.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2005.31.tif", "IsPrimary" : "1", "_SurrogateID" : "2834", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13887, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13887", "Disp_Access_No" : "P1975.25.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1973", "_Disp_Start_Dat" : "1973", "_Disp_End_Date" : "1973", "Disp_Title" : "No. 415 [Núm. 415]", "Alt_Title" : "", "Obj_Title" : "No. 415 [Núm. 415]", "Series_Title" : "", "Disp_Maker_1" : "Sérgio de Camargo", "Sort_Artist" : "Camargo, Sérgio de", "Disp_Dimen" : "19.6 cm x 18.1 cm x 10.5 cm (7 11/16 in. x 7 1/8 in. x 4 1/8 in.)", "Disp_Height" : "19.6 cm", "Disp_Width" : "18.1 cm", "Dimen_Extent" : "HLW", "Medium" : "White Carrara marble", "Support" : "", "Disp_Medium" : "White Carrara marble", "Info_Page_Comm" : "Sérgio de Camargo explored the rhythmic abstract geometry favored by the proponents of Kinetic and Op art that he met while living in Paris during the 1960s and 1970s. "No. 415" is an assemblage of marble blocks of various sizes cut at different angles. By playfully alternating flat areas with triangular wedges, Camargo produced changing patterns of light and shadows. The cohesive organic quality and dynamic geometry of this sculpture lend it a monumental presence.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1975", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Brazilian", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1975.25.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1975.25.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1975.25.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1975.25.1.tif", "IsPrimary" : "1", "_SurrogateID" : "5187", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15035, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15035", "Disp_Access_No" : "1982.1249", "_AccNumSort1" : "", "Disp_Create_DT" : "1921 - 1924", "_Disp_Start_Dat" : "1921", "_Disp_End_Date" : "1924", "Disp_Title" : "El guitarrista [The Guitarist]", "Alt_Title" : "The Guitarist", "Obj_Title" : "El guitarrista [The Guitarist]", "Series_Title" : "", "Disp_Maker_1" : "Pablo Curatella Manes", "Sort_Artist" : "Curatella Manes, Pablo", "Disp_Dimen" : "34.3 cm x 22.5 cm x 18.4 cm (13 1/2 in. x 8 7/8 in. x 7 1/4 in.)", "Disp_Height" : "34.3 cm", "Disp_Width" : "22.5 cm", "Dimen_Extent" : "Base", "Medium" : "Bronze with black patina", "Support" : "", "Disp_Medium" : "Bronze with black patina", "Info_Page_Comm" : "Like many Argentine artists of his generation, Pablo Curatella Manes lived in Europe and immersed himself in the avant-garde. His admiration for both Renaissance art and Cubist sculpture led him to find his own artistic voice. In "The Guitarist," one of his first Cubist works, Curatella Manes transformed musician and instrument into a series of clearly defined yet simplified geometric solids. The artist sought a modern classicism, balancing figuration and abstraction, solidity and movement. The apparent heaviness of the bronze makes the figure stable, while the distribution of volumes follows a syncopated rhythm that reinforces the musical theme.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1982", "Copyright_Type" : "edu; web", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.1249.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.1249.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.1249.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.1249.tif", "IsPrimary" : "1", "_SurrogateID" : "1221", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 18171, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/18171", "Disp_Access_No" : "2005.197", "_AccNumSort1" : "", "Disp_Create_DT" : "1997", "_Disp_Start_Dat" : "1997", "_Disp_End_Date" : "1997", "Disp_Title" : "2244 Módulos [2244 Modules]", "Alt_Title" : "", "Obj_Title" : "2244 Modulos [2244 Modules]", "Series_Title" : "", "Disp_Maker_1" : "Isabel Del Rio", "Sort_Artist" : "Del Rio, Isabel", "Disp_Dimen" : "165 cm x 390 cm x 256 cm (64 15/16 in. x 153 9/16 in. x 100 13/16 in.)", "Disp_Height" : "165 cm", "Disp_Width" : "390 cm", "Dimen_Extent" : "installed dimension", "Medium" : "2,500 plaster bricks", "Support" : "", "Disp_Medium" : "2,500 plaster bricks", "Info_Page_Comm" : "In 2244 Modules, Del Río physically registers the passage of time. Over a period of six months, Isabel Del Río set herself the task of making several one-inch thick plaster tablets every day. Her efforts resulted in 2244 tablets, each stamped with the date it was produced. The number of tablets completed each day varied according to the artist’s “work” or “free” time. After six months, the artist had filled a considerable physical space with the results of her daily activity. The hours spent in apparently mindless repetition suggest a futile obsession, and also a desire to find a rational order. Although at first glance 2244 Modules may recall a precise and mathematical Minimalist sculpture, the handmade quality of the tablets and the obsessive nature of the project suggest a more existential and personal concern.