{ "objects" : [ { "embark_ID" : 16616, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16616", "Disp_Access_No" : "2002.2838", "_AccNumSort1" : "", "Disp_Create_DT" : "1974", "_Disp_Start_Dat" : "1974", "_Disp_End_Date" : "1974", "Disp_Title" : "# 56", "Alt_Title" : "", "Obj_Title" : "# 56", "Series_Title" : "", "Disp_Maker_1" : "Roy Colmer", "Sort_Artist" : "Colmer, Roy", "Disp_Dimen" : "192.3 cm x 151.9 cm (75 11/16 in. x 59 13/16 in.)", "Disp_Height" : "192.3 cm", "Disp_Width" : "151.9 cm", "Dimen_Extent" : "canvas", "Medium" : "Acrylic", "Support" : "cotton duck", "Disp_Medium" : "Acrylic on cotton duck", "Info_Page_Comm" : "Although Roy Comer is perhaps best known for his films and photographs, we might think of his paintings from the early- to mid-1970s as precursors to his work in film. Inspired in part by his instructor Almir Mavignier, Colmer sought to convey a sense of instability and fluctuation in his paintings. #54 and #56 are among the last works on canvas the artist produced before committing to a life as a filmmaker (and eventually a photographer). Colmer first began to experiment with film in 1971, while he was in residence at the University of Iowa’s Intermedia Program. There he learned that in film he could capture what had so far eluded him in painting: real (as opposed to virtual) movement. As Colmer stated in a 1975 interview, “There’s no way of arriving at real movement with painting. With film and video you automatically have that. So for a kinetic painter to go to film seems to be a natural transition.” Colmer’s paintings of the 1970s share a great deal with his films of the same period. Most importantly, both impart to color what one writer described as “an almost liquid quality.” This is especially true of #54 and #56. Each work is comprised of crisp horizontal stripes that Colmer created with the aid of masking tape. There is a relative consistency in color as the viewer scans the paintings from top to bottom. Irregular fields of blue, white, and pink occupy #54, while misshapen clouds of yellow, blue, and red occupy #56. However, the stripes change dramatically in hue, value, and intensity as the viewer scans the paintings from left to right. One set of stripes in #56, for instance, gradually metamorphoses from rust to turquoise to pale pink. Colmer’s adroit handling of color generates a rippling effect—his canvases appear to undulate, surging out towards the viewer in some places and ebbing away from the viewer in others. In addition to the swell of a wave as it approaches the shore, they also call to mind, as one viewer noted, “the soft-focus visual crackle of a maleficent color TV.” Colmer has said of his paintings and films of the 1970s, “they are all involved with instant results, fast ways of creating images.” To this end, the artist used an industrial spray gun to paint both #54 and #56. The spray gun allowed him to work quickly and efficiently, but it also had the result of erasing evidence of the artist’s touch or, as Colmer himself put it, “shed[ding] the signature of the artist."", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Claudia Colmer, 2002", "Copyright_Type" : "edu; promo; merch; 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/2002.2838.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2838.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2838.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2838.tif", "IsPrimary" : "1", "_SurrogateID" : "2012", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16615, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16615", "Disp_Access_No" : "2002.2837", "_AccNumSort1" : "", "Disp_Create_DT" : "1973", "_Disp_Start_Dat" : "1973", "_Disp_End_Date" : "1973", "Disp_Title" : "# 54", "Alt_Title" : "", "Obj_Title" : "# 54", "Series_Title" : "", "Disp_Maker_1" : "Roy Colmer", "Sort_Artist" : "Colmer, Roy", "Disp_Dimen" : "193.4 cm x 152.6 cm (76 1/8 in. x 60 1/16 in.)", "Disp_Height" : "193.4 cm", "Disp_Width" : "152.6 cm", "Dimen_Extent" : "canvas", "Medium" : "Acrylic", "Support" : "cotton duck", "Disp_Medium" : "Acrylic on cotton duck", "Info_Page_Comm" : "Although Roy Comer is perhaps best known for his films and photographs, we might think of his paintings from the early- to mid-1970s as precursors to his work in film. Inspired in part by his instructor Almir Mavignier, Colmer sought to convey a sense of instability and fluctuation in his paintings. #54 and #56 are among the last works on canvas the artist produced before committing to a life as a filmmaker (and eventually a photographer). Colmer first began to experiment with film in 1971, while he was in residence