{ "objects" : [ { "embark_ID" : 23839, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/23839", "Disp_Access_No" : "2018.197", "_AccNumSort1" : "", "Disp_Create_DT" : "1977", "_Disp_Start_Dat" : "1977", "_Disp_End_Date" : "1977", "Disp_Title" : "Untitled (Sharpeville Series)", "Alt_Title" : "", "Obj_Title" : "Untitled (Sharpeville Series)", "Series_Title" : "", "Disp_Maker_1" : "Oliver Lee Jackson", "Sort_Artist" : "Jackson, Oliver Lee", "Disp_Dimen" : "274.3 x 457.2 cm (108 x 180 in.)", "Disp_Height" : "274.3 cm", "Disp_Width" : "457.2 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil-based enamel with metal, cloth, and beads ", "Support" : "canvas", "Disp_Medium" : "Oil-based enamel with metal, cloth, and beads on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Susan and Joseph Wheelwright, 2018", "Copyright_Type" : "edu; promo; web", "Disp_Obj_Type" : "painting", "Creation_Place2" : "", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 24476, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/24476", "Disp_Access_No" : "2019.129", "_AccNumSort1" : "", "Disp_Create_DT" : "2019", "_Disp_Start_Dat" : "2019", "_Disp_End_Date" : "2019", "Disp_Title" : "You're Highly Evolved and Beautiful", "Alt_Title" : "", "Obj_Title" : "You-re Highly Evolved and Beautiful", "Series_Title" : "", "Disp_Maker_1" : "Shara Hughes", "Sort_Artist" : "Hughes, Shara", "Disp_Dimen" : "172.7 x 152.4 cm (68 x 60 in.)", "Disp_Height" : "172.7 cm", "Disp_Width" : "152.4 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil and acrylic", "Support" : "canvas", "Disp_Medium" : "Oil and acrylic on canvas", "Info_Page_Comm" : "Although this is ostensibly a painting of flowers, Shara Hughes often begins her landscapes by making aimless marks on a blank canvas, without any preconceived notion of what the final result will be. Curator Mia Locks has described Hughes’s process as painting “backwards” into her landscapes, finding representation by experimenting with abstraction: “Her paintings are less concerned with depicting nature than they are with creating intimate, imaginary, and emotionally charged spaces.” Hughes recalls the experience as a college student of viewing a painting by Joan Mitchell at The Met, which she says “changed her life for a long time.” While the subtle pours and stains that appear in many of her paintings evoke the work of abstract expressionist pioneer Helen Frankenthaler, her intuitive approach to image making is shared by Amy Sillman, another, more contemporary, abstract painter in the Blanton’s collection. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of Erika and John Toussaint", "Copyright_Type" : "web", "Disp_Obj_Type" : "painting", "Creation_Place2" : "", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/PA2019.329.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/PA2019.329.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/PA2019.329.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/PA2019.329.jpg", "IsPrimary" : "1", "_SurrogateID" : "19206", "Image_Type" : "Study Image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 25096, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/25096", "Disp_Access_No" : "2017.705", "_AccNumSort1" : "", "Disp_Create_DT" : "1967", "_Disp_Start_Dat" : "1967", "_Disp_End_Date" : "1967", "Disp_Title" : "Space Bolts V", "Alt_Title" : "", "Obj_Title" : "Space Bolts V", "Series_Title" : "", "Disp_Maker_1" : "Dorothy Hood", "Sort_Artist" : "Hood, Dorothy", "Disp_Dimen" : "203.2 x 152.4 cm (80 x 60 in.)", "Disp_Height" : "203.2 cm", "Disp_Width" : "152.4 cm", "Dimen_Extent" : "", "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 Robert L. Hardgrave, Jr., 1984; Gift from The Contemporary Austin to the Blanton Museum of Art, 2017", "Copyright_Type" : "Public Domain - per the Estate", "Disp_Obj_Type" : "painting", "Creation_Place2" : "", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 25903, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/25903", "Disp_Access_No" : "2020.14", "_AccNumSort1" : "", "Disp_Create_DT" : "2019", "_Disp_Start_Dat" : "2019", "_Disp_End_Date" : "2019", "Disp_Title" : "Temptation Island", "Alt_Title" : "", "Obj_Title" : "Temptation Island", "Series_Title" : "", "Disp_Maker_1" : "Emily Mae Smith", "Sort_Artist" : "Smith, Emily Mae", "Disp_Dimen" : "96.5 x 76.2 cm (38 x 30 in.)", "Disp_Height" : "96.5 cm", "Disp_Width" : "76.2 cm", "Dimen_Extent" : "overall", "Medium" : "Oil on linen", "Support" : "", "Disp_Medium" : "Oil on linen", "Info_Page_Comm" : "Rife with sly symbolism, Emily Mae Smith’s "Temptation Island" conjures the dangers and decadence of a reimagined Garden of Eden. A bounty of perfectly ripe, unblemished fruit hints at fecundity and virtue, while everything else foreshadows seduction and sin. The rattlesnake coiled around the empty hourglass amplifies the threat of the white teeth, a recurrent motif that Smith describes as “a cartoon for a hyper masculine man-splain[ing] mouth—like an early 20th century tycoon, bared teeth blabbing wide.” Smith’s work often bridges art history and popular culture to explore gender politics and representation. There is humor to her iconography—the hourglass riffs on the term “hourglass figure” and the snake doubles as a phallus. Her art helps us consider how women have been represented in everything from paintings to soap operas, with a limited cast of women as either femme fatales or the Virgin Mary. Here she traces these flawed types to their Biblical roots with Eve and original sin. Smith describes "Temptation Island" as a “time's up at the dawn of the twenty-first century painting.” As she elaborates: “the hourglass is empty, waiting to be filled with the new content of the new female gender frame.” In this Garden of Eden, something or someone is about to bite. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of Alana and Adiel Hoch, 2020", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/PA2019.604.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/PA2019.604.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/PA2019.604.tif", "IIIF_URL": "http://iiif.gallerysystems.com/PA2019.604.tif", "IsPrimary" : "1", "_SurrogateID" : "23965", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] }, ] }