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of the artist, 2005", "Copyright_Type" : "All", "Disp_Obj_Type" : "installation", "Creation_Place2" : "Chilean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.197.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.197.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.197.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2005.197.tif", "IsPrimary" : "1", "_SurrogateID" : "3892", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.197 detail.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.197 detail.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.197 detail.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2005.197 detail.tif", "IsPrimary" : "0", "_SurrogateID" : "3912", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14099, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14099", "Disp_Access_No" : "G1971.3.17", "_AccNumSort1" : "", "Disp_Create_DT" : "1967–68", "_Disp_Start_Dat" : "", "_Disp_End_Date" : "", "Disp_Title" : "Retablo [Altar Piece]", "Alt_Title" : "Retable", "Obj_Title" : "Retablo [Altar Piece]", "Series_Title" : "", "Disp_Maker_1" : "Victor Delfín Ramírez", "Sort_Artist" : "Delfín Ramírez, Victor", "Disp_Dimen" : "63.5 cm x 124.5 cm (25 in. x 49 in.)", "Disp_Height" : "63.5 cm", "Disp_Width" : "124.5 cm", "Dimen_Extent" : "Outer dimension", "Medium" : "Bronze mounted on wood", "Support" : "", "Disp_Medium" : "Bronze mounted on wood", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of John and Barbara Duncan, 1971", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Peruvian", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1971.3.17.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1971.3.17.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1971.3.17.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1971.3.17.tif", "IsPrimary" : "1", "_SurrogateID" : "2401", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14604, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14604", "Disp_Access_No" : "1989.64", "_AccNumSort1" : "", "Disp_Create_DT" : "1986-1989", "_Disp_Start_Dat" : "1986", "_Disp_End_Date" : "1989", "Disp_Title" : "Banco / Marco de pruebas [Testing Bench / Frame]", "Alt_Title" : "Testing Bank/Frame", "Obj_Title" : "Banco / Marco de pruebas [Testing Bench / Frame]", "Series_Title" : "", "Disp_Maker_1" : "Gonzalo Díaz", "Sort_Artist" : "Díaz, Gonzalo", "Disp_Dimen" : "247.65 cm x 574.68 cm x 436.88 cm (97 1/2 in. x 226 1/4 in. x 172 in.)", "Disp_Height" : "247.65 cm", "Disp_Width" : "574.68 cm", "Dimen_Extent" : "HLW", "Medium" : "Mixed media installation", "Support" : "", "Disp_Medium" : "Mixed media installation", "Info_Page_Comm" : "Gonzalo Díaz’s installation, Testing Bank (Frame), unites three concepts: the testing bank, assembly line, and pictorial frame. The two paintings serve as backdrop to the political metaphor conveyed by the arrangement of the installation. The installation: The installation can be divided into three levels of interpretation. The first level presents balustrades (architectural supports) as symbols of the Chilean political situation. The balustrades come from a colonial (creole) neo-classical building, a style which represents the architectonic context of the birth of the Chilean Republic in South America. In the second level, which is comprised of a modeling bench for the balustrades, a neon light, and a baldachin (canopy), three ideas converge: serial production, graphic labeling, and institutional protection. The baldachin provides shade which allows protection from the sun, and shields human acts from divine vigilance. The neon light is a human-made product that illustrates the fact that the work depends on the application of mechanical rationale. The third level refers to conservation and classification of symbolic objects by political institutions. This is illustrated by the balustrades which are shown in their final state. They are protected by acrylic and metal within a glass security case. The backdrop of the installation: The two paintings situated on the wall behind the installation, which can be seen only through the installation, expose the general concerns of Gonzalo Díaz’s artwork. The paintings comment upon the occupation of the Chilean