at the University of Iowa’s Intermedia Program. There he learned that in film he could capture what had so far eluded him in painting: real (as opposed to virtual) movement. As Colmer stated in a 1975 interview, “There’s no way of arriving at real movement with painting. With film and video you automatically have that. So for a kinetic painter to go to film seems to be a natural transition.” Colmer’s paintings of the 1970s share a great deal with his films of the same period. Most importantly, both impart to color what one writer described as “an almost liquid quality.” This is especially true of #54 and #56. Each work is comprised of crisp horizontal stripes that Colmer created with the aid of masking tape. There is a relative consistency in color as the viewer scans the paintings from top to bottom. Irregular fields of blue, white, and pink occupy #54, while misshapen clouds of yellow, blue, and red occupy #56. However, the stripes change dramatically in hue, value, and intensity as the viewer scans the paintings from left to right. One set of stripes in #56, for instance, gradually metamorphoses from rust to turquoise to pale pink. Colmer’s adroit handling of color generates a rippling effect—his canvases appear to undulate, surging out towards the viewer in some places and ebbing away from the viewer in others. In addition to the swell of a wave as it approaches the shore, they also call to mind, as one viewer noted, “the soft-focus visual crackle of a maleficent color TV.” Colmer has said of his paintings and films of the 1970s, “they are all involved with instant results, fast ways of creating images.” To this end, the artist used an industrial spray gun to paint both #54 and #56. The spray gun allowed him to work quickly and efficiently, but it also had the result of erasing evidence of the artist’s touch or, as Colmer himself put it, “shed[ding] the signature of the artist."", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Claudia Colmer, 2002", "Copyright_Type" : "edu; promo; merch; 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/2002.2837.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2837.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2837.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2837.tif", "IsPrimary" : "1", "_SurrogateID" : "2011", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 20638, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20638", "Disp_Access_No" : "2016.1", "_AccNumSort1" : "", "Disp_Create_DT" : "2012", "_Disp_Start_Dat" : "2012", "_Disp_End_Date" : "2012", "Disp_Title" : "You Belong Here", "Alt_Title" : "", "Obj_Title" : "You Belong Here", "Series_Title" : "", "Disp_Maker_1" : "Tavares Strachan", "Sort_Artist" : "Strachan, Tavares", "Disp_Dimen" : "60.9 x 154.9 x 1 cm (24 x 61 x 3/8 in.)", "Disp_Height" : "60.9 cm", "Disp_Width" : "154.9 cm", "Dimen_Extent" : "", "Medium" : "Yellow neon, two transformers", "Support" : "", "Disp_Medium" : "Yellow neon, two transformers", "Info_Page_Comm" : "In this work, Bahamian-born artist Tavares Strachan offers a seemingly concrete and affirmative declaration that, upon closer reflection, is abstract and fluid. As Strachan recently stated, “As humans, we all struggle with how we fit in and belong. . . . Who gets to determine who belongs where? And where is here? And why does it matter?” Any change to the location or context of this work changes who “you” might be and where “here” is, bringing new nuances to the phrase. The welcoming tone struck by this phrase insinuates that perhaps many of us haven’t always felt included. “I wanted to make a work that everyone can own—one that everyone can have. . . . Because as soon as you read it, you say, ‘I belong here,’ and you do belong.”", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Jeanne and Michael Klein, 2016", "Copyright_Type" : "edu; promo; web", "Disp_Obj_Type" : "electronic media", "Creation_Place2" : "Bahamian", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2016.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2016.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2016.