territory and its conceptualization as a “cultural landscape”. Located at the top of the paintings are images of Chile’s major natural borders, the Pacific Ocean and the Andean mountain range. Below are a series of juxtaposed images and portraits of two women. The women, Sister Teresa, the first blessed Chilean, and Zulema Morandé, a fatality of domestic violence, serve as political symbols. The image of Sister Teresa is situated under the Andes, Chile’s backbone. Under the rocks of the beach, symbolizing the Pacific border of the country, lies Zulema Morandé, the woman destined to marry a brutal husband who murdered her. (He was subsequently acquitted in a fraudulent trial.) The women are almost contemporary and are related by the use of the body in spiritual and physical subjugation. The Blessed gives herself to God and is thus spiritually subjugated. The wife, the “victim of domestic violence”, is physically subjugated. Several images incorporated into the paintings originally came from the investigation conducted by the police. Through these images Gonzalo Díaz conveys the Chilean cartography of pain. To further emphasize this point, the artist incorporates a diagram of the wounds on the body. This diagram is combined with a chart describing the movements of the planets in Copernican theory, and followed by an enumeration of theological virtues. There are as many theological enumerations as fragments of a social body, all subjected to the violence of the Chilean State’s apparatus of repression.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1989", "Copyright_Type" : "", "Disp_Obj_Type" : "installation", "Creation_Place2" : "Chilean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1989.64.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1989.64.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1989.64.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1989.64.tif", "IsPrimary" : "1", "_SurrogateID" : "6402", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14825, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14825", "Disp_Access_No" : "1985.65", "_AccNumSort1" : "", "Disp_Create_DT" : "1982", "_Disp_Start_Dat" : "1982", "_Disp_End_Date" : "1982", "Disp_Title" : "Caja enigmática [Puzzle Box]", "Alt_Title" : "Puzzle Box", "Obj_Title" : "Caja enigmática [Puzzle Box]", "Series_Title" : "", "Disp_Maker_1" : "Juan Egenau", "Sort_Artist" : "Egenau, Juan", "Disp_Dimen" : "50 cm x 43.8 cm x 31.8 cm (19 11/16 in. x 17 1/4 in. x 12 1/2 in.)", "Disp_Height" : "50 cm", "Disp_Width" : "43.8 cm", "Dimen_Extent" : "HLW", "Medium" : "Aluminum", "Support" : "", "Disp_Medium" : "Aluminum", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Barbara Duncan Fund, 1985", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Chilean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1985.65.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1985.65.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1985.65.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1985.65.tif", "IsPrimary" : "1", "_SurrogateID" : "3401", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14962, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14962", "Disp_Access_No" : "1983.118", "_AccNumSort1" : "", "Disp_Create_DT" : "1981", "_Disp_Start_Dat" : "1981", "_Disp_End_Date" : "1981", "Disp_Title" : "Penetraciones [Penetrations]", "Alt_Title" : "[Penetraciones]", "Obj_Title" : "Penetraciones [Penetrations]", "Series_Title" : "", "Disp_Maker_1" : "Raúl Farco", "Sort_Artist" : "Farco, Raúl", "Disp_Dimen" : "93.3 cm x 88.3 cm x 18.5 cm (36 3/4 in. x 34 3/4 in. x 7 5/16 in.)", "Disp_Height" : "93.3 cm", "Disp_Width" : "88.3 cm", "Dimen_Extent" : "HLW", "Medium" : "Cherokee marble and Pennsylvania ribbon slate with pigments", "Support" : "", "Disp_Medium" : "Cherokee marble and Pennsylvania ribbon slate with pigments", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Jeffrey Jurick, 1983", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1983.118_verso.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1983.118_verso.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1983.118_verso.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1983.118_verso.tif", "IsPrimary" : "0", "_SurrogateID" : "3312", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1983.118_recto.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1983.118_recto.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1983.118_recto.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1983.118_recto.tif", "IsPrimary" : "1", "_SurrogateID" : "6433", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14724, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14724", "Disp_Access_No" : "1986.290", "_AccNumSort1" : "", "Disp_Create_DT" : "1976", "_Disp_Start_Dat" : "1976", "_Disp_End_Date" : "1976", "Disp_Title" : "Tres sectores circulares [Three Circular Sectors]", "Alt_Title" : "Three Circular Sectors", "Obj_Title" : "Tres sectores circulares [Three Circular Sectors]", "Series_Title" : "", "Disp_Maker_1" : "Manuel Felguérez", "Sort_Artist" : "Felguérez, Manuel", "Disp_Dimen" : "30.5 cm x 40.1 cm x 12.8 cm (12 in. x 15 13/16 in. x 5 1/16 in.)", "Disp_Height" : "30.5 cm", "Disp_Width" : "40.1 cm", "Dimen_Extent" : "HLW", "Medium" : "Painted metal", "Support" : "", "Disp_Medium" : "Painted metal", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Carol Straus, 1986", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Mexican", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1986.290.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1986.290.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1986.290.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1986.290.tif", "IsPrimary" : "1", "_SurrogateID" : "1343", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13892, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13892", "Disp_Access_No" : "P1975.23.2", "_AccNumSort1" : "", "Disp_Create_DT" : "1975", "_Disp_Start_Dat" : "1975", "_Disp_End_Date" : "1975", "Disp_Title" : "Signo convexo [Convex Sign]", "Alt_Title" : "Convex Sign", "Obj_Title" : "Signo convexo [Convex Sign]", "Series_Title" : "", "Disp_Maker_1" : "Manuel Felguérez", "Sort_Artist" : "Felguérez, Manuel", "Disp_Dimen" : "25.4 cm x 31.5 cm x 29.25 cm (10 in. x 12 3/8 in. x 11 1/2 in.)", "Disp_Height" : "25.4 cm", "Disp_Width" : "31.5 cm", "Dimen_Extent" : "HLW", "Medium" : "Painted metal", "Support" : "", "Disp_Medium" : "Painted metal", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1975", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Mexican", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1975.23.2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1975.23.2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1975.23.2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1975.23.2.tif", "IsPrimary" : "1", "_SurrogateID" : "2554", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14951, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14951", "Disp_Access_No" : "1983.14", "_AccNumSort1" : "", "Disp_Create_DT" : "1971-1975", "_Disp_Start_Dat" : "1971", "_Disp_End_Date" : "1975", "Disp_Title" : "Graneros III [Graneries III]", "Alt_Title" : "Granaries III", "Obj_Title" : "Graneros III [Graineries III]", "Series_Title" : "", "Disp_Maker_1" : "Gonzalo Fonseca", "Sort_Artist" : "Fonseca, Gonzalo", "Disp_Dimen" : "20.3 cm x 54 cm x 50.1 cm (8 in. x 21 1/4 in. x 19 3/4 in.)", "Disp_Height" : "20.3 cm", "Disp_Width" : "54 cm", "Dimen_Extent" : "Base", "Medium" : "Red travertine", "Support" : "", "Disp_Medium" : "Red travertine", "Info_Page_Comm" : "Gonzalo Fonseca’s fascination with history led him to spend time traveling through Latin America, the Middle East, and Europe to see the excavated remains of ancient cities. "Graneros III" suggests the experience of the modern visitor confronting such archaeological sites. The unexplainable architectural features may be puzzling, but their mystery captures our imagination. Fonseca enhances the need to engage directly with the piece by providing movable objects that can be placed in different areas of the work—if one only had access and permission from the curator. Alas, the piece must remain a tempting yet remote enigma.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1983", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Uruguay", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1983.14_side.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1983.14_side.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1983.14_side.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1983.14_side.tif", "IsPrimary" : "0", "_SurrogateID" : "1117", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1983.14.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1983.14.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1983.14.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1983.14.tif", "IsPrimary" : "0", "_SurrogateID" : "1275", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1983.14_corner.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1983.14_corner.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1983.14_corner.