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2016.1.tif", "IsPrimary" : "1", "_SurrogateID" : "12228", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "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" : 21114, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/21114", "Disp_Access_No" : "2017.3", "_AccNumSort1" : "", "Disp_Create_DT" : "2016", "_Disp_Start_Dat" : "2016", "_Disp_End_Date" : "2016", "Disp_Title" : "Siphonophora", "Alt_Title" : "", "Obj_Title" : "Siphonophora", "Series_Title" : "", "Disp_Maker_1" : "Thomas Glassford", "Sort_Artist" : "Glassford, Thomas", "Disp_Dimen" : "1272.5 x 487.7 x 330.2 cm (501 x 192 x 130 in.)", "Disp_Height" : "1272.5 cm", "Disp_Width" : "487.7 cm", "Dimen_Extent" : "overall", "Medium" : "Rebar, polyurethane foam, base coat cement, and paint", "Support" : "", "Disp_Medium" : "Rebar, polyurethane foam, base coat cement, and paint", "Info_Page_Comm" : "Thomas Glassford's sculptures, large-scale installations, and public projects explore the intersections of art, design, architecture, community, and the natural world. First installed at the University Museum El Chopo, part of the National Autonomous University of Mexico, "Siphonophora" is inspired by the giant ocean creatures of the same name that appear to be single organisms, but are instead interdependent communities of different animals, each with different functions that allow the organism to flourish. For this work, individual concrete and plaster sculptures based on forms found in nature have been painted white and strung together, merging into one enormous floating colony. The work, like the ocean organism, serves as a metaphor for our interdependence with the natural world and, by extension, our ecological survival.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of The Moody Foundation, 2017", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "American", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.3.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.3.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.3.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.3.tif", "IsPrimary" : "1", "_SurrogateID" : "15159", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.3-atrium.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.3-atrium.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.3-atrium.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.3-atrium.tif", "IsPrimary" : "0", "_SurrogateID" : "16697", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.3-from below.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.3-from below.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.3-from below.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.3-from below.tif", "IsPrimary" : "0", "_SurrogateID" : "19044", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 19326, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/19326", "Disp_Access_No" : "2008.159", "_AccNumSort1" : "", "Disp_Create_DT" : "2009", "_Disp_Start_Dat" : "2009", "_Disp_End_Date" : "2009", "Disp_Title" : "Stacked Waters", "Alt_Title" : "", "Obj_Title" : "Stacked Waters", "Series_Title" : "", "Disp_Maker_1" : "Teresita Fernández", "Sort_Artist" : "Fernández, Teresita", "Disp_Dimen" : "609.6 cm x 2019.3 cm x 1424.9 cm (240 in. x 795 in. x 561 in.)", "Disp_Height" : "609.6 cm", "Disp_Width" : "2019.3 cm", "Dimen_Extent" : "installed dimension", "Medium" : "Cast acrylic", "Support" : "", "Disp_Medium" : "Cast acrylic", "Info_Page_Comm" : "Stacked Waters is a site-specific installation created for the cavernous entrance space of the Blanton Museum of Art. The work consists of 3,100 square feet of custom-cast acrylic that covers the walls in a striped pattern. The horizontal, saturated blue bands gradually shift in color as they move up, creating a colored abstraction that fades from deep blue to white at the top. The title is a reference to Donald Judd’s stack pieces as well as to his presence in Texas. While pointing directly to illusion rather than negating it, Stacked Waters is a nod to Judd’s exploration of the interior of the box. The space suggests a container of colored light and places the viewer on the inside. Flooded with natural light from immense skylights overhead, the reflective, watery quality of the acrylic’s surface functions like a blue mirror. Viewers see vaporous, reflections of themselves, the space and others in the surface, turning the work into a kind of projection marking the real-time activity of the museum. The reflections also become a changing portrait of the Texas light, appearing somber and shadowy when overcast or at the end of the day, and drenched in saturated blue color and glare on bright days. The work integrates the existing complex of arches and stairs into an image: that of a deep volume of water. The physical space is blurred by becoming an illusion that shifts with the movements of museum-goers. As one moves up the stairs, the horizontal lines that mark the pool’s depth shift in relation to one’s body, until, at the top of the fifty steps, the viewer “emerges” from the blue area into the galleries. 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