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1983.14_corner.tif", "IsPrimary" : "1", "_SurrogateID" : "1276", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14349, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14349", "Disp_Access_No" : "1997.26", "_AccNumSort1" : "", "Disp_Create_DT" : "1991", "_Disp_Start_Dat" : "1991", "_Disp_End_Date" : "1991", "Disp_Title" : "No preocuparse [Don't Worry]", "Alt_Title" : "", "Obj_Title" : "No preocuparse [Don't Worry]", "Series_Title" : "", "Disp_Maker_1" : "Pedro Friedeberg", "Sort_Artist" : "Friedeberg, Pedro", "Disp_Dimen" : "73.7 cm x 45.7 cm x 30.5 cm (29 in. x 18 in. x 12 in.)", "Disp_Height" : "73.7 cm", "Disp_Width" : "45.7 cm", "Dimen_Extent" : "HLW", "Medium" : "Paper, painted wood, collage, assemblage, and metal", "Support" : "", "Disp_Medium" : "Paper, painted wood, collage, assemblage, and metal", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Marie Hanna-Liling, 1997", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Mexican", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1997.26.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1997.26.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1997.26.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1997.26.tif", "IsPrimary" : "1", "_SurrogateID" : "3661", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1997.26-side_view.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1997.26-side_view.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1997.26-side_view.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1997.26-side_view.tif", "IsPrimary" : "0", "_SurrogateID" : "3663", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14290, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14290", "Disp_Access_No" : "2000.73", "_AccNumSort1" : "", "Disp_Create_DT" : "1972", "_Disp_Start_Dat" : "1972", "_Disp_End_Date" : "1972", "Disp_Title" : "Dibujo en cinco lecciones [Drawing in Five Lessons]", "Alt_Title" : "", "Obj_Title" : "Dibujo en cinco lecciones [Drawing in Five Lessons]", "Series_Title" : "", "Disp_Maker_1" : "Haroldo González", "Sort_Artist" : "González, Haroldo", "Disp_Dimen" : "213.4 cm x 304.9 cm x 122 cm (84 in. x 120 1/16 in. x 48 1/16 in.)", "Disp_Height" : "213.4 cm", "Disp_Width" : "304.9 cm", "Dimen_Extent" : "Installed dimensions", "Medium" : "Interactive installation: projector, slides, tape recorder, and paper", "Support" : "", "Disp_Medium" : "Interactive installation: projector, slides, tape recorder, and paper", "Info_Page_Comm" : "Uruguay’s deteriorating economy and increasingly authoritarian politics in the 1960s led to a coup d’état in 1973. In this context, the members of a movement known as El dibujazo developed an expressionistic style of drawing imbued with social criticism. Having studied cinematography, Haroldo González joined this group to explore the relationship between drawing, audiovisual experimentation, and language. “We want to change the artist’s position in society—that’s what we’re fighting for,” he said, modeling a role for artists as instigators of social uprising. Presented for the first time in December 1972—six months before the military took power—this interactive installation instructs us in the use of the basic elements of drawing through lessons that parody the restriction of freedom. Thirteen slides define the elements of drawing, synchronized with sounds of clapping, typing, gunfire, and laughter on an accompanying audio track.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Haroldo González, 2000", "Copyright_Type" : "", "Disp_Obj_Type" : "installation", "Creation_Place2" : "Uruguay", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2000.73.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2000.73.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2000.73.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2000.73.tif", "IsPrimary" : "1", "_SurrogateID" : "4074", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2000.73-2018-1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2000.73-2018-1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2000.73-2018-1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2000.73-2018-1.tif", "IsPrimary" : "0", "_SurrogateID" : "18500", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2000.73-2018-2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2000.73-2018-2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2000.73-2018-2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2000.73-2018-2.tif", "IsPrimary" : "0", "_SurrogateID" : "18501", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2000.73-2018-3.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2000.73-2018-3.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2000.73-2018-3.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2000.73-2018-3.tif", "IsPrimary" : "0", "_SurrogateID" : "18502", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2000.73-2018-4.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2000.73-2018-4.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2000.73-2018-4.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2000.73-2018-4.tif", "IsPrimary" : "0", "_SurrogateID" : "18503", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 18753, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/18753", "Disp_Access_No" : "2006.326", "_AccNumSort1" : "", "Disp_Create_DT" : "1996", "_Disp_Start_Dat" : "1996", "_Disp_End_Date" : "1996", "Disp_Title" : "Estación central de Rotterdam", "Alt_Title" : "", "Obj_Title" : "Estación central de Rotterdam", "Series_Title" : "", "Disp_Maker_1" : "Sebastián Gordín", "Sort_Artist" : "Gordín, Sebastián", "Disp_Dimen" : "137.9 cm x 102.8 cm x 60.3 cm (54 5/16 in. x 40 1/2 in. x 23 3/4 in.)", "Disp_Height" : "137.9 cm", "Disp_Width" : "102.8 cm", "Dimen_Extent" : "installed dimension", "Medium" : "Mixed media", "Support" : "", "Disp_Medium" : "Mixed media", "Info_Page_Comm" : "The scene presented through the peephole on this work is a recreation of the Central Station in Rotterdam, The Netherlands. The artist carefully reconstructed this image from a tourist postcard that his father sent him during a European tour in the 1950s. By looking through the small lens, we are invited into a scene that is arrested in time and strangely evocative of a melodramatic movie or novel. Gordín's work explores memory and parallel realities through small shifts in perception. Indeed, the brightly colored box of Rotterdam Central Station is not unlike a magic trick that takes us back in time or deep into someone else's personal memories.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchased with funds provided by Fundación Arte BA, Buenos Aires, and contributions from the Blanton Latin American Circle, 2006", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2006.326.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2006.326.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2006.326.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2006.326.tif", "IsPrimary" : "1", "_SurrogateID" : "4253", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2006.326 detail.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2006.326 detail.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2006.326 detail.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2006.326 detail.tif", "IsPrimary" : "0", "_SurrogateID" : "4260", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2006.326 interior view.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2006.326 interior view.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2006.326 interior view.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2006.326 interior view.tif", "IsPrimary" : "0", "_SurrogateID" : "4261", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16910, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16910", "Disp_Access_No" : "2003.107", "_AccNumSort1" : "", "Disp_Create_DT" : "1993", "_Disp_Start_Dat" : "1993", "_Disp_End_Date" : "1993", "Disp_Title" : "Esfera (Serie desequilibrios) 1-I [Sphere (Imbalance Series) 1-I]", "Alt_Title" : "", "Obj_Title" : "Esfera (Serie desequilibrios) 1-I [Sphere (Imbalance Series) 1-I]", "Series_Title" : "", "Disp_Maker_1" : "Víctor Grippo", "Sort_Artist" : "Grippo, Víctor", "Disp_Dimen" : "44.1 cm x 34.3 cm x 11.6 cm (17 3/8 in. x 13 1/2 in. x 4 9/16 in.)", "Disp_Height" : "44.1 cm", "Disp_Width" : "34.3 cm", "Dimen_Extent" : "HWD", "Medium" : "Glazed wooden box, plaster and paint ", "Support" : "", "Disp_Medium" : "Glazed wooden box, plaster and paint ", "Info_Page_Comm" : "In the 1980’s, Victor Grippo created a series of stage set-like sculptures called “Balance” that featured small scenes illustrating physical acts of cause and effect. He followed it with a complementary series called “Imbalance” that includes “Esfera.” On the left side a red ball rests on a shelf next to a shattered white crucible. An unbroken crucible rests next to the shards, painted above it is red and black circle. Grippo’s puzzling tableau contrasts real objects with their two-dimensional images and unsettles scientific rules that connect cause with its possible effects. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase, 2003", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2003.107.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2003.107.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2003.107.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2003.107.tif", "IsPrimary" : "1", "_SurrogateID" : "2104", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14028, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14028", "Disp_Access_No" : "G1975.37.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1967", "_Disp_Start_Dat" : "1967", "_Disp_End_Date" : "1967", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "Untitled", "Series_Title" : "", "Disp_Maker_1" : "Gyula Kosice", "Sort_Artist" : "Kosice, Gyula", "Disp_Dimen" : "63.7 cm x 117.7 cm x 117.7 cm (25 1/16 in. x 46 5/16 in. x 46 5/16 in.)", "Disp_Height" : "63.7 cm", "Disp_Width" : "117.7 cm", "Dimen_Extent" : "Base", "Medium" : "Aluminum, plexiglass, and water", "Support" : "", "Disp_Medium" : "Aluminum, plexiglass, and water", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Gunther Oppenheim, 1975", "Copyright_Type" : "All approved.", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1975.37.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1975.37.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1975.37.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1975.37.1.tif", "IsPrimary" : "1", "_SurrogateID" : "2454", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 19325, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/19325", "Disp_Access_No" : "2009.13", "_AccNumSort1" : "", "Disp_Create_DT" : "1992/2006", "_Disp_Start_Dat" : "", "_Disp_End_Date" : "", "Disp_Title" : "Corpus Delicti", "Alt_Title" : "", "Obj_Title" : "Corpus Delicti", "Series_Title" : "", "Disp_Maker_1" : "Jac Leirner", "Sort_Artist" : "Leirner, Jac", "Disp_Dimen" : "", "Disp_Height" : "", "Disp_Width" : "", "Dimen_Extent" : "varies with installation", "Medium" : "Three boarding passes, two ashtrays, cutlery, and metal cord", "Support" : "", "Disp_Medium" : "Three boarding passes, two ashtrays, cutlery, and metal cord", "Info_Page_Comm" : "In the early 1990s, Jac Leirner collected objects from her many airplane trips, including napkins, cutlery, baggage tags, boarding passes, ear plugs, and ashtrays. She then ordered these objects into a series of works called "Corpus Delicti," a legal term in Latin meaning the concrete evidence of a crime. This string of connected objects functions as a travelogue of Leirner’s journeys. It also documents her struggle to quit smoking and her obsessive and sometimes illegal acquisition of materials, as in the case of the ashtrays and cutlery. For Leirner, the works “convey a history, with the idea of transgression imprinted on them.” They are removed from one circuit and are consecrated by another, changing from airplane accoutrements to works of art.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Susman Collection, 2009", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Brazilian", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2009.13.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2009.13.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2009.13.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2009.13.tif", "IsPrimary" : "1", "_SurrogateID" : "6068", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14341, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14341", "Disp_Access_No" : "1998.76", "_AccNumSort1" : "", "Disp_Create_DT" : "1987", "_Disp_Start_Dat" : "1987", "_Disp_End_Date" : "1987", "Disp_Title" : "Missão/Missões [Mission/Missions] (How to Build Cathedrals)", "Alt_Title" : "", "Obj_Title" : "Missão/Missões [Mission/Missions] (How to Build Cathedrals)", "Series_Title" : "", "Disp_Maker_1" : "Cildo Meireles", "Sort_Artist" : "Meireles, Cildo", "Disp_Dimen" : "249.94 cm x 345.95 cm x 345.95 cm (98 3/8 in. x 136 3/16 in. x 136 3/16 in.)", "Disp_Height" : "249.94 cm", "Disp_Width" : "345.95 cm", "Dimen_Extent" : "varies with installation", "Medium" : "600,000 coins, 800 communion wafers, 2000 cattle bones, 80 paving stones, and black cloth", "Support" : "", "Disp_Medium" : "600,000 coins, 800 communion wafers, 2,000 cattle bones, 80 paving stones, and black cloth", "Info_Page_Comm" : "Cildo Meireles’s installation was first commissioned for an exhibition about the history of the Jesuits in southern Brazil. The artist created a contemplative space that functions as a critique of Jesuit missions established during colonial times to contain the indigenous Tupi-Guaraní people and convert them to Catholicism. The work’s symbolic elements reveal the complicit relationship between material power (coins), spiritual power (communion wafers), and tragedy (bones), while the black shroud and overhead lighting evoke ideas of life and death. Meireles’ use of cattle bones references the importance of ranching within the region’s colonial economy. Yet the bones’ physical resemblance to the human femur also alludes to the human losses associated with forced acculturation. 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"Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14378, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14378", "Disp_Access_No" : "1994.107", "_AccNumSort1" : "", "Disp_Create_DT" : "n.d.", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Torre Negra [Black Tower]", "Alt_Title" : "", "Obj_Title" : "Torre Negra [Black Tower]", "Series_Title" : "", "Disp_Maker_1" : "Edgar Negret", "Sort_Artist" : "Negret, Edgar", "Disp_Dimen" : "123.2 cm x 33 cm x 33 cm (48 1/2 in. x 13 in. x 13 in.)", "Disp_Height" : "123.2 cm", "Disp_Width" : "33 cm", "Dimen_Extent" : "HLW", "Medium" : "Painted aluminum, wooden base", "Support" : "", "Disp_Medium" : "Painted aluminum, wooden base", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Barbara Duncan, 1994", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Colombian", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1994.107.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1994.107.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1994.107.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1994.107.tif", "IsPrimary" : "1", "_SurrogateID" : "3868", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1994.107_detail.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1994.107_detail.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1994.107_detail.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1994.107_detail.tif", "IsPrimary" : "0", "_SurrogateID" : "3879", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15109, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15109", "Disp_Access_No" : "1978.78", "_AccNumSort1" : "", "Disp_Create_DT" : "1972", "_Disp_Start_Dat" : "1972", "_Disp_End_Date" : "1972", "Disp_Title" : "El puente [The Bridge]", "Alt_Title" : "The Bridge", "Obj_Title" : "El puente [The Bridge]", "Series_Title" : "", "Disp_Maker_1" : "Edgar Negret", "Sort_Artist" : "Negret, Edgar", "Disp_Dimen" : "59.5 cm x 275.5 cm x 73.5 cm (23 7/16 in. x 108 7/16 in. x 28 15/16 in.)", "Disp_Height" : "59.5 cm", "Disp_Width" : "275.5 cm", "Dimen_Extent" : "HLW", "Medium" : "Painted aluminum sculpture", "Support" : "", "Disp_Medium" : "Painted aluminum sculpture", "Info_Page_Comm" : "Edgar Negret was among the first Colombian artists to develop an international profile. He spent many years working in Paris and New York, where he befriended Ellsworth Kelly and other abstract artists in his circle. When Negret returned to Bogotá in 1963, he was already constructing modular sculptures with painted metal sheets joined together with visible screws and nuts. "El puente" combines industrial materials with an organic sense of form.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Arlene Bobker, 1978", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Colombian", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1978.78.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1978.78.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1978.78.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1978.78.tif", "IsPrimary" : "1", "_SurrogateID" : "3103", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17737, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17737", "Disp_Access_No" : "2005.174", "_AccNumSort1" : "", "Disp_Create_DT" : "2005", "_Disp_Start_Dat" : "2005", "_Disp_End_Date" : "2005", "Disp_Title" : "Trabajo forzado [Forced Labor]", "Alt_Title" : "", "Obj_Title" : "Trabajo forzado [Forced Labor]", "Series_Title" : "", "Disp_Maker_1" : "Liliana Porter", "Sort_Artist" : "Porter, Liliana", "Disp_Dimen" : "5 cm x 110 cm x 26 cm (1 15/16 in. x 43 5/16 in. x 10 1/4 in.)", "Disp_Height" : "5 cm", "Disp_Width" : "110 cm", "Dimen_Extent" : "shelf", "Medium" : "Shelf, plastic figure, mulch", "Support" : "", "Disp_Medium" : "Shelf, plastic figure, mulch", "Info_Page_Comm" : "A major figure in the development of Conceptual art since the 1960s, Porter continues to produce work with a unique blend of humor and literary or philosophical references. In Trabajo forzado, a tiny figure seems to be engaged in the monumental task of moving a large amount of mulch onto the floor. Given the sizes of the figure and pile, the little man must have been hard at work for a very long time. Unlike Camnitzer, Porter avoids severity and chooses to address injustice in a playful and absurd fashion. Through the use of humor, she is able to call attention to the plight of the ordinary person, long-standing social inequalities, and the punishingly hard nature of continuous physical labor